Topic: Carl Martin Lyrics

[MuddyBuddy]

State Street Pimp #2  - Carl Martin 
(Crow Jane Blues - Testament Records)



Don't come to me runnin' telling me your bad luck news.
Don't come to me runnin' telling me your bad luck news.
You wouldn't act right when I had you, ther's nothing else that I can do.

You took all my money gave it to your State Street pimp.
You took all my money gave it to your State Street pimp.
You had the nerve to tell me that I was just a small time simp. (fool, simpleton)

I don't need a woman that always likes to fuss and fight.
I don't need a woman that always likes to fuss and fight.
Goes to see her boyfriend and makes up morning, noon, and night.

When I met you baby you didn't even have a dime.
When I met you baby you didn't even have a dime.
Told me that you loved me, you were lying all the time.

Ain't no need in cryin', cryin' will not change my mind.
Ain't no need in cryin', cryin' will not change my mind.
What's the use of cryin', you are only wasting time.

Next time when you see me driving in my Cadillac.
Next time when you see me driving in my Cadillac.
Remember what I told you, you can't even scratch my back.

[Johnm]

Hi all,
I was listening to the old Yazoo anthology, "Guitar Wizards", for the first time in many years and came across Carl Martin's recording from 1935, "Joe Louis Blues".  What a terrific number!  He is seconded by a flat-picking guitarist who is identified as probably being Willie B. James.  Martin and James generate a tremendous rhythmic impetus for this blues in E. 
The lyrics are really the high point here, an homage to the "Brown Bomber".  After the opening verse, which has a conventional 12-bar phrasing structure, all of the subsequent verses start with an 8-bar lyric break, just hanging on the I chord and vamping behind the vocal.  If the lyrics were Carl Martin's own, and there's no reason to think they weren't, he was a real wordsmith, with some of the quality of Chuck Berry's writing, being perfectly natural in the vernacular and having the words scan so well that they make everything extra punchy.  What's more, he sounds like a genuine fight fan.  This would be a really fun number to work up and sing.



   Now, listen all you prizefighters who don't want to meet defeat
   Listen all you prizefighters who don't want to meet defeat
   Take a tip from me, stay off Joe Louis's beat

   Now, he's won all his fights, twenty-three or four
   And left twenty of his opponents lying on the floor
   They all tried to win, but the task was too hard
   When he laid that hambone up against them boys
   Listen all you prizefighters, don't play him too cheap
   If he lands with either hand, he'll sure put you to sleep

   SOLO:  (Spoken, during solo:  He's a real fighter.  I bet on him.  He knows just what to do.
   I'm talking to you!)

   Now, he packs that might in his left, he carries a punishin' right
   Either one will make you groggy or as high as a kite
   He charges on his opponents from the beginning of the gong
   He batters them into submission, then they all sing a song
   I bet on the Brown Bomber, boy, he knows his stuff
   And lays it on his opponents until they-ey (falsetto) get enough

   Now, he's a natural-born fighter, who'd like to fight them all
   "The bigger they come,", he said, "the harder they fall."
   That terrific left, boys, is all he needs
   But that six-inch right come with lightning speed
   Listen all you prizefighters, don't play him too cheap
   Take a tip from me, stay off Joe Louis's beat.

Edited 5/14, to pick up correction from Stuart

All best,
Johnm

     

[Rivers]

I agree, great tune to drop into a Sunday morning song circle.

When he laid that hambone up against that [board]

I hear "boy", or at least I think I do.

[Stuart]

John:

"Guitar Wizards" has been a favorite of mine for decades--just great stuff. Where you hear "that [board]," I am hearing "them boys."


For anyone else, if you are not familiar with this tune (and you should be), it can be downloaded from the Juneberry78s.com site:

http://juneberry78s.com/

If you're not registered, you'll have to e-mail Norm for a password.

[Johnm]

Hi Mark and Stuart,
Thanks for the help.  "Them boys" certainly sounds right to me.  It's perfectly clear now, of course.  I will make the change.  Thanks!
All best,
Johnm

[MuddyBuddy]

Here is a new one I just transcribed, which has lots of Carl Martin mandolin signature licks. 

Gravedigger Blues - Carl Martin  on CROW JANE BLUES, Testament Records



I woke up this morning, blues all around my bed
I woke up this morning, blues all around my bed
I had a dream last night that the woman I love was dead.

Well I went to the graveyard, fell down on my knees
I went to the graveyard, and I fell down on my knees
Well I asked the gravedigger for to give me back my good girl please.

Well now the gravedigger he sit back and he looked me in the eye
Well the gravedigger he sit back and he looked me in the eye
He said I?m sorry my son but your girl done said her last goodbye.

[Johnm]

Hi all,
Carl Martin did "Old Time Blues", an 8-bar blues, out of E position in standard tuning, just screamingly fast.  It is very much a set piece rendition, but boy, does it pack a lot of information into 8 bars!  I first heard it on the old Yazoo "East Coast Blues" anthology, and it really made an impression on me.  I like how the lyrics bounce back and forth between bragging about bad behavior and self-pity and excuse-making.  Here is his performance:



SOLO

You promised me that you would treat me right
Now you won't do nothin', honey, but fuss and fight

My Mama, she told me, when I left my home,
"Son, be a good boy and leave bad women 'lone."

Now my Mama, she's dead, Papa won't allow me home
I ain't got nobody, teach me right from wrong

SOLO

I was young and foolish, I was easy led
I been mistreated ever since, Mama, she's been dead

Sometimes it seems like the whole world is down on me
If I've been a bad boy, I did not intend to be

Tell me, pretty mama, who can your good man be?
If you ain't got nobody, honey, won't you please take me?

I've got three women, yellow, black and brown
When I go to see one, tell the other two I'm out of town

SOLO

I want all you women to strictly understand
Every man you meet sure ain't no monkeyman

When I had money, friends from miles around
Now I done lost all my money, friends can't even be found

I'm gon' leave here walkin', comin' back 'til Fall
My, it's luck won't change I won't be back at all

SOLO

Tell me, pretty mama, who can your good man be?
You ain't got nobody, honey, won't you please take me

I'm goin' to Florida, where I can have my fun
Set down in the green grass and look up at the sun

I'm weary now, but I won't be worried long
Takes a worried man to sing this weary song

SOLO

Edited 1/29 to pick up correction from ScottN

All best,
Johnm

[ScottN]

Hi John,

In verse 7.2 When I go TO see one

In verse 10.2 I dont hear it clearly but maybe "something" instead of "it's luck"?

Thanks,
           Scott

[Johnm]

Thanks for the catch on "to", Scott, I've made the change.  The other one I'm pretty certain is luck, because the line turns up in other songs.  I think Carl Martin came very close to losing it altogether there, but snatched it back.
All best,
Johnm

[Johnm]

Hi all,
Carl Martin performed "Frankie and Johnny" on mandolin on his Testament album, "Crow Jane Blues", and was joined by Johnny Young on guitar.  The duo gets a nice groove, though  Johnny Young seems a bit unsure of the chord changes as the song starts.  It's interesting how many versions of this song skip the verse where Frankie shoots Albert/Johnny--is this some delicacy in operation, the choice to omit that verse?



Frankie and Johnny were lovers, Lordy, how they could love
And they swore to be true to each other, just as true as the stars above
He was her man, but he done her wrong

Frankie went down to the barroom, get her a stein of beer
She said, "Looky-here, Mr. bartender, has my Johnny been here?
He's my man, but he's doin' me wrong."

"I ain't gonna tell you no story, ain't gonna tell you no lie.
Yes, your Johnny's down here 'bout an hour ago, with a girl he called Nellie Blye.
He's your man, yes, but he's doin' you wrong."

SOLO

Frankie went down to the hardware, didn't go there for fun
Yes, she went down to that hardware to get herself a gun
To shoot her man, because he was doin' her wrong

SOLO

"Well, turn me over easy, turn me over slow.
Turn me over easy, because I'm hurting so
I'm your man, but I've done you wrong."

SOLO

All best,
Johnm

[Johnm]

Hi all,
Carl Martin recorded "Farewell To You Baby" in 1936, accompanying himself out of A position in standard tuning and joined by a bass player.  He does a neat thing with his phrasing on his last two verses:  he goes into a lyrics break over the first four bars of the form, re-sings the first half of the break over the IV chord and re-sings the second half of the break over the V7 chord.  As with most of his tracks from this period, his playing is stellar on this track.  Here it is:



I'm leavin' you, baby, just because you won't be true
I'm leavin' you, baby, just because you won't be true
Lord, you don't love me, after all I've done for you

You know, I worked hard all winter, when the snow was on the ground
You know, I worked hard all winter, when the snow was on the ground
You mistreated me then, baby, still I wouldn't throw you down

You made mistakes, baby, after you made your vow
You made mistakes, baby, after you made your vow
But your mistake-making is all over now

SOLO

You're goin' to miss your daddy, some old lonesome day
And you're going to be sorry, you did me this way
You're gonna miss me some old lonesome day
And you goin' to be sorry that you did me this a-way

Now, I'm leavin' you, baby, with my clothes in my hand
Farewell to you, baby, get yourself a monkey man
Now, I'm leavin', with my clothes in my hand
Farewell to you, get yourself a monkey man

All best,
Johnm

[Johnm]

Hi all,
For "Let's Have A Good Deal", Carl Martin was joined by Willie B. James on second guitar (or, at least that is what is surmised on the JSP set, "Ain't Times Hard".  The song's title is a bit mysterious, considering the fact that Carl Martin sings "Let's Have a New Deal" from beginning to end.  Both Martin and his seconding guitarist are working out of E position in standard tuning, and Carl Martin certainly shows his customary expertise, though the guitars are not featured prominently in the song's arrangement.



Now, everybody's cryin', "Lets have a New Deal".
Police station's loaded down, I know just how you feel
REFRAIN: Everybody's cryin', "Let's have a New Deal".
'Cause I've got to make a living, if I have to rob and steal

Now, I'm getting mighty tired of sitting around
I ain't makin' a dime just wearin' my shoe's sole down
REFRAIN: Everybody's cryin', "Let's have a New Deal".
'Cause I've got to make a living, if I have to rob and steal

Now, I woke up this mornin', doggone my soul
My flour barrel was empty, swear I didn't have no coal
REFRAIN: Everybody's cryin', "Let's have a New Deal".
'Cause I've got to make a living, if I have to rob and steal

Now, you go to your work and put in your complaints
Eight times out of ten, you know, they'll say, "I can't."
REFRAIN: So everybody's cryin', "Let's have a New Deal".
'Cause I've got to make a living, if I have to rob and steal

They don't want to give you no dough, don't hardly pay your rent
And it ain't costin' them one doggone cent
REFRAIN: Everybody's cryin', "Let's have a New Deal".
'Cause I've got to make a living, if I have to rob and steal

Now, I ain't made a dime since they closed down the mill (spoken: Yeah!)
I'm sitting right here waiting on that brand New Deal
REFRAIN: Everybody's cryin', "Let's have a New Deal".
'Cause I've got to make a living, if I have to rob and steal

All best,
Johnm

[Rivers]

The song's title is a bit mysterious, considering the fact that Carl Martin sings "Let's Have a New Deal" from beginning to end.

Considered by the powers above to be too political a title to go out under their banner. I am surmising here. The lyrics are very political by any measure, revolutionary in fact.

[Johnm]

Good call, Mark.  Since the "New Deal" was an approach to dealing with the Depression specifically associated with FDR, and coined by him, the record label probably thought it was too partisan in its associations in the minds of the record-buying public.  I'd be right surprised if anyone who bought the record demanded his money back because of its mention of the New Deal!
All best,
Johnm

[Johnm]

Hi all,
For "Kid Man Blues", recorded in 1934, Carl Martin used exactly the same accompaniment in E position, standard tuning  as he used for "Good Morning Judge" and Crow Jane".  It seems as though, at that time in his career, at least, he was pretty much a set piece player.  This is not to say that he didn't play terrifically well, just that he knew exactly what he was going for in his recordings.  Here is "Kid Man Blues":



SOLO

I asked a married woman to let me be her kid
I asked a married woman to let me be her kid
She said, "I might get buggish, and I just can't keep it hid."

SOLO

If you would be my rider, I'll tell you what I will do
If you'll be my rider, I'll tell you what I will do
I'll make payday, baby, and bring it all home to you

SOLO

I love you pretty mama, dream of you each night
I love you pretty mama, whoo, dream of you each night
If you let me be your kid man I'll always treat you right

All best,
Johnm