Topic: Miller's Breakdown

[Lastfirstface]

I believe the personnel on "Black Bayou" is George Ryan on guitar and Blind Pete on fiddle, recorded by Alan Lomax in Little Rock, Arkansas in 1934. 

[Johnm]

Thanks very much for that information, Pete.  I always like to give musicians proper attribution when their identities are known.
All best,
Johnm

[One-Eyed Ross]

Black Bayou sounds like G capo at 2nd fret (to sound in A).

Lightning Hopkins, in "Found My Baby Crying":  this one has me a bit confused, since there are two ways I could do this, and sound the same.  My first thought was in F, then thinking maybe E capo at one - but I was always told to stick with my first choice, so I'll say F.

The opening run in F would be 5th string, 3rd fret, 4 open, 4 3rd fret, 3rd string 2nd fret.

Didn't get the 2:20 to 2:23 run.

[Prof Scratchy]

Agree with one-eyed ross for the first one: G capoed to sound in A.

For the Lightnin? one, I?ll say E, sounding in F. In the first three seconds he goes from 2nd to 4th fret on the fifth string, second fret 4th string, then fourth fret, 4th string sliding to 6th fret 4th string played together  as a partial chord with 4th fret 3rd string.

For the descending lick at 2:20 something like: 5/0>1/slide to >5>3; 2/5>3; 3/3 slide to 4; 2/3; 3/4>2>0; 4/2; 6/0

[Johnm]

Hi all,
Any other takers for the Blind Pete and partner and Lightnin' Hopkins puzzlers?  Come one, come all!
All best,
Johnm

[Pan]

Hi all.

I think I'll agree with One-Eyed Ross and Professor Scratchy on G-position on "Black Bayou". It's hard to hear what chords he might be playing, but the bass line only seems to go down to the low 6th note, which would be the open 6th string on G position.

For Lightning, I'll again agree with Professor on E position. I also agree with him on the starting notes, with the addition, that Lightning seems to be brushing a lot of open strings along with the fretted ones, on the chord he ends up on beat one. Could he be playing 0-X-6-4-0-0, with the fretted notes slid in, as Professor suggests? It also sounds faintly like he is maybe changing the chord on the last moment, maybe to a 0-X-9-7-0-0?

For the descending lick, I'm guessing 1stg 5th fre slid in, 3rd fret very slightly bent, open 1st strg; then 2nd strg 5th fret slid in, this repeated, 2nd strg 3rd fret, open 2nd strg; 3rs strg 2nd fret, open 3rd string quickly hammered to the 1st fret; then the 4th strg 2nd fret; followed by the open 6th strg.

Cheers

Pan

[Johnm]

Hi all,
It has been a while since anyone posted a response on the Blind Pete and partner and Lightnin' Hopkins puzzlers, so I'll post the answers.

For "Black Bayou Ain't Got No Bottom":
   * George Ryan's  playing position was G position in standard tuning as Ross, Scratchy and Pan all had it--well done, guys!  I love Ryan's back-up playing on this tune, it is so lively, and his left hand is practically still, with all of those runs sitting right under his hand without his having to move it up or down the neck.  Brilliant!

For Lightnin' Hopkins' "Found My Baby Cryin'":
   * His playing position was E position in standard tuning as Prof Scratchy and Pan had it--well done!
   * Lightnin fretted the opening of his introductory solo, from :00--:03, pretty much exactly as Pan had it.  He began with a triplet pick-up beat in which he went from the second fret of the fifth string to the fourth fret of the fifth string and from there to the second fret of the fourth string.  On the downbeat of the form, he slides into the sixth fret of the fourth string and frets the fourth fret of the third string, brushing the top three strings.  That little position that Lightnin' is in there, 0-X-6-4-0-0, is a partial of an E chord played out of the C position:  0-7-6-4-5-0, and the way Lightnin' incorporated the open second and first strings into it sounds great, and is very hand-friendly, too.  Good call on that one, Pan, and Prof Scratchy pretty much had it too.
   * Lightnin's run from 2:20--2:23 was fretted as follows:  On the + of beat one, Lightnin' slides into the fifth fret of the first string.  On beat two, he plays a triplet going from the third fret of the first string to the open first string, followed by a grace note hammer from the third fret of the second string to the fifth fret of the second string.  On beat three, he plays another triplet, going from a grace note hammer from the third to the fifth fret on the second string to the third fret of the second string to the fourth fret of the third string.  On beat four, he plays one more triplet, going from the second fret of the third string to a grace note hammer from the open third string to the first fret of the third string, ending up on the second fret of the fourth string.  He then hits the open sixth string on the downbeat of the eleventh bar of the form.  This is essentially exactly what Pan had--very well done, Pan, that's aces!

I hope folks enjoyed the tunes, and thanks to Ross, Prof Scratchy and Pan for participating.  I'll try to find some new puzzlers to post here soon.

All best,
Johnm

[Johnm]

Hi all,
I have a couple of new puzzlers for folks who are interested.  The first is by Doug Quattlebaum, and it is his "Sweet Little Woman".  Here it is:



INTRO

Well, you used to be a sweet little woman, but baby, now you're beginning to run around
Yes, you used to be a sweet little woman, but baby, now you're beginning to run around
Well, I got the news last night, that you's the baddest little woman in town

Well, you's a pretty little woman, but baby, don't forget pretty is not but skin deep
Yes, you's a pretty little woman, but baby, don't forget pretty is not but skin deep
Yes, when we were layin' in bed the other night, you were callin' out all your men's names in your sleep

Well, the only thing hurtin' me so bad, baby, you was callin' out my best friend name
Yes, the only thing hurtin' me so bad, baby, you was callin' out my best friend name
Well, I guess if that's the way it is, baby, our love will have to come to an end

SOLO

Well, I'm sorry, pretty mama, baby, our love will have to end this way
Yes, I'm sorry, my darling, baby, our love will have to end this way
Well, you started to run around, just look at the price you will have to pay one day

The questions on "Sweet Little Woman" are:
   * What playing position/tuning did Doug Quattlebaum use to play the song?
   * Where did he fret the run he plays from :23--:26?
   * Where did he fret the tun he plays from :39--:42?

The second puzzler is from Robert Curtis Smith, and it is his "I'm Going Away".  Here it is:



SOLO

Well, I'm goin' away must to wear you off my mind
Well, I'm goin' away just to wear you off my mind
Lord, I'll stay 'round here, I'd be bothered all the time

Well, if you don't want me, baby, please don't dog me 'round
Well, if you don't want me, baby, please don't dog me 'round
Well, just like you found me, you can put me down

Well, now it ain't but one thing, one thing I did wrong
Well, now it ain't but the one thing, one thing I did wrong
Well, I let you mistreat me, little bit too long

Well, I ain't never loved but just four womens in my life
Well, I ain't never loved but just four womens in my life
That's my mother and my sister, my sweetheart and my wife

OUTRO




The questions on "I'm Going Away" are:
   * What playing position/tuning did Robert Curtis Smith use to play the song?
   * At what fret of what string did Robert Curtis do the "bend and release" in his signature lick, which happens for the first time at :05?
   * Where did Robert Curtis Smith fret his fifth and sixth strings at the tail end of his signature lick, as at :08--:09?

Please use only your ears and your instruments to arrive at your answers, and please don't post any answers before Tuesday morning, March 29 at 8:00 AM your time.  Thanks for participating and I hope you enjoy the songs.

All best,
Johnm

[blueshome]

Doug Q - Vastapol. I'll try the licks when I've access to a guitar

RC Smith - Spanish. I hear the bend at 3rd fret 3rd string but again need access to a guitar.

[Prof Scratchy]

I agree with blueshome that the first one is on vestapol (open D)

from :23?:26: 3b 1/0>3>0 2/3b>0 3/2>1>0 4/0

from :39?:42: /3b 4/0>3>0 5/3>0>3>0 6/5>3>0

For the Robert Curtis one I have him playing in E standard.

At what fret of what string did Robert Curtis do the "bend and release" in his signature lick, which happens for the first time at :05?
3rd str 3rd fret

Where did Robert Curtis Smith fret his fifth and sixth strings at the tail end of his signature lick, as at :08--:09?
4/1h2>0 5/2 4/0>2 6//0

[One-Eyed Ross]

Sweet Little Woman - Vestapol.

I'm Going Away - E standard, I'm thinking.  Although, to me, it almost sounds like that opening chord is an Em (Dm played up two frets)....

[Old Man Ned]

Agree with everyone on Vestapol for Sweet Little Women.  I think the give away is in the first couple of seconds when the strings are picked from the 6th through to the first, spelling out the chord and to me, they all sound like open strings.

In agreement with Prof Scratchy for the remaining questions though would add an extra 3b>0 on the 2nd string, giving (?)
3b 1/0>3>0 2/3b>0 3b>0 3/2>1>0 4/0

For RC Smith's 'Going Away', I'm also hearing E standard and 3rd string 3rd fret for the bend. For the last part of the puzzle, fretting his fifth and sixth strings at the 2nd and 3rd frets respectively at the tail end of his signature lick.

[Johnm]

Hi all,
Any other takers for the Doug Quattlebaum and Robert Curtis Smith puzzlers?  Come one, come all!
All best,
Johnm

[Johnm]

Hi all,
It appears that everyone who intended to respond to the Doug Quattlebaum and Robert Curtis Smith puzzlers has done so, so I'll post the answers.

For Doug Quattlebaum's "Sweet Little Woman":
   * His playing position/tuning was Vestapol, as everyone who responded had it.  Well done!  All of Doug Quattlebaum's recordings that I have heard, either on Prestige Bluesville or on Testament were done in Vestapol, so he shared that preference with another musician who ended up in Philadelphia, Connie Williams. 
   * He fretted the lick he played from :23--26 as follows: On beat two of the third bar, a slow triplet going from the third fret of the second string to open first string followed by bent third fret of the first string, on beat three, two sixteenth notes going from the open first string to the bent third fret of the second string then open second string returning to the bent third fret of the second string, beat four a triplet going from the open second string to the first fret of the third string and then the open third string, landing on the open fourth string on the downbeat of the fourth bar.  This is very close or exactly what Prof Scratchy and Old Man Ned had, well done.
   * He played the lick from :39--:42 as follows:  On beat two of the seventh bar a triplet going from the bent third fret of the fifth string to the open fourth string to the bent third fret of the fourth string.  On beat three, two sixteenth notes, going from the open fourth string to the bent third fret of the fifth string followed by eighth notes moving from the open fourth string to the bent third fret of the fifth string.  On beat four, a triplet going from the open fifth string to the fifth fret of the sixth string followed by the third fret of the sixth string, resolving to the open sixth string on the downbeat of the eighth bar.  This run is very close to the one played from :23--:26 moved down an octave, though it is fretted in different places because of the tuning.  Prof Scratchy had this one dead on, well done!

Doug Quattlebaum was originally from South Carolina, I believe, and like Tarheel Slim, had done a lot of singing in Gospel quartets, which really showed up in his singing in a way that I very much liked and admired, just as I did with Tarheel Slim's singing.

For Robert Curtis Smith's "I'm Going Away":
   * His playing position/tuning was E position in standard tuning, as Prof Scratchy, One-Eyed Ross, and Old Man Ned had it--well done!
   * His bend and release that he sometimes does in his signature lick was done from the second fret of the third string.  You can tell this by listening to his pull-off release of the string at the end of the bend and release--it is going down into the open third string by descending one whole step.  If he was doing the bend and release from the third fret, it would be going into the open third string by a step-and-a-half (minor third).
   * At the tail end of his signature lick, Robert Curtis Smith hammered from the open fifth string to the second fret of the fifth string, resolving up to the open fourth string, then went from the third fret of the sisth string to the second fret of the fourth string, resolving finally to the open sixth string.  So, he fretted the second fret of the fifth string and the third fret of the sixth string, which is exactly what Old Man Ned had--well done!

I sure like that one album Robert  Curtis Smith had on Prestige Bluesville, and his cuts on the Arhoolie compilation, "I Have To Paint My Face".  I remember Michael Roach telling me that Paul Oliver had said he had at least an album's worth of unreleased recordings of Robert Curtis Smith in his archive.  I wonder how long it has been since anyone listened to those recordings!
Thanks to all who participated in the puzzlers, I feel like people were right in the ball park with their answers.  I will try to find some more interesting puzzlers to post soon.
All best,
Johnm 

[Johnm]

Hi all,
I've got a couple of new puzzlers for those of you who are interested.  The first is John Jackson's "Bearcat Blues", which he recorded originally for his second album on Arhoolie.  Here is his performance:



Said, bearcat, wildcat, stayed home last night
Said, bearcat, wildcat, stayed home last night
Says, all they do is nothin' but fuss and fight

I'm leavin' here runnin', walkin' is too slow
I'm leavin' here runnin', walkin' is too slow
I'm leavin' you, mama, never come back no more

Says, tell me, mama, honey, where you stay last night?
Says, tell me, mama, honey, where you stay last night?
Your clothes all tangled, clothes ain't fittin' you right

The questions on "Bearcat Blues" are:
   * What playing position/tuning did John Jackson use to play "Bearcat Blues"?
   * Where does he fret the beginning of his solo, starting at 1:08, until he goes to the V chord?

The second song is Archie Edwards' "Pittsburgh Blues".  Here it is:



I'm goin' up to Pittsburgh, to see that old girlfriend of mine
Yes, I'm goin' to Pittsburgh, just see that old girlfriend of mine
I haven't seen her since I was a little boy, Lord knows, that's been a long, long time

SOLO

She settled down in Pittsburgh, while I was hangin' around the Columbus, O
Yes, she settle down in Pittsburgh, while I was hangin' around the Columbus, O
Uncle Sam dragged me in the army, and I picked like I never did get a chance to go

SOLO

Somebody told me she was in Pittsburgh, but one time I heard from her she was in Buffalo
Yes, somebody told me she was in Pittsburgh, but one time I heard from her she was in Buffalo
But one thing that I know, I can't see her smilin' face no more

SOLO

Yes, I'm goin' to Pittsburgh, to see that old girlfriend of mine
Yes, I'm goin' to PIttsburgh, just see that old girlfriend of mine
I haven't seen her since I was a little boy, Lord knows, that's been a long, long time

The questions on "Pittsburgh Blues" are:
   * What playing position/tuning did Archie Edwards use to play the song?
   * Where does Archie Edwards fret his IV7 chord from 1:14--1:18?

Please use only your ears and your instrument to arrive at your answers, and please don't post any answers before 8:00 AM your time on Tuesday, April 12.  Thanks for participating and I hope you enjoy the songs.
All best,
Johnm