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Country Blues => Country Blues Lyrics => Topic started by: thumbstyle on May 24, 2004, 11:30:29 AM
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Hi All,
I posted an MP-3 of my take on this song a few weeks back, and it occured to me that a) some might want to have the lyrics, and b) I don't really know 'em all.
So let's see if we can get them worked out. Here's a first stab.
https://youtu.be/Ht3M6scDDzs
Walking My Troubles Away (B.B. Fuller)
Paperboy hollerin' "extra" ["ex-tree"]
Have you read the news
Shot the brown I love
I got them walking blues
I keep on walkin', trying to walk my trouble away
I'm so glad trouble don't last always
She used to be my sweet milk
(But she ) soured on me
We won't be together
Like we used to be
I keep on walkin', trying to walk my trouble away
And I'm so glad trouble don't last always
I got the bad luck blues mama
Bad luck ? ? ? *
You say bad luck fall on everybody
Seem like I'm the only one
And I keep on walkin', trying to walk my trouble away
I'm so glad trouble don't last always
I got coffee grinds in my coffee
Boll weevils in my meal
Tacks in my shoes
Keep stickin in my heels
I keep on walkin', trying to walk my trouble away
I'm so glad trouble don't last always
* I've been singing "Bad luck times I've known", but I don't know...
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Hey Thumb,
Here's what I get for the second and third verses from a pretty good copy on the Yazoo Truckin' My Blues Away CD, slowed down a little bit with Transcribe!:
You used to be my sweet milk
You soured on me
We won't be together
Like we used to be
I keep on walkin', tryin' to walk my trouble away
I'm so glad trouble don't last always
I got the bad luck blues mama
Bad luck time done come
You say bad luck fall on everybody
Seem like I'm the only one
I keep on walkin', tryin' to walk my trouble away
I'm so glad trouble don't last always
(Play that thing now, boy)
Yeah, I really dig this song. Great lyrics.
Hey, you gonna try and make it down to see Del and Steve at the Freight on June 23 (I think)? Let me know, maybe we could get together beforehand. How 'bout you, Miller?
All for now.
John C.
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Ah, that's got it! Thanks for that, Wax.
I had planned to see Del and Steve at Schoenberg's on the 24th, but seeing as it's a triple bill (with Roy Book Binder) at the Freight on the 23rd, I do believe I'll change my mind. Plus there's better eats in Berkeley than Tiburon. :D
So yeah, let's meet up!
Dave
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I'm working on Blind Boy Fuller's "Baby you gotta change your mind" and am having some trouble trying to decipher the lyrics on the second verse after the instrumental break. Is it "Up 'fore the judge(jury?) my eyes(?) wouldn't tell, beatin down(?) my gal I got a full pardon(?) yell(?!?!)". Thanks for the help.
https://youtu.be/kS-DMb4sUcY
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Hi Willie,
I had heard this as:
Up 'fore the judge, my eyes full of tears
For beatin' down my gal I got four, five years
But haven't listened to it in awhile to see if I hear any differently now. It's a hard line to hear.
And welcome to WeenieCampbell.com!
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That makes a lot more sense. That a big help! Thanks.
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Up 'fore the judge, my eyes full of tears
For beatin? down my gal I got four, five years
Pretty sure I hear it as beatin' *up* my gal... oh - it makes all the difference!
f <- not above minutiae... ever.
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[f <- not above minutiae... ever.
Just makes you all the more loveable, Frank. ;) I'll listen again. Certainly "beatin' up" would be the more standard way to go.
I like this song a lot and haven't played it for ages. Will be revisiting it on the gitfiddle.
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Ok, time for some help. I've got the music where I can use it. RGD is too adlib to be a working version, but more fun.
Save me mumbleing through this when I add it to my set list. Check what I've got and see if you can fill in the ???
https://youtu.be/_KA1P6nlnXw
Mama Let Me Lay It On You ? Blind Boy Fuller
Ch
Mama let me lay it on you
Mama let me lay it on you
I?ll do anything in this whole round world
Mama let me lay it on you
I?ll buy you a diamond ring
Now ????? shake that thing
I?ll do anything in this whole round world
Mama let me lay it on you
inst
I?ll try live true to you
Nothing else I know to do
I?ll do anything in this whole round world
Mama let me lay it on you
inst
I?ll you a ford machine
Then I?ll furnish you the gasoline
I?ll do anything in this whole round world
Mama let me lay it on you
inst
I?ll buy you a ford machine
Then I?ll ??????? gasoline
I?ll do anything in this whole round world
Mama let me lay it on you
Ch
I got me a ding a ling
I?ll ding it sure as one two 3
I?ll do anything in this whole round world
Mama let me lay it on you
????? fallin? out
Said over another man?s wife
I?ll do anything in this whole round world
Mama let me lay it on you
Ch
inst
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Here's what I hear:
1: Now I ask you t' shake that thing
Not quite sure of this. The I and ask seem kind of elided together, and it sounds more like yo' than you, though in the rest of the song Fuller clearly pronounces "you".
2: Then I'll fill it fulla gasoline
3: I got me a stingoree
I'll sting it sure as one two three
You didn't ask about this one, but I think your interpretation is clearly wrong.
4: Baby we had a fallin' out
The first word could be Babe. Fuller really crams those words in there. In practice, when singing that fast, I think "Baby we..." and "Babe we..." come out sounding identical.
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Thanks I made the changes you pointed out.
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1: Now I ask you t' shake that thing
What I hear for this line is
? ? ?Now it's gonna shake that thing
2: Then I'll fill it fulla gasoline
Here, my ears pick up
? ? ?Then I'll just pour the gasoline
3: I got me a stingoree
I'll sting it sure as one two three
I agree completely with this.
4: Baby we had a fallin' out
Here, I don't hear Babe OR Baby -- i hear only
? ? ?We had a fallin' out
I should also point out that this song was actually titled Mama Let Me Lay It On You No. 2 -? easy to pick out because in addition to Blind Boy Fuller's vocal and guitar, you also have harmonica by Charlie Austin (Sonny Terry accompanied two other tracks from this same session of 8 songs, but Charlie Austin accompanied this track, according to Blues & Gospel Records, 4th ed.
Details for No. 2 are Mx 22681-1, recorded Apr 5 1938; issued on Vo 04237 and Cq 9158
For comparison purposes, I'll post two additional replies -- one Fuller's first version of Mama Let Me Lay It On You, from April 1936, and the second with Walter Coleman's version of Mama Let Me Lay It On You, recorded two month earlier.? Personally, I think I prefer the Coleman version, because it's a little raunchier.? All three versions are on the juke.
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Ok, here's Fuller's 1936 version of Mama Let Me Lay It On You.? Underlined portions are best guesses, so ideas are welcome.
Mama Let Me Lay It On You - Blind Boy Fuller acc. own guitar
(Mx 19145-2, recorded Apr 29 1936; issued on ARC 6-08-54, Vo 03071, Cq 8756 and Cq 8770)
https://youtu.be/TRaMlK89-NA
(Inst intro)
Mama let me lay it on you
Mama let me lay it on you
I'll give you anything in this whole round world
Let me lay it on you
Let me lay it on you
I'll buy you a straggler's suit? ? ? ?{ changed from ... stragler's ... }
Cut your throat to boot? ? ? ? ? ? ? ? ? ? ? ? { changed from ... short toot toot }
I'll give you anything in this whole round world
Let me lay it on you
Mama let me lay it on you
Please m'am let me lay it on you
I'll give you anything in this whole round world
Let me lay it on you
Let me lay it on you
I'll buy you a bag of shoes
I'll cut your throat to boot? ? ? ? ? ? ? ? ? ? ? ? { changed from ... throat toot toot }
I'll give you anything in this whole round world
Let me lay it on you
Let me lay it on you
(Inst)
Why I'll buy you (a) gingham dress
Baby I don't want no mess
I'll give you anything in this whole round world
Let me lay it on you
Well baby let me lay it on you
Please m'am let me lay it on you
I'll give you anything in this whole round world
Let me lay it on you
(I ain't jokin') I want to lay it on you
(Spoken)
Now baby let me lay it on you
Please m'am.
I'll give you anything in this whole round world
Let me lay it on you
(inst repeat prev line)
I'll buy you a fish tail coat
Baby I'll go cut your throat
I'll give you anything in this whole round world
Let me lay it on you
Baby let me lay it on you
Mama please let me lay it on you
I'll give you anything in this whole round world
Let me lay it on you
(inst repeat prev line)
I'll buy you a Cadillac Car
So you can ride [tomorr' {was to moms
I'll give you anything in this whole round world
Let me lay it on you
Please m'am let me lay it on you
Oh baby let me lay it on you
I'll give you anything in this whole round world
If ya let me lay it on you
(inst repeat prev line)
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Finally, here's the earliest version of Mama Let Me Lay It On You listed in B&GR, Walter Coleman's Feb 1936 recording.? Again, underlined portions are best guesses, so ideas are welcome.
Mama Let Me Lay It On You - Walter Coleman acc. own g and unknown 2nd g
(Mx 90611-C, recorded Feb 8 1936; issued on De 7157)
(Inst intro)
A mama let me lay it on you
A mama let me lay it on you
I'd give anything in this whole round world
Mama let me lay it on you
Then I'm goin' up stairs
T' turn your lamp down low
An' if your bed breaks down
See me pilin' on the floor
No it's a mama let me lay it on you (mmm-humm)
Mama let me lay it on you? (uhh-huhh)
Give anything in this whole round world
Mama let me lay it on you
I'm goin' to buy you a diamond ring
A baby see you shake that thing
I'd give anything in this whole round world
Mama let me lay it on you
Now it's a mama let me lay it on you
A mama let me lay it on you
I'd give anything in this whole round world
Mama let me lay it on you
I'm goin' to buy ya (a) brand new bed
So ya can pin it through your thin man's head
I'd give anything in this whole round world
Mama let me lay it on you
Now it's a mama let me lay it on you
A mama let me lay it on you
I'd give anything in this whole round world
Mama let me lay it on you
Boy if you ever wake up
I'se sick holdin' hands
Feel for your midnight rider
Piling with another woman's man
Now just baby let me lay it on you (mmm-humm)
Darlin' let me lay it on yo (mmm-humm)
Give anything in the whole round world
Mama let me lay it on you
Now it's a boot and a dollar
A-mama six months ain't long
Any woman can get a man now days
Can't a playtin' name been out long
Now it's a mama let me lay it on you
A mama let me lay it on you
I'd give anything in this whole round world
Mama let me lay it on you
It's mama pull off your dress
And put on your nightgown
I got a funny feelin' baby in my back
Mama won't you tie it down
Now it's a mama let me lay it on you
A mama let me lay it on you (mmm-humm)
Give anything in this whole round world
Mama let me lay it on you
(Instrumental to end)
...
...? (spoken) Ahh, play it till I get back to George Street
...
...? (spoken) Ahh, stomp that thing
...
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short toot toot, throat toot toot
I think both of these are "throat to boot".
to moms
I hear "So you can drive tomorr'" (elining the final syllable of "tomorrow").
I think all your other underlined words or phrases are correct. Like you, I clearly hear "Stargler" or "Stargler's". Was that a department store or something?
I never heard Walter Coleman's version of this. Love his lyrics. Thanks for pointing it out.
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Folks....I'd like to contribute some opinions here. I grew up in the heart of the Ozarks (a few hours from the Delta) where everyone speaks in a fashion very similar to the old blues players, so listening to these guys sounds very natural to me, and I can often understand things that others can't. There are a couple of points where people are hearing something different.....I'll tell you what I hear. I'm listening to the version of Mama Let Me Lay It On You No.2 contained on the Classic Blues 2-disc set.
2nd verse:
I?ll buy you a diamond ring
Now ?? shake that thing
I?ll do anything in this whole round world
Mama let me lay it on you
In the second line I hear: "Now let's go shake that thing" He's leaving the "L" off of lets....something I do very often...especially if I say "let's go".....I never say the "L" in that situation. The Ozark dialect is characterized by relaxed speach...no need to pronounce all the letters if you can get by without it.
Verse 5:
I hear "I'll fill it fulla gasoline" This one sounds very clear to my ear.
Az
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short toot toot, throat toot toot
I think both of these are "throat to boot".
I think your right -- I'll make that change.? Certainly makes sense, I just didn't hear it before.
to moms
I hear "So you can drive tomorr'" (elining the final syllable of "tomorrow").
You could be right, but I don't hear the "r" sound in tomorr', I hear an "m" sound.? I'll have to sleep on this for a while.
Also, thanks for using "elining" -- haven't seen that word before, and I always feel good when I learn something new -- old dogs may be slowed with age, but occasionally we still learn something new and sage :-).
I know that isn't a valid use of "sage", but I felt like a rhyme, and sage is what came out. Maybe if I use it in a song, 60 years from now somebody could debate what I was really saying :-).
I think all your other underlined words or phrases are correct. Like you, I clearly hear "Stargler" or "Stargler's". Was that a department store or something?
I actually had 'stragler' instead of 'Stargler' -- ...ra... instead of ...ar... , but I meant straggler (as in someone who strays or falls behind).? I underlined it mainly because it doesn't make sense.? I guess it could be a department store name.? Or maybe it was slang for outdated or out of fashion?
I grew up in the heart of the Ozarks (a few hours from the Delta) where everyone speaks in a fashion very similar to the old blues players, so listening to these guys sounds very natural to me
Not to be pickey, but Blind Boy Fuller wasn't from the Delta.? Fuller was born, raised, and died in the Piedmont region of North Carolina, where accents and speech patterns are much different from the Delta accents and speech patterns.
2nd verse:
...
In the second line I hear: "Now let's go shake that thing" He's leaving the "L" off of lets....something I do very often...especially if I say "let's go".....I never say the "L" in that situation. The Ozark dialect is characterized by relaxed speach...no need to pronounce all the letters if you can get by without it.
Dropping the initial "L" in "Let's" is not something I would expect to hear in the North Carolina Piedmont -- a area I have considerable experience with (more likely would be to drop the t resulting in "Le's".? Not to say you're wrong -- just that it would be unexpected.? However, at both regular and half-speed, aurally and visually (looking at the wave form), I find a syllable after "go"' and before "shake".? "...lets go shake..." is missing that extra syllable.? On the other hand, "...it's gonna shake..." has the correct number of syllables. But that doesn't mean it's correct -- just that if fits.
Verse 5:
I hear "I'll fill it fulla gasoline" This one sounds very clear to my ear.
After listining to this line several dozen more times, I'm now at the point where I hear "I'll fill it fulla gasoline" if that's what I expect to hear, and "I'll just pour the gasoline" if that's what I expect to hear.
However, since you and dj agree on "I'll fill it fulla gasoline", I can go along with this wording. Besides, I'll admit "fill it fulla" sounds better to me too -- even if it's not what I always hear.
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Not to be pickey, but Blind Boy Fuller wasn't from the Delta.? Fuller was born, raised, and died in the Piedmont region of North Carolina, where accents and speech patterns are much different from the Delta accents and speech patterns.
I didn't note that I was from the Ozarks because I thought Fuller was somewere close...only to indicate that I grew up in a very rural setting where the dialect is similar to the dialect spoken by many blues singers. Take it for what its worth.
I find a syllable after "go"' and before "shake".? "...lets go shake..." is missing that extra syllable.? On the other hand, "...it's gonna shake..." has the correct number of syllables.? But that doesn't mean it's correct -- just that if fits.
Well, once you hear something it's hard to not keep hearing it, but this one is automatic to my ear. This is exactly how I would say that phrase. You may be right about an extra syllable....but that would make sense if the phrase were "lets go an shake that thing." Besides, which makes more sense: "I'll buy you a ring, now let's go have sex" or "I'll buy you a ring, and the ring's gonna shake your thing"? Both make some sense, but the first one seems more reasonable to me.
As I said before, take it for what it's worth.
Az
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Folks....I'd like to contribute some opinions here. I grew up in the heart of the Ozarks (a few hours from the Delta) where everyone speaks in a fashion very similar to the old blues players, so listening to these guys sounds very natural to me, and I can often understand things that others can't. There are a couple of points where people are hearing something different.....I'll tell you what I hear. I'm listening to the version of Mama Let Me Lay It On You No.2 contained on the Classic Blues 2-disc set.
2nd verse:
I?ll buy you a diamond ring
Now ?? shake that thing
I?ll do anything in this whole round world
Mama let me lay it on you
In the second line I hear: "Now let's go shake that thing" He's leaving the "L" off of lets....something I do very often...especially if I say "let's go".....I never say the "L" in that situation. The Ozark dialect is characterized by relaxed speach...no need to pronounce all the letters if you can get by without it.
Verse 5:
I hear "I'll fill it fulla gasoline" This one sounds very clear to my ear.
Az
I agree with both of these lines. Dropping the L in let's makes some sense after the W in now, as well. But I have no experience of the Piedmont outside of listening to records.
In the 1936 version, I've always heard "cut your throat to boot" as noted. And I agree with "tomorr' " This is what I hear as well.
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There was a typo in there, elining should read eliding.
Boots
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You may be right about an extra syllable....but that would make sense if the phrase were "lets go an shake that thing."
Yes, "Now lets go and shake that thing" fits, and makes sense. You may well be right, but that isn't what I hear. Other things that would fit would be "Now lets go-o and shake that thing" (with a prolonged "o" sound that gets a little extra breath on the second beat) or "Now let's go a-shake that thing". Too bad Sonny Terry isn't still alive -- I'm sure he could tell us for sure. Another Piedmont musician, Sonny was only 4 years younger than Fuller, but lived 40 years after Fuller's early death. He also had the experience of playing with Fuller a lot and, if memory serves me correct, of living with Fuller for a while in Durham.
Besides, which makes more sense: "I'll buy you a ring, now let's go have sex" or "I'll buy you a ring, and the ring's gonna shake your thing"? Both make some sense, but the first one seems more reasonable to me.
I don't think I suggested that "I'll buy you a diamond ring, no let's go shake that thing" didn't make sense -- or that "..., now its gonna shake that thing" did make sense -- just that "now let's go shake that thing" is not what I hear, and what I hear is not the way I think Fuller would have spoken those words.
I've know many Piedmont folks of Fuller's generation, black and white (my dad included), and that's just not how I remember them talking.
In the end, though, I can force myself to hear "Now 'et's go-o shake that thing", so while I don't think that's what he's saying, there is no way to prove it one way or another, so rather than argue about it, I'm willing to concede it is something similar to "Now 'et's go shake that thing" so we can all move on.
... I agree with "tomorr' " This is what I hear as well.
Again, not what I hear, but since there seems to be some agreement on this phrase, I'll make the change.
I probably get too hung up in the actual wording anyway -- particularly when the old blues singers themselves seldom sang a song the same two times in a row -- not even two consecutive takes in the recording studio. If they weren't worried about the exact words and phrases and verses they sang, we probably shouldn't either.
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I probably get too hung up in the actual wording anyway -- particularly when the old blues singers themselves seldom sang a song the same two times in a row -- not even two consecutive takes in the recording studio.? If they weren't worried about the exact words and phrases and verses they sang, we probably shouldn't either.
I think it's natural to want to understand exactly what the lyrics are....I find myself doing that all the time. And once I've heard it one way it's very hard for me to hear it any other way. As a matter of fact, I've read the lyrics written by the songwriter themself and not been able to hear anything other than what I heard that first time. I think you are also right that we shouldn't split hairs over lyrics either....many performers treat the lyrics as a fluid thing rather than being set in stone. When I comes to performing these songs, I just sing what I think they are saying and if I don't know, I slur words together so nobody knows what the heck I'm saying.
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I think you are also right that we shouldn't split hairs over lyrics either....many performers treat the lyrics as a fluid thing rather than being set in stone. When I comes to performing these songs, I just sing what I think they are saying and if I don't know, I slur words together so nobody knows what the heck I'm saying.
Agreed, we hear different versions by different performers. When I do them I just work the lyrics as a frame work. If I want to change a verse I do. They did. The jet plane verse that RGD uses wasn't written in the 30's.
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Does anyone have the lyrics to this by Blind Boy Fuller?
https://youtu.be/IKwMtO_2uuk
I think it starts with I'm going up town with my hat in my hand
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This is a transcription of the Take 1 from the JSP box set. Curiously perhaps, the lyrics to Take 2 (including the refrain) in that set are identical. They are also the same as the "unissued take" on the Columbia Roots and Blues series (which, according to B&GR, would have been the first take of this song). My phonograph is still "busted," so I can't check this against versions of what I believe are Take 2 that I have on LP. I have not listened to the Document CD for both takes and would be grateful if someone could, by reference to the Document CD, identify which take this is or advise if both takes there are also identical. Caveat: BBF's singing here is not particularly melodic, and I have not made any effort to show which words are spoken.
"Rag, Mama, Rag" (Take 1)
Blind Boy Fuller, 25 July 1935
[Instrumental break]
Says I'm going uptown hat in my hand
Looking for the woman ain't got no man.
Just as well be looking for a needle in the sand
Looking for a woman ain't got no man.
Oh, rag.
Rag.
Rag.
Said do that rag.
Oh, rag.
Oh, rag.
Rag.
Said do that rag.
Says I wouldn't have thought my gal would treatin' me so.
Love another man stay at my back door.
Mind, mama, what you sow.
You got to reap just what you sow.
Oh, rag.
Rag, now.
Rag, baby.
Rag, mama.
Said do that rag.
Oh, rag.
Do it a long time.
Rag.
Said do that rag
Now if you'll get you one woman better get you two,
One for your buddy other one for you.
Got me a wife and a sweetheart too.
Wife don't love me my sweetheart do.
Oh, rag.
Rag, baby.
Rag.
Rag, mama,
Said do that rag.
Oh, rag.
Rag.
Rag, baby.
Said do that rag.
[Instrumental break]
[Scat verse]
Oh, rag.
Oh, rag, baby.
Rag, mama.
Said do that rag
Oh, rag.
Oh, rag, baby.
Rag, mama.
Said do that rag.
Now rag, baby
[Instrumental break]
Oh, rag.
Oh, rag.
Rag, mama.
Said do that rag.
Said my gal hollered murder I ain't raised my hand.
Pistol in my pocket black jack in my hand
Took my gal under the willow tree.
Ought to hear her hollering, "Don't murder me!"
Oh, rag, shh...
Oh, rag.
Rag, now, baby,
Rag.
Said do that rag.
Oh, rag.
Oh, rag, baby.
Rag again.
Said do that rag.
[Instrumental break]
Spoken: Rag, now, gal
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Hy ,
I would like to thanks again for the "trouble blues" lyrics johnm gave me last time.
Now I am singin' and playing it(part 2)! I am working actually at "homesick and lonesome blues" from B.B.Fuller(same open D/Eb key and interessing "police dog blues"quotes).I tried to find out through the lyric's web links...No way! This is the most obscure "slide's stuff" Fulton has done...
If someone has the lyrics ?
Many thanks again...
https://youtu.be/I74qqkXnR-c
Pascal
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As this gave me the opportunity to play one of Bruce Bastin's earliest Carolina compilations (Bull City Blues, Flyright 106, 1972), here's my attempt at a transcription. Those owning CDs which have used for their source masters (rather than original 78s) will be able to pick up any mishearings. The interesting thing about this number is that Fuller starts and ends the song with "broomdusting slide".
I laid down last night mama, I tried to take my rest.
Says I laid down last night baby, I tried to take my rest.
And you know my mind got to ramblin' like wild geese in the West.
Ain't but the one thing, jest (?) like to change my mind.
Ain't but the one thing, like to change my mind.
When I started to New York, I left little Cora Mae cryin'.
I sure can't sleep mama, I sure can't rest at night.
I can't sleep mama, I sure can't rest at night.
When I get to thinkin' about my little woman, it takes my appetite.
(Solo - Play that thing, boy)
I'm gonna tell my baby, says when I go home.
I'm gonna tell my baby, lord when I go home.
These here women in Harlem, New York, won't let her baby alone
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Hi, Friends of Weenie!!! :D
I'm looking for the lyrics of "Truckin' my Blues Away" (Blind Boy Fuller) 8).
I've searched on the net but I've found nothing about! :'(
Please, could you help me?
Many thanks!
https://youtu.be/a2TLG_urZOg
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Hi Marco -
Here you go:
Truckin' My Blues Away - Blind Boy Fuller
in C position
I got a gal here in this town, she's the best lookin' brown around
I got a gal in this town, best lookin' brown around
She's a-strictly tailor-made, she ain't no hand-me-down
Catch you truckin? with her, I'm gonna sure shoot you down
Keep on truckin' mama, truckin' my blues away
Truckin' my blues away
Keep on truckin' mama, truckin' my blues away
Keep on truckin' mama, girl you truck my blues away
I got a gal she's little and neat
When she's starts to truckin', man it's so sweet
Keep on truckin' mama, truckin' my blues away
Truckin' my blues away
Keep on truckin' baby, truckin' my blues away, yeah
Keep on truckin' baby, truckin' my blues away
I know a gal she's long and tall
When she starts to truckin' make a little man squall
Keep on truckin' mama, truckin' my blues away
I mean, truckin' my blues away, yeah
do be dee be da....zee za za etc.
Keep on truckin' baby, truckin' my blues away
Keep on truckin' mama, truckin' my blues away
She has a dance she call biddle-um-bum
Sure missin' somethin' if you don't truck some
Keep on truckin' mama, truckin' my blues away
Truckin' my blues away
Keep on truckin' baby, truckin' my blues away
Keep on truckin' mama, truckin' my blues away, yeah
You don't have to hurry, don't have to go
Wait a little while you might wanna truck some more
Keep on truckin' baby, truckin' my blues away
Truckin' my blues away
Keep on truckin' mama, truckin' my blues away, yeah
Keep on truckin' baby, truckin' my blues away
Make a lame man run, make a blind man see
Sure gets good when she truckin' with me
Keep on truckin' baby, truckin' my blues away
-
THANK-YOUUUUUUUUUU!!!!!!!!
Uncle Bud, you are fantastic!!! :)
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Uncle Bud, you are fantastic!!! :)
Well....
I wouldn't go THAT far.
Alex
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"You Got To have Your Dollar" (1940)
Recorded By Blind Boy Fuller (With Sonny Terry)
https://youtu.be/HkZ0wb-ynnI
"When I had money I had women and friends for miles around, When I had money I had women and friends for miles around. Now I'm broke, women and friends can't be found.
Says I'm talkin' 'bout a dollar I mean a dollar bill, Says I'm talkin' 'bout a dollar I mean a dollar bill.
And if you got your dollar You sure can't get your order filled (?)
If I could only read... read my little woman's mind, Said If I could only read... read my little woman's mind.
I wouldn't be here worryin' and stay(in') blue all the time.
My baby keep me guessin'.... 'bout things I want to know, Says my baby keep me guessin'.... 'bout things I want to know. Says she got me doin' things that I never did before."
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Hi
I have worked out the guitar part and most of the lyrics for Blind Boy Fuller's Jivin Woman Blues. Can anyone suggest what the first line to the last verse is?
Here is the rest
https://youtu.be/kyHWrBhC9BU
Jiving Woman Blues
Got a gal called Betty May
She go out and truck all day
She ain't jivin'
She's just crazy that way
Scat over chorus
Have my dinner ready
Don't let my coffee get cold
Don't forget to save
My sweet jelly roll
She's not crazy
She's just jiving that way
No vocal over chorus
She don't go to bed early at night
Speak about loviin' she want to fuss and fight
She's not crazy
She's just jiving that way
Scat over chorus
She go to bed with a rag tied round her head
Speak about love she swear she almost dead
She's not crazy
She's just jiving that way
No vocal over chorus
???????????????????????????????
Had to take a bath before you went to bed
She's not crazy
She's just jiving that way
Cheers,
Chris
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Hi Chris,
I think it's something like "Had a whisky, get drunk and [it] run right to your head".
Cheers,
UB
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Cheers Uncle Bud. Thanks for lending an ear.
Chris
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I got:
Had a whiskey you drunk it, run right to your head
Also, here's the scat break after verse 1, yes folks I actually transcribed it:
Oh, bap'm bappy, ohh, za zee
Oh be'bm'bop bap bap bow
bop'm'be'bum bop, zee za zerr
The second scat break goes like this:
Ohh, yeah pretty, ohh, zee zee
Oh beeby beep a bop bop'm bow
(pregnant silence) ...Yeaah..!
Hope I've spelled all that right ;)
-
Anyone have the lyrics handy or can point me to them. There is alot I can't make out or am unsure of. Any help appreciated.
https://youtu.be/_yqiwId6-04
Mark
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What have you got so far, Mark? If you post it, folks will give a listen and see if they can fill in the blanks.
All for now.
John C.
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what's that smell like fish??
it must be HOT TUNA !!!
LOL.....every time I hear that song or read that title, it comes to mind...
Dave
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Okay John this is what I have thus far:
First half or each verse, What that smell like fish mama ????? really want to know (2)
Second half of first verse: Smell like Pudding, Ain't no Pie Seem to think you know you never ?????
Second half of second verse: Smell like Sardine, Ain't no can ???????????????? (something about another man)
Second half of third verse: Smell like Pudding, Ain't no Pie Really good to me and it ain't no lie
Second half of fourth verse: Make you weep and it make you moan (Same doggone thing that make you leave your home??)
and while we are on the subject do you know what position that he plays it out of. It appears to be in the key of F. This is just your standard rag progression, think Hot Tamales. This is a progression that I would play in the C position but in this case it would be capoed way up. Is he playing it out of an E position?
Thanks in advance.
Mark
-
according to the database on Weenie, BBF played that song in the key of C with a capo on the 1st fret and the guitar tuned slightly sharp
What's That Smells Like Fish C+1'
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Yeah, Mark, check out the Keys To The Highway section in the left border menu, right under Weenie Juke Radio. Select Guitar Keys and Positions by Artist and see who we've worked on so far. As fate would have it, I worked on the BBF section.
Maybe I can give a listen to WTSLF later tonight.
All for now.
John C.
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I seem to remember the "chorus line" was something like:
What that smell like fish mama, tell me if you really want to know
The rhyme for pie was satisfied, I think. Let's see what the other guys will come up with for the verses.
What that smell like fish mama, tell me if you really want to know
What that smell like fish mama, tell me if you really want to know
Smell like Pudding, Ain't no Pie Seem to think you know you never satisfied
What that smell like fish mama, tell me if you really want to know
What that smell like fish mama, tell me if you really want to know
What that smell like fish mama, tell me if you really want to know
Smell like Sardine, Ain't no can ? (something about another man)
What that smell like fish mama, tell me if you really want to know
What that smell like fish mama, tell me if you really want to know
What that smell like fish mama, tell me if you really want to know
Smell like Pudding, Ain't no Pie Really good to me and it ain't no lie
What that smell like fish mama, tell me if you really want to know
What that smell like fish mama, tell me if you really want to know
What that smell like fish mama, tell me if you really want to know
Make you weep and it make you moan (Same doggone thing that make you leave your home??)
What that smell like fish mama, tell me if you really want to know
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Here's my version of 'What's That Smells Like Fish'. Spoken parts are in brackets. Also, I've only used quotation marks in the first verse to show the dialogue ? the others are similar.
"What's that smell like fish, mama?"
"Food, if you really want to know."
"What's that smell like fish, baby?"
"Food, if you really wants to know."
"Smell like puddin' and it ain't no pie.
Same thing that you know you have to buy.
What's that smell like fish?"
"Food, if you really wants to know, I mean,
Food, if you really wants to know." (Yeah.)
What's that smell like fish, mama?
Food, if you really wants to know.
What's that smells like fish, baby?
Food, if you really wants to know.
Smell like sardines and it ain't in no can.
Same doggone thing you chucked at the other man.
What that smell like fish, mama?
Food, if you really wants to know, I mean,
Food, if you really want to know.
What's that smell like fish, baby?
Food, if you really wants to know. (Yeah.)
What's that smells like fish, mama?
Food, if you really wants to know.
Smell like puddin' and it ain't no pie.
Really good to me and it ain't no lie.
What that smell like fish, mama?
Food, if you really wants to know, still tellin' you,
Food, if you really wants to know. (Yeah.)
(Play it a long time. Play it till it gets good to me.)
What's that smell like fish, mama?
Food, if you really wants to know.
What's that smell like fish, baby?
Food, if you really wants to know.
Make you weep and it'll make you moan.
Same doggone thing made me leave my home.
What that smell like fish, baby?
Food, if you really wants to know, I mean,
Food, if you really wants to know.
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Does anyone have the nerve to sing this song in public?! Its pretty crude even by Bo Carter and BBF standards. What sort of reaction does it get? :D
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Thanks everyone for the input. I believe all my questions have basically been answered. And thanks especially John for pointing out the Keys to the Highway section, what a wealth of information.
As to Norfolks concern about doing it in public, hey that's tame in some places that I play. The songs that concern me more are the "beating, shooting, et cetera my baby lyrics. Those phrases I often water down a bit.
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This is a case of what I was talking about in the arrangements thread in general. There is no way that this in all the versions and Keep on Truckin' Mama by Jorma or any of the others who have done it are the same song in different clothes.
Country Blues is that way, that growth.
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I've been working on "You've Got Something There" by Blind Boy Fuller. I've got the basics worked out -- seems to be playing in D, C position, capo at the 2nd fret. A really nice, driving raggy tune -- and that washboard is great.
But there are a few spots where the lyrics are nearly unintelligible.
Here is my first shot at it, with brackets at the trouble spots:
https://youtu.be/Yjkb3rCS-4s
You've Got Something There
Blind Boy Fuller
D (C position, capo at 2nd fret)
My gal went uptown 'cuz she lookin' well
She fell down [?? ] like a country [?? ]
She got something there
She got something there
Now I keep on telling you, I know she got something there
Play it a long time now
Break (I know she got something there)
Yeah
Now if you go out stay all night
Lookin' [???] fuss and fight
You got something there, yeah
You got something there
Now I keep on singing but I know you got something there
Yes, yes
Break
She's [built up a little] I say round
She can look good long as you can look down
She got something there, yeah
She got something there
Now don't you hear me telling you, I know she got something there
Yeah she got something there
Break [Lord ????]
Get out now boys let me shut the door
I got to truck just before I go
She got something there
She got something there
Now I keep on telling you, I know she got something there
Wanna tell you boys [it's call you my pal??]
A mighty bad thing to advertise your gal
She got something there
She got something there, yeah
Now don't you hear me singing 'bout, I know she got something there
Yeah she got something there
Break-Outro
-
First verse: "She fell down her mouth flew open like a country well"
Second verse "Lookin' there 'bout a fuss and fight" or possibly "Look ev'where 'bout a fuss and fight"
Third verse: "She's built up little and I say round"
Break: "Lord, this world is a tough patch. Everybody feels sad."
I think you've got the last verse right.
-
For the break I'm hearing something like
'Lord this world is a turnip patch . . . everybody pickin' salads . . .' ???
-
A further few suggestions.
1.1 My gal went uptown THOUGHT SHE WAS lookin' well
2.2 Lookin' FOR EVERYBODY TO fuss and fight
3.1 She's built up A little and I say round
3.2 She can look UP long as you can look down
Break: --- PLEASE THEMSELVES???? but 'pickin' salads' is better????
5.1 Wanna tell you boys JUST 'CAUSE you my pal
5.2 IT'S a mighty bad SIGN to advertise your gal
Yeah she got something there. YEAH.
-
Thanks everyone. Boy, we got some keen ears here at WC. I've put together another version using the suggestions, what sound to me to be the most accurate (and make the most sense), and then ALTERNATE lines where I can't really judge between two plausible versions given.
Thanks.
You've Got Something There
Blind Boy Fuller
D (C position, capo at 2nd fret)
My gal went uptown thought she was lookin' well
She fell down her mouth flew open like a country well
She got something there
She got something there
Now I keep on telling you, I know she got something there
Play it a long time now
Break
I know she got something there
Yeah
Now if you go out stay all night
Lookin' there 'bout a fuss and a fight
ALT: Lookin' FOR EVERYBODY TO fuss and fight
You got something there, yeah
You got something there
Now I keep on singing but I know you got something there
Yes, yes
Break
She's built up a little and I say round
She can look UP long as you can look down
She got something there, yeah
She got something there
Now don't you hear me telling you, I know she got something there
Yeah she got something there
Break -- Lord, this world is a tough patch. Everybody feels sad.
ALT: Lord, this world is a turnip patch. Everybody's pickin' salad.
Get out now boys let me shut the door
I got to truck just before I go
She got something there
She got something there
Now I keep on telling you, I know she got something there
Wanna tell you boys just 'cuz you my pal
It's a mighty bad sign to advertise your gal
She got something there
She got something there, yeah
Now don't you hear me singing 'bout, I know she got something there
Yeah she got something there
Yeah.
Break-Outro
-
The repeating opening lines in BBF's "I Crave My Pigmeat" sounds like
Now, pigmeat is taken today, today, something I do crave
Now, pigmeat is taken today, today, something I do crave
First, is this what he's really singing? And second, if it is, what does it mean? I understand the "pigmeat" reference, but "is taken today, today" -- what does that mean.
Sorry if I'm being obtuse.
https://youtu.be/M2Y123GMTys
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Not obtuse at all, or I'm equally obtuse (certainly possible). I look forward to an answer myself, as I don't have a clue as to either question - and I've even played the song in front of humans (very rare for me).
-
First, is this what he's really singing?
Sure sounds like it to me, although in places it sounds like he's singing "pigmeats (plural) is taken...." It's spoken at 1:18.
What does it mean? He craves pigmeat. (Don't we all?) But today it is taken by someone else, so he can't get any. The result is the blues--and this song. Think about the meaning expressed in the various verses.
Added: This is a song composed of basic building blocks, so I'm not sure that there was any intention for it to function as a tight lyrical narrative. Probably just the opposite, but its a great tune nonetheless. I'm just taking the lyrics at face value and trying to make sense out of what I hear. Perhaps the modularity and sequencing is arbitrary and any attempt to go beyond this just muddies the waters even further. Love that washboard.
-
Hi all,
I've always taken the meaning to be that Fuller wants his pigmeat on a daily basis and wants it "fresh".
All best,
Johnm
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I make the line,
Now pigmeat's just taken/takin' the day today,
-
I make the line,
Now pigmeat's just taken/takin' the day today,
I concur.
Chris
-
I hear "Pigmeat, pigmeat, pick of the day, something that I crave."
-
Greetings to all - this is my first post!
Can somebody help me and post the complete lyrics of this song?
-
Hi all,
I merged all of the various single song Blind Boy Fuller threads into a master Blind Boy Fuller Lyrics thread. Except for the earliest post, titles of the individual posts have not been changed for ease of following the lyric discussions.
All best,
Johnm
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I've searched without much luck for a lead on this, but if I've missed an old thread, just point me in the right direction and I'll be a happy man. I've been learning to play Blind Boy Fuller's Mamie, and for the life of me I can't decipher some of what he's singing. Here's where I'm up to :
https://youtu.be/PEz8gCavQ5s
Early one morning baby, just about break of day
I said early ...
came along a dirty man, trying to straight little Mame away
You know that curb-stone ? was my pillow, cold sheet was my bed
hey hey, cold sheet was my bed
said you know i didn't have no Mamie just to hold my worried head
So many mornings I woke up baby, feel a ringing ???
I said hey hey, feel a ringing ???
I'd give a thousand dollars just to find out where my Mamie is
oh Mamie, Mamie
please come back to me Momma, I'm blue as I can be
I believe I heard my woman call my name,
said I believe I heard my, my woman call my name
she didn't call so loud baby but she called so nice and plain
Yeah, call it honey...
Thanks for your help!
Gordon
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You've pretty much got it.
The two parts you're missing are (this is from memory, so may not be exactly exact):
curbstone was my pillow, cold street was my bed
and
So many mornings I wake up baby, pillow wringing wet with tears.
Chris
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Welcome to WC, Gordon. One of my favorite tunes. Here's what I have for take 2 (which is the one on the Yazoo Fuller disc, I believe).
Mamie (Take 2) - Blind Boy Fuller
Early one morning mama, just 'bout the break of day
I said it was early one morning mama, just 'bout the break of day
Come along a dirty man, try to stray little old Mame away
You know that curbstone was my pillow, cold street was my bed
He-ey hey, cold street was my bed
Say you know I didn't have little Mamie just to hold my worried head
Said so many mornings I woke up baby, pillow wringing wet with tears
I said hey hey, pillow wringing wet with tears
Said I'd give a thousand dollars just to find out where my baby is
(Yes I think I heard Mamie calling)
Whoa Mamie, whoa Mamie, Maa-mie, whoa Mamie, Mamie
Please come back to me mama, I'm blue Lord as I can be
Said I believe I heard my woman call my name
Yes I believe I hear my woman call my name
She didn't call so loud baby but she call so nice and plain
(Call it now baby)
(Yeah, call it honey)
-
Thanks for the help everyone.
I listened back to it and now of course, of course it was that.
Must be time for a visit to the doc to see about these cloth ears of mine...
Gordon
-
If permitted, I'm reviving this old thread, since I've lately tried to figure out some BBF songs.
I got:
Had a whiskey you drunk it, run right to your head
Also, here's the scat break after verse 1, yes folks I actually transcribed it:
Oh, bap'm bappy, ohh, za zee
Oh be'bm'bop bap bap bow
bop'm'be'bum bop, zee za zerr
The second scat break goes like this:
Ohh, yeah pretty, ohh, zee zee
Oh beeby beep a bop bop'm bow
(pregnant silence) ...Yeaah..!
Hope I've spelled all that right ;)
I'm hearing something like:
"That whisky you drunk, it went right through your head..."
As a foreigner I must take my hat off for you, for transcribing the scat singing. I wouldn't know where to start with spelling that stuff out! ;D
Cheers
Pan
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Hi all.
Here's what I've got so far, any corrections and comments are most welcome, as usual.
https://youtu.be/XJDQ8raN7hI
Untrue Blues -Blind Boy Fuller
I give you my money, what more can I do.
You's a good little girl, Lord but you won't be true.
Everyday, Mama, lord when I draw my pay.
You's an evil hearted woman, get drunk and throw it away.
Now you doggin' me(/dog me, me?) mama, ain't did a thing to you.
Then you keep on doggin', no telling what I'll do.
Now you dog me every morning, give me the devil late at night.
Just the way you doggin' me, I ain't gonna treat you right.
Yeah, yeah.
Hey hey, hey hey, hey aw shucks.
Used to be your regular, now I got to be your dog.
Then I'll be your dog, if you don't dog me around.
?fore I'll take your doggin?, woman, I'll go from town to town.
Now it?s the way, (to) treat Blind Boy Fuller, give me (a) bed to lie.
Then I'll give you my lovin' Lord, 'til the day I die.
Hey hey, hey hey, mm-mm.
mm-mm, Lord, Lordy-Lord.
When you see me coming, throw your man out doors.
Said, I ain't no stranger, I've been here before.
Edited to make corrections as suggested by Stumblin'
-
Now you doggin' me mama, ain't did a thing to you.
And you keep on doggin', no telling what I'll do.
I hear:
Now you dog me mama, when I ain't did a thing to you
If you keep on doggin', no telling what I'll do
Apart from that, we're hearing it the same.
-
Now you doggin' me mama, ain't did a thing to you.
And you keep on doggin', no telling what I'll do.
I hear:
Now you dog me mama, when I ain't did a thing to you
If you keep on doggin', no telling what I'll do
Thanks for the suggestion.
Re-listening I think I'm hearing:
Now you dog(-ging / me?) me mama, ain't did a thing to you
Then you keep on doggin', no telling what I'll do
I wonder if he repeats the word "me" in the first line. I can't hear "when I", although it would make sense. The second line maybe opens with "Then" rather than "And" or "If"?
Any thoughts?
-
Here's what I could patch together using the internet and my ears. Corrections are welcome.
https://youtu.be/doowhwftRxs
PISTOL SLAPPER BLUES ?Blind Boy Fuller
I can tell my dog anywhere I hear him bark.
I can tell my rider if I feel her in the dark.
You's a cold-blooded murderer, when you want me out your way.
Says, that's all right mama, you gonna need my help some day.
And you say you're going to put me, Mama down in my lonesome grave.
Say you must still remember, I once have been your slave.
instrumental
And I feel like snapping my pistol in your face,
let some brownskin woman be here to take your place.
Yeah-hey, hey-yeah, mm-mm, mm-mm.
let some brownskin woman be here to take your place.
Now you know you didn't want me when you lie down ?cross my bed,
drinking your moonshine whisky, mama, talking all out your head.
Now give me the money baby, I'll catch that train and go.
You don't have to kill me ?cause you don't want me no more.
Hey, hey, ?cause you don't want me no more.
Now you give me the money baby, and I'll catch that train and go.
Now you see my rider, tell her I said bring it home.
I ain't had no loving since my gal been gone.
It's two kind of people in the world that I can't stand,
that's a lying woman and a monkey man.
mm-mm, mm-mm,
mm-mm, mm-mm.
Edited as suggested by Uncle Bud
-
Hi Pan -
A couple suggestions for Pistol Slapper.
2.1 YOU'S A cold-blooded MURDERER, when you want me out your way
Murderer is sung more like murder, swallowing the extra syllable, but I think it's still sort of there.
4.1 And I feel like SNAPPIN' my pistol in your face
Despite the title given to the song, I hear snappin' more than slappin'. The line occurs elsewhere in CB lyrics as "snappin'" as I recall, though perhaps that needs verification.
-
Hi Pan -
A couple suggestions for Pistol Slapper.
2.1 YOU'S A cold-blooded MURDERER, when you want me out your way
Murderer is sung more like murder, swallowing the extra syllable, but I think it's still sort of there.
4.1 And I feel like SNAPPIN' my pistol in your face
Despite the title given to the song, I hear snappin' more than slappin'. The line occurs elsewhere in CB lyrics as "snappin'" as I recall, though perhaps that needs verification.
Tahnks UB, I made the changes.
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Hi all.
I need some more uptempo songs to wake up my audiences a little, and this would be an obvious candidate. Can you help with the lyrics, I'm having a little trouble at some spots? Any help and corrections are welcome!
https://youtu.be/3ISfX91HERc
STEP IT UP AND GO -Blind Boy Fuller
Had a little girl, she?s little and low,
Used to love me, but she don?t no mo?,
You?ve got to step it up and go,
Yeah and go.
Well you can?t stay and pat it,
And I?ll tell you you?ve got to step it up and go.
Got a little girl, she stays upstairs,
Trying to make a living by putting on airs,
You?ve got to step it up and go,
Yeah, yeah.
Well you can?t stay and pat it,
And I?ll swear you you?ve got to step it up and go.
Play it for me now! (Instrumental)
Yeah, yes yes.
Oh shucks.
Front door shut, backdoor too,
Blind pulled down, what you gonna do?
Gonna step it up and go,
Yeah and go.
Well you can?t stay and pat it,
And I?ll tell you you?ve got to step it up and go.
(Instrumental) Yeah
Now a got a little gal, she?s name was Ball,
Give a little bit and she took it all,
You?ve got to step it up and go,
Wooh yeah.
Well you can?t stay and pat it,
And I?ll tell you you?ve got to step it up and go.
Me and my baby walking down the street,
Telling everybody but the chief police,
You?ve got to step it up and go,
Mmm, yeah.
Well you can?t stay and pat it,
And I?ll swear you you?ve got to step it up and go.
Play it again, now! (Instrumental)
Yeah!
See my woman; tell her (to) hurry home,
Ain?t had no loving since she been gone,
Got to step it up and go,
Yeah, yeah.
Well you can?t stay and pat it,
And I?ll swear you you?ve got to step it up and go.
Gonna sing this verse, ain?t gonna sing no mo?,
Heared my gal calling and I?ve got to go,
You?ve got to step it up and go,
Yeah, yeah.
Well you can?t stay and pat it,
And I?ll swear you you?ve got to step it up and go.
(Instrumental) Yeah!
Thanks
Pan
Edited as kindly suggested by Bunker Hill.
-
The name does sound like Ball but is followed by Give a little bit and she took it all
I think he sings Telling everybody but the chief police
Certainly sounds like Upstairs. However the last couplet of that verse sounds to me like
Well you can?t stay and pat it,
I swear you got to step it up and go.
That's my two bits worth.....
-
The name does sound like Ball but is followed by Give a little bit and she took it all
I think he sings Telling everybody but the chief police
Certainly sounds like Upstairs. However the last couplet of that verse sounds to me like
Well you can?t stay and pat it,
I swear you got to step it up and go.
That's my two bits worth.....
And very good two bits they are! Thank you so much, Bunker Hill, I made the changes you suggested. Now off to woodshed the guitar part. :)
Cheers
Pan
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Hello... since I have the memory of melted cheese and am not really familiar with Blind Boy Fuller's tunes I wanted to know the name and lyrics of his song were he talks about fighting and going to war - I heard it on juke while working and said "I should look that up"... so now about a month later I'm making this vauge and almost inane bump :P
thanks for understanding
-
"When You Are Gone"? That?s from his last session. First line is "This war is raging..."
https://youtu.be/8-g73F6fMcQ
-
that's right thanks a bunch
I got all of fullers later works... pretty damn impressive
-
... almost inane bump :P
thanks for understanding
Keep this thread bumped, I says.
Maybe we could actually have a dedicated lyric transcription forum on the Weenie boards?
Just a thought. I'll get back to you when I've heard it played back at half speed.
-
Hello,
I'm New here, i 'm glad to find this forum .
I've been learning fingerpicking for 2 years
Playing Mississippi John Hurt Rd Gary Davis
Robert Johnson and i discovered a song called
ten o'clock peeper from Blind Boy Fuller, sounds good to me,
but i can't find the lyrics anywhere,
Maybe someone could help me???
https://youtu.be/CWwGOiKkIcw
Regards from France
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Hi Pyrrus 61 - Welcome to WC. I've separated your post into its own topic. I don't have the lyrics for Ten O'Clock Peeper, but if you wanted to take a shot at transcribing them, there are lots of people here who can help with tricky spots, corrections etc.
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Great song. I'll work on the lyrics when I get some free time ???
Thanks for reminding me of this great little number, I'm going to learn to play this one, sounds like A position stuff to me 8)
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The request for lyrics to Ten O'Clock Peeper has been merged into the main Fuller lyrics thread. I moved it out of the Guidelines sticky topic originally, but forgot we had a Fuller thread.
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Word in doubt highlighted with ?? but I think it has to be "door", since it fits with the slightly hilarious "knocking on your door/won't knock there no more" later; as usual it's a double entendre. This is a pretty unusual form, has two bridges starting on the IV (the black snake verses), basically it's very like "Mamie" though. Good song!
10 O'Clock Peeper, Blind Boy Fuller, somewhere south of a true pitch of C
Said I went home last night, clock was striking ten
Said I went home last night, clock was striking ten
Said I peeped through the keyhole mama, my woman she wouldn't let me in
Now some black snake been, sucking my rider's tongue
Yeah, some black snake been, sucking my rider's tongue
And you can tell by that mama, that I ain't gonna be here long
I said "excuse me mama, from knocking on your door"
I said "excuse me mama, from knocking on your door"
"And if you 'scuse me this time, I won't knock there no more"
Yeah, some black snake been, sucking my rider's tongue
Yeah, some black snake been, sucking my rider's tongue
And you can tell by that, that I ain't gonna be here long
Said I wish I was (a) jay bird, flyin' in the air
Said I wish I was a jay bird, flyin' in the air
Says I'd build my home, in some o'these old high browns' hair.
[edit: applied corrections from frankie and ub]
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Now some black snake been, sucking my rider's (door??)
It's been a while since I last heard this song, but I think this line is usually:
Now some black snake been sucking my rider's TONGUE
more like a single-entendre.
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Agreed, tongue, and the image used in Victoria Spivey's Black Snake Blues in 1926. Daddy Stovepipe used it as well in his cover of Black Snake Blues, which seems to have been influenced by both Spivey and Lemon Jefferson's recordings (he even uses Lemon's name in it, I think). Lemon doesn't use the line in question though, in any of his versions. Digressions. :P
Also, the last line of the song should be:
Says I'd BUILD my home IN some of these old high BROWNS' HAIR
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When I heard John Jackson sing his version of Black Snake, I always heard "suck my rider DOWN."
I admit, I haven't heard the BBF song y'all are discussing.
L
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I think frankie and ub nailed it, thanks guys, corrections applied. Lindy, if you listen to Fuller it's more likely 'tongue' but it's close and I can see how JJ came up with that.
Cool song to drop in at just the right occasion as we move into the festival campsite season in the northern hemisphere, thanks to Pyrrus 61 for bringing it up.
p.s. this song definitely deserves a mention in the 'bad hair' thread.
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Many thanks
Those lyrics are clear for my ears
just have to work now..
I 'm looking for others lyrics : so different blues by Mance Lipscomb & cool down by Cephas & Wiggins
Best regards
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Pyruss, let us know how 'Peeper' turns out. My first thoughts were he's capoed way high and playing out of E position but I'm not very good at nailing such things and I haven't worked with it at all yet. I see from weeniepedia it's more likely to be A capoed. see http://www.weeniecampbell.com/wiki/index.php?title=Blind_Boy_Fuller_Guitar_Keys_and_Positions
Also, if you can post what you've already got the weenies are always glad to help fill out any gaps. There is a Mance lyrics thread already going at http://weeniecampbell.com/yabbse/index.php?amp;Itemid=128&topic=658.0 --- please feel free to start a John Cephas thread. I do realize from your IP address you are from France and it's harder for non-native English speakers to hear these things so no probs, we will help if we can.
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Pyruss, let us know how 'Peeper' turns out. My first thoughts were he's capoed way high and playing out of E position but I'm not very good at nailing such things and I haven't worked with it at all yet. I see from weeniepedia it's more likely to be A capoed. see http://www.weeniecampbell.com/wiki/index.php?title=Blind_Boy_Fuller_Guitar_Keys_and_Positions
Yes, Peeper is definitely played out of A position and as you noted earlier in that "Mamie" family of A tunes one can hear in Fuller, Gary Davis, Willy Trice, and others I'm no doubt forgetting.
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Pyruss, let us know how 'Peeper' turns out. My first thoughts were he's capoed way high and playing out of E position but I'm not very good at nailing such things and I haven't worked with it at all yet. I see from weeniepedia it's more likely to be A capoed. see http://www.weeniecampbell.com/wiki/index.php?title=Blind_Boy_Fuller_Guitar_Keys_and_Positions
Yes, Peeper is definitely played out of A position and as you noted earlier in that "Mamie" family of A tunes one can hear in Fuller, Gary Davis, Willy Trice, and others I'm no doubt forgetting.
I said kiddley, diddle I?
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Well,
I think it's capoed in f# and you play it on a A position
then d7 with thumb and E, my biggest problem is what he does
on the first A seems to to be easy but... not really
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Well,
I think it's capoed in f# and you play it on a A position
then d7 with thumb and E, my biggest problem is what he does
on the first A seems to to be easy but... not really
Here's a youtube video of Ten O'Clock Peeper. If you can point out at which clock time on the video you have problems, perhaps we could try to help you. Fuller seems to play a "long A" form x-o-2-2-2-5, or break the chord to double-stops as in the intro x-x-x-(0)-5-3.
Question to others: Do you know about the picture on the video? I thought there were only two pictures of Fuller, and I have never seen this one before.
Cheers
Pan
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I've seen that pic of Fuller before, but I think it may only have popped up in the last few years. It doesn't get used much that I've seen, probably because it's a small mug from a catalog and not the greatest quality. But it sure is him, though.
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Thanks Pan,
I was stuck on the first notes i'm not practicing guitar for a long time
in fact i'm a dble bss player so what you told was exactly what i needed to
go along, for the rest of the song i've been playing pigmeat and weeping willow
and it helps a lot to understand what he's doing (that kind of glissando)
So it's beginning to look like music.
Bye
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Meat shakin woman, second verse;
And the dollars come ? down baby just like drops of rain.
In the BB Fuller book of Stefan Grossman book it says "chopping".
https://youtu.be/ClBLH9rXmYY
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Meat shakin woman, second verse;
And the dollars come ? down baby just like drops of rain.
In the BB Fuller book of Stefan Grossman book it says "chopping".
It's "showering."
And the dollars come showering down baby just like drops of rain.
P.S. Nothing else makes sense & I've always heard it as "showering."
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Hi all,
Blind Boy Fuller recorded "Cat Man Blues" at a session in New York City on April 29, 1936. He backed himself out of A position in standard tuning for the song. He did two takes, and these are the lyrics to the first take. I'd appreciate help with the bent bracketed portion of the the tagline in the last verse.
https://youtu.be/SZMH9j3I3R0
Went home last night, heared a knock, I asked my wife, "What was that?"
Says, I went home last night, heared a knock and I asked my wife, "What was that?"
She says, "Man, don't be suspicious, that ain't nothing but a cat."
Said, I traveled this world all over, mama, taken all kind of chance
Says, I traveled this world all over, mama, taken all kind of chance
I ain't never come home before, seen a cat wearing a pair of pants
Said, they wouldn't call him Cat Man, if he come around in the day
Wouldn't call him Cat Man, if he come around in the day
But he wait 'til late at night, when he can steal my cream away
SOLO
I want that Cat Man stay away from my house, oh Lord, when I'm out
I want that Cat Man stay away from my house, Lordy, when I'm out
'Cause I b'lieve he's causin' my little woman, wearing the mattress out
Lord, I walked in my front door, acting quiet as a lamb
Says, I walked in my front door, acting quiet as a lamb
I never raised disturbment 'til I heared my back door slam
Edited 1/18 to pick up correction from pkeane
All best,
Johnm
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Major coincidence, I had a day off work today and was listening to a lot of Fuller trying to understand his right hand comping, including those Cat Man Blues takes. I will listen to the lyrics again tomorrow.
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Maybe "I never raised disturbment" ? There is a second take (with slightly different lyrics) in which the last line sounds like "I never raised no disturbment" -- still unclear, but in take two I hear "raised", "no" (which is not in take one at all) and the "..ment" pretty clearly.
--Peter
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I agree with "I never raised disturbment". In take two, the line is "I never raised no 'sturbment".
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Thanks, Peter, for the line "raised disturbment", and dj, for corroboration. I should have thought to listen to the second take, always a good idea when such is available. I will make the change.
All best,
Johnm
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Rivers,
Re Blind Boy Fuller's right hand work on "Cat Man Blues, Take 1", he was really working Buddy Moss's style as much as he possibly could, with lots of index finger-brushed triplets in the treble, and sparing and irregular use of the thumb in the right hand--no regular time-keeping with it, either in monotonic or alternating bass.
All best,
Johnm
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I'd love to be able to get that sound but it sure doesn't come naturally.
Cat Man I guess is a tad easier since it's broken up with triplets, not to mention the cool double time 2 bar Blake-esque stumbling break that's in take 1 at 1 min 25 secs. What has been exercising me in general though are the driving pieces where he's flopping his hand around and playing melody over top. My appreciation of Fuller has gone up several notches lately, it's only when I started trying to play what he's actually doing on the records I realized I had a lot to learn about Fuller, both hands. Which is cool.
I do need a National at this point. I've come to appreciate that a single cone reso can sound really subtle, if you work on the touch.
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Some of Fuller's most impressive playing to me is on those fast numbers in E like "Funny Feeling" and "Sweet Honey Hole." He really keeps the rhythm going while switching from bass to treble licks and vice versa. As John says, very Moss-esque.
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Hi all,
Blind Boy Fuller record "I'm A Rattlesnakin' Daddy" at his first session, in New York City on July 23, 1935. The model for the song's guitar part and melody was clearly Buddy Moss's "Dough Rolling Papa", recorded a little less than a year earlier in New York City on August 8, 1934. Fuller was working from Buddy Moss's model in A position, standard tuning, and his guitar part shares many details with Buddy's earlier recording. That having been said, Blind Boy Fuller always brought his own sensibility and liveliness to material he had harvested from other musicians. Buddy had more variety and intricate detail work in his song, but Fuller's time and delivery are so strong that he had no need to apologize for anything (and I'm sure he didn't). The song is a chorus blues, and Blind Boy Fuller gets a ton of verses in, especially considering that he also plays three full solos. Fuller's lyrics shift their narrative voice halfway through the third verse. John Jackson recorded a really nice version of this song on his first Arhoolie album.
https://youtu.be/oQWKJPmFFmQ
SOLO
I woke up this mornin' 'bout half past four
Somebody knockin' on my back door, sayin'
REFRAIN: "That's my rattlesnakin' daddy, that's my rattlesnakin' daddy
That's my rattlesnakin' daddy, wants to rattle all the time."
"Yes, he rattled the mornin', 'bout half past three
Half past four he wanted to rattle some more, 'cause
REFRAIN: That's my rattlesnakin' daddy, that's my rattlesnakin' daddy
That's my rattlesnakin' daddy, wants to rattle all the time."
"I got a range in my kitchen, bake bread nice and brown
Get my rattlesnake daddy turn my damper upside down."
REFRAIN: 'Cause I'm a rattlesnakin' daddy, 'cause I'm a rattlesnakin' daddy
I'm a rattlesnakin' daddy, wants to rattle all the time (Spoken: Rattle now, boy)
SOLO
I can rattle to the left, rattle to the right
A woman said, "I b'lieve my rattlesnake daddy can rattle all night."
REFRAIN: 'Cause I'm a rattlesnakin' daddy, 'cause I'm a rattlesnakin' daddy
I'm a rattlesnakin' daddy, wants to rattle all the time
I rattle every mornin', late at night
Meanwhile my rattlesnake mama don't 'low me out of her sight
REFRAIN: 'Cause I'm a rattlesnakin' daddy, 'cause I'm a rattlesnakin' daddy
I'm a rattesnakin' daddy, wants to rattle all the time
Now, the old folks rattlin', the young one, too
Ain't nobody rattle just like, way I do
REFRAIN: 'Cause I'm a rattlesnakin' daddy, 'cause I'm a rattlesnakin' daddy
I'm a rattlesnakin' daddy, wants to rattle all the time
SOLO
Yes, I rattled this mornin' 'bout half past ten
Half past nine I wanted to rattle again
REFRAIN: 'Cause I'm a rattlesnakin' daddy, 'cause I'm a rattlesnakin' daddy
I'm a rattlesnakin' daddy, I wants to rattle all the time
Edited 7/24/20 to pick up corrections from Stumblin' and Johnm
All best,
Johnm
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I've been working on a couple of Blind Boy Fuller numbers lately, and could do with some help figuring out the lyrics to his "Big Bed Blues". Especially the fourth verse, I'm having trouble there.
Here's what I've got so far :
https://youtu.be/Y5LpjIetA2k
My baby going to leave me, I'll have a big bed by myself
My baby going to leave me, have a big bed by myself
Just as I got to learn to love her, I will learn to love me someone else
I want whisky when I'm thirsty mama, oh lord lightning when I'm dry
I want whisky when I'm thirsty, give me lightning when I'm dry
I wants a woman to love me while I'm livin' and heaven when I die
My baby says she's going to leave me, she'll need my help again
My baby going to leave me, she will need my help again
She must remember, oh lord I once have been her friend
(SOLO)
I hate to hear that .... (whistle blow boo-boo ???)
I hate to hear, mama, (old whistle blow boo-boo???)
(Why, boy?) Cos every time I hear it, make me feel like ridin' too
Lord, I went to the station, I sure didn't see no train
I went to the station mama and I didn't see no train
I never seed my little woman, ( well had ????) no- one to call her name
This is one of my favorites of his in C, there's a really sweet, laid-back feel to it.
Thanks for your help!
Gordon
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Hi Gordon -
I hate to hear that .... (whistle blow boo-boo ???)
I hate to hear, mama, (old whistle blow boo-boo???)
(Why, boy?) Cos every time I hear it, make me feel like ridin' too
I hate to hear that M & O whistle blow boo hoo
I hate to hear, mama, M & O whistle blow boo hoo
Lord, I went to the station, I sure didn't see no train
I went to the station mama and I didn't see no train
I never seed my little woman, ( well had ????) no- one to call her name
Not sure of the last line. Could be "well had" as you have it, or "well I'd". Dunno.
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Hi all,
Blind Boy Fuller recorded "It Doesn't Matter Baby" at a session on July 12, 1939 in Memphis, accompanying himself out of G position in standard tuning, capoed up to sound around B or C. The song is a 9-bar chorus blues in the "Worried Life Blues"/"Sitting On Top of the World" family. I usually think of Fuller's music being so exuberant and often find that when I hear one of his slower numbers I particularly like it. The point of view taken in the lyrics is very autumnal for so young a man to be singing.
https://youtu.be/k-4j5wboxxo
Uhohohoh, oh Lordy Lord
Uhuhuh, oh Lordy Lord
It doesn't matter, baby, how you treat me
I'll get along somehow
You needn't come runnin', screamin' and cryin'
You mistreated me, woman, now you's off of my mind
It doesn't matter, baby, how it happened
I'll get along somehow
When I tried to love you, you wouldn't pay me no mind
You could spend my dollars like you did my dimes
It doesn't matter, child, how it happened
I'll get along somehow
Get away from my window, don't knock at my door
I've got me another woman, can't use you no more
It doesn't matter, child, how it happened
I'll get along somehow
Uhuhuh, oh Lordy Lord
Oo-oo-oo, oh Lordy Lord
It doesn't matter, child, how it happened
I'll get along somehow
Now you know I told you, long time ago
You had to reap just what you sow
It doesn't matter, baby, how it happened
I'll get along somehow
I'm doin' better than I did before
I ain't gon' let you worry my mind no more
It doesn't matter, baby, how it happened
I'll get along somehow
All best,
Johnm
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In addition to being in the "Worried Life/Sitting on Top" family, it's also a fairly close cover of Big Bill's "The Sun Gonna Shine in My Door Someday." Big Bill's version is a lot more urban sounding and is a piano/guitar duet.
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I wonder something about the lyrics to "Mama, let me lay it on you" : what does Fuller mean by "Cut your throat to boot" ?
To me, it seems to say he's going to have sex with her dead body after he killed her...
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"To boot" is just an old-fashioned way of saying "also," or "for extras."
So he's offering to cut her throat in addition to all the other threats.
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Hi all,
Blind Boy Fuller played "Little Woman You're So Sweet" out of Vestapol, and it was recorded near the end of his career. Banjo Chris noted in an earlier post that the song was first recorded by Josh White, and you can find White's version of the song on YouTube. The song is an 8-bar chorus blues, and follows the "How Long, How Long Blues" archetype, though Fuller is sometimes long on the front end of his main verse. I'm not at all sure I have the opening line of the next-to-last verse right, and would appreciate some help with or correction of what I have.
https://youtu.be/SBanYGrVSnY
Hey mama, hey gal
Don't you hear me callin' you?
You're so sweet, so sweet, my baby's so sweet
Says, I love my baby, love her to her bone
I hate to see my sweet sugar go home
She's so sweet, so sweet, my little woman's so sweet
See my baby comin', don't get so smart
I'll cut your liver then I will plug your heart
You're so sweet, so sweet, my little baby's so sweet (Spoken: Call her again, boy!)
Hey mama, yeah gal,
Don't you hear Blind Boy Fuller callin' you?
She's so sweet, yes sweet, my little woman's so sweet (Spoken: Play it now!)
Hey mama, yeah gal,
Don't you hear me callin' you"
She's so sweet, so sweet, my little woman's so sweet
Woman I love, she done gone back home
When I think I'm treatin' her right, I must be doin' wrong
She's so sweet, so sweet, my little woman's s sweet
I would make a million trips, when I would rob a little bee
But the woman I love is sweeter anything in this world to me
She's so sweet, so sweet, my little woman's so sweet
Hey mama, yeah gal,
Don't you hear Blind Boy Fuller callin' you?
You're so sweet, yes sweet, my little woman's so sweet
All best,
Johnm
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I think that line is right, John.
Chris
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Thanks for the help, Chris. I'll let it stand as is then.
All best,
Johnm
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Meat shakin woman, second verse;
And the dollars come ? down baby just like drops of rain.
In the BB Fuller book of Stefan Grossman book it says "chopping".
I believe it's "shiving", which is pronounced like "jiving" and is an old slang word meaning 'splintering' according to a quick Google search.
Fuller sings a two syllable word which does not sound at all like 'showering' to me, and even less like 'chopping'! There's 'SH', 'EYE' and a 'V' sound in there and 'ING' on the end. It's clear enough to not be any kind of stumble either.
Here's what I have:
Meat Shakin' Woman - Blind Boy Fuller, C position
[intro break]
I've got a big fat woman, meat shakin' on her bones
I said hey hey, meat shakin' on her bones
And every time she shakes, some man's dollar gone
Says I asked my woman, give me her smallest change
I said hey hey, give me her smallest change
And the dollars come shivin' down, baby just like drops of rain
[break] Yeah!
If you boys take my woman, you can't keep her long
I said hey hey, you can't keep her long
I got a new way of gettin' down, you monkey men can't catch on
[break]
Said fer my dinner, I want ham and eggs
Hey hey, I want ham and eggs
And fer my supper, mama I wants to feel your leg
Now you let me feel your leg, and it felt so soft
Hey hey, and it felt so soft
Said you know what you promised me, baby please don't put me off
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The way I hear it:
I got a gal she's crazy about me
Just as crazy as she can be
She ain't crazy but she's little bit funny that way
Went home last night knocked on my door
Heared a voice say "You don't live hear no more"
You ain't crazy but you little bit funny that way
Kept on knocking 'cause you having fun
Heared a voice say put it to you 'fore you knock
You're not crazy but you're little bit funny that way
Scat
Solo
I asked my woman "Where'd you stay last night?"
None of your business so I didn't treat you right
You're not crazy but you're little bit funny that way
Looka here woman upi talkin' too tough
You've got a man ain't goin' to stand that stuff
Not crazy but you're little bit funny that way
Solo
For my dinner I want to feel your leg
For my dinner I want to feel your leg
Not crazy but you're little bit funny that way
Let me feel your legs and they feel so soft
You know what you promised me you can't put me off
Not crazy but you're little bit funny that way
Scat
Solo
I love that woman 'fraid to call her name
She's a married woman, love her just the same
She's not crazy but she little bit funny that way
Solo
Edited to pick up correction from Gumbo. And one from Stumblin
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Great track!
3.2 ... 'fore YOU KNOCK
7.2 there is something where the CAN'T is but I think he almost says something by accident and swallows it
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"fore you knock" is right on. Thanks, Gumbo.
In 7.2, I transcribed "can't" because I think that's clearly the sense of the line. But you're right, it sounds like Fuller starts to sing "can", realizes that's not it, and just sort of swallows the rest of the word.
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Great work, chaps. Great tune.
Now I'll get cracking on this one too.
New repertoire items seem to be cropping up almost daily of late.
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THREE BALL BLUES - BLIND BOY FULLER
https://youtu.be/8EeKdYPvxeg
I been walkin? down the street,
Yeah somebody call me and I couldn?t Stop
Yeah somebody call me and I couldn?t Stop
Yeah I was broke an? I was hungry on my way to the Pawnshop
Sez I went to the Pawnshop, great God with my shoes in my hand
Sez I went to the Pawnshop, great God shoes in my hand
said give me a loan Mr. Pawnshop man
And Help me if you can
[/size]
[/size]Sez I called up in Burlington ask my boss man to help me if he please
Sez I called up in Burlington want my boss man to help me if he please
Say please hurry up and do something great God I?m ?bout to Freeze
[/size]
[/size]He wrote me and told me that as sure as one and two is three
Hey He wrote me and told me that as sure as one and two is three
Yeah that Pawnshop?s someday great God gonna come bindin? down on poor me
[/size]Sez I'm about to lose my home : I've done and lost my Car
[/size]Yeah I'm about to lose my home : I've done and lost my car
[/size]Yeah I'm going down to the pawnshop : see can I pawn my guitar[/font]
[/color][/size] [/font]
[/color][/size]Sez I asked that pawnshop man : what the three balls [/font]
[/color][/size]doing hanging on that wall
Sez I asked that pawnshop man : what the three balls [/font]
[/color][/size]doing hanging on that wall
Sez it's two to one buddy : you don't get your things [/font]
[/color][/size]back out of here at all[/font]
[/size][[Category:Lyrics]]I've done typography everywhere in most programs and I've NEVER seen formatting problems like this before...why God, Why? :(
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Someone will have to let me know why a simple cut and paste became....FRANKENLYRIC! >:(
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you're just lucky, I guess... here it is with the weird markup removed, spelling sorta standardized and weird transient capitalization purged. Marvelous blues in A, btw:
Three Ball Blues - Blind Boy Fuller
I been walkin? down the street, yeah somebody called me and I couldn?t Stop
Yeah somebody called me and I couldn?t stop
Yeah I was broke an? I was hungry on my way to the pawnshop
Says I went to the Pawnshop, great God with my shoes in my hand
Says I went to the Pawnshop, great God, shoes in my hand
said give me a loan Mr. Pawnshop man, and Help me if you can
Says I called up in Burlington, ask my boss man to help me if he please
Says I called up in Burlington, want my boss man to help me if he please
Say please hurry up and do something, great God I?m ?bout to freeze
He wrote me and told me that as sure as one and two is three
Hey, he wrote me and told me that as sure as one and two is three
Yeah that pawnshop?s someday, great God, gonna come bindin? down on poor me
Says I'm about to lose my home, I've done and lost my car
Yeah I'm about to lose my home, I've done and lost my car
Yeah I'm going down to the pawnshop, see can I pawn my guitar
Says I asked that pawnshop man what the three balls doing hanging on that wall
Says I asked that pawnshop man what the three balls doing hanging on that wall
Says it's two to one buddy, you don't get your things back out of here at all
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Someone will have to let me know why a simple cut and paste became....FRANKENLYRIC! >:(
It's because the formatting info is embedded in what appears to be plain text. Running it through an intermediate step--copying it to another word processor, selecting/highlighting all the text and converting it to single font, size, and style and then saving it as a plain text file before re-copying it and pasting it into the Weenie message box should do the trick.
Edited to add: I'm using a PC running XP and I just ran it through WordPad, which is a relatively simple text processor. Other than retaining the formatting data ([/color][/size] [/font]), it solved the size problems. Let us know what you are running and the source of the text that caused the problems and maybe we can come up with a solution.
Here's a cleaned up version of the text that I presume is embedded in the security strip in the special 99% O'Muck $47 bill:
I've done typography everywhere in most programs and I've NEVER seen formatting problems like this before...why God, Why?
:P
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I think it's:
For my dinner, I want to feel your legs.
PS. I'm basing this both on what I hear and the fact that the same lyric occurs in Meat Shakin' Woman,
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Right you are, Stumblin. Thanks. I should have thought of Meat Shakin' Woman when I was having trouble hearing the line.
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This and Meat Shakin' Woman are both great songs, Blind Boy Fuller is my hero!
Funny how whenever I'm called upon to discuss my musical idols and put Mr. Allen at the top of my list, people seem to react as though I'm talking about some obscure, unknown, unsuccessful nobody from a distant and irrelevant past. But that's another topic...
PS. What I meant to say is that it might be about time for someone to edit all the amendments together and repost the updated lyrics. If nothing else, it will prevent me from having to keep scrolling up & down the thread as I try to sew guitar & words together.
Has anyone else noticed how difficult it is to type when you're leaning over with a guitar in your lap?
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PS. What I meant to say is that it might be about time for someone to edit all the amendments together and repost the updated lyrics.
Hey, Stumblin, the version posted has all the corrections that have been suggested.
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I stand corrected.
In my defence, I'm using a tiny netbook computer with a small screen; I sometimes miss stuff whilst scrolling up & down.
I trust there would be no problem with me copying & pasting the lyrics into a word processor document for educational purposes (so I can learn the words)? Good, because I'm doing it anyway.
I'm going to bruise my ribs with this typing over the guitar posture.
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Hi all,
I merged the two recent threads on "Three Balls Blues" and "I Got A Woman Crazy For Me" into the Blind Boy Fuller Lyrics thread, but left the post titles as they were in the original threads for ease of following the process.
All best,
Johnm
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Just a couple of late amendments, apologies in advance if I've missed any further updates.
I'm a Rattlesnakin' Daddy
I rattle every mornin', late at night
Meanwhile my rattlesnake mama don't 'low me out of her sight
Refrain...
I hear:
Reason (the "s" is almost silent, the two syllables are almost completely elided together, giving something like "Rea'n why") why my rattlesnake mama don't 'low me out of her sight
Meat Shaking Woman
Says I asked my woman, give me her smallest change
I said hey hey, give me her smallest change
And the dollars come shivin' down, baby just like drops of rain
I hear "And the dollars come showerin' down, baby just like drops of rain"
"Showerin'" seems to make more sense, if the dollars are to bear any resemblance to drops of rain.
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Blacksnakin' Jiver
https://youtu.be/nbS1sO7K8o4
I woke up this early morning mama
Someone was jiving me
And if you don?t want me mama
Drop that jivin? and let me be
I?m gonna to wake up some of these mornings
And going to be sore
I?ve got to kill you mama cause I?m a bad
Mother-fuyer don?t you know
I?d rather be bit by a rattlesnake baby then
To let you jive poor me
Says my baby went away and left me
I didn?t want her to go
She had the nerve to tell me that,
?I don?t want you no more?
But that?s all right now mama, I said,
That?s all right for you
I did everything in the world I could trying
To get along with you
I?d rather be bit by a rattlesnake, mama,
Then to let you jive me
Said I bought you all last summer
I bought you plenty of clothes
And when winter done come you put me out in the cold
But you know now mama, I said, ?That ain?t no way to do,
As sure as you jivin? me someone gonna jive you too?
I?d rather be bit by a rattlesnake baby
Then to let you jive poor me
Said I dumped sugar all the summer
And loaded coal all the fall
And had to go out on Sunday, mama, in my overalls
You know now mama that ain?t no way to do
There?s a hearse and undertaker waitin? right there for you
I?d rather be bit by a rattlesnake, baby,
Then to let you jive poor me
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Further listening to I'm a Rattlesnakin' Daddy makes me think the refrain ends with "all the time," rather than "all night long," as given earlier in this thread.
So, this gives us:
I'm a Rattlesnakin' Daddy
I woke up this mornin' 'bout half past four
Somebody knockin' on my back door, sayin'
"That's my rattlesnakin' daddy, that's my rattlesnakin' daddy
That's my rattlesnakin' daddy, wants to rattle all the time"
Yes, he rattled this mornin', 'bout half past three
Half past four he wanted to rattle some more, 'cause
?That's my rattlesnakin' daddy, that's my rattlesnakin' daddy
That's my rattlesnakin' daddy, wants to rattle all the time.?
I got a range in my kitchen, bake bread nice and brown
Get my rattlesnake daddy turn my damper upside down."
?Cause I'm a rattlesnakin' daddy, 'cause I'm a rattlesnakin' daddy
I'm a rattlesnakin' daddy, wants to rattle all the time
(Spoken: Rattle now, boy)
Guitar solo
I can rattle to the left, rattle to the right
My woman said, "I b'lieve my rattlesnake daddy can rattle all night."
?Cause I'm a rattlesnakin' daddy, 'cause I'm a rattlesnakin' daddy
I'm a rattlesnakin' daddy, wants to rattle all the time
I rattle every mornin', late at night
Rea?n why my rattlesnake mama don't 'low me out of her sight
'Cause I'm a rattlesnakin' daddy, 'cause I'm a rattlesnakin' daddy
I'm a rattesnakin' daddy, wants to rattle all the time
Now, the old folks rattlin', the young one, too
Ain't nobody rattles just like, way I do
'Cause I'm a rattlesnakin' daddy, 'cause I'm a rattlesnakin' daddy
I'm a rattlesnakin' daddy, wants to rattle all the time
Guitar solo
Yes, I rattled this mornin' 'bout half past ten
Half past nine I wanted to rattle again
'Cause I'm a rattlesnakin' daddy, 'cause I'm a rattlesnakin' daddy
I'm a rattlesnakin' daddy, wants to rattle all the time
I hope this is useful to someone other than just me.
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Hi gang, I tidied up some lyrics for Jivin' Woman Blues, the bulk of which I got here.
Got a gal called Betty May, She goes out and truck all day
She ain't crazy, but, she just jivin? that way
Oh, bap'm bappy, ohh, za zee
Oh be'bm'bop bap bap bow
bop'm'be'bum bop, zee za zerr
Have my dinner ready, Don't let my coffee get cold
Don't forget to save My sweet jelly roll
You?re not crazy, but, you just jivin' that way
No vocal over chorus
She go to bed early at night, speak about loviin' she want to fuss and fight
She's not crazy, but, she just jivin' that way
Ohh, yeah pretty, ohh, zee zee
Oh beeby beep a bop bop'm bow
(pregnant silence) ...Yeaah..!
She go to bed, rag tied round her head,
Speak about love she swear she almost dead
She's not crazy, but, she just jivin' that way
No vocal over chorus
Drunk on whiskey, it ran right to your head,
Had to take a bath before you went to bed
You?re not crazy, but, you just jivin' that way
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Could you guys help me with the lyrics of Blind Boy Fuller's "Where my woman USTA lay"
https://youtu.be/hZRc1FQ75LI
Said its early one morning mama, just about the break of day
Lord bout the break of day
I telling here get ??? Where my woman usta lay
She don?t go any(where?), Shure ???
Shure ???
I don?t do nothing , but cry cry all the time
Said that woman that I loving, woman that i crave to see
Woman that i crave to see
My girl is in Texas, and she won?t ride to me
Said I don?t see why, papa fuller cant me treated this/just ??? right
Papa fuller cant me treated this/just ??? right
The woman that I love gif me the blues, had to walk them streets all night
Said I may be wrong mama, but I?ll be right some day
I?ll be right some day
Nobody make me believe, my girl would treat me this way
Said she leaves me all night long, I cannot hear my self
I cannot hear my self
If i don?t get that woman that I?m loving, lord I don?t want me no one else
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Hi there
On the 4th verse I seem to hear:
"Said, I don?t see why, papa Fuller cant BE treated just right?"
Hopefully others can catch the rest.
Cheers
Pan
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Here's what I hear. I'm not sure about the bracketed phrase in the third line of the first verse, but the sense is basically right.
Said 't was early one morning mama, just 'bout the break of day
Hey, Lord 'bout the break of day
Hey, I turned an' hugged that pillow where my woman used to lay
Yeah, she done gone and it sure does grieve my mind
Hey, sure does grieve my mind
Hey, I don?t do nothing but cry, cry all the time
Said that woman that I'm loving, woman that I crave to see
Hey, hey, woman that I crave to see
Hey, my gal is in Texas, and she won?t write to me
Said I don?t see why, Papa Fuller can't be treated just right
Hey, Papa Fuller can't be treated just right
Hey, the woman that I love give me the blues, had to walk them streets all night
Said I may be wrong mama, but I?ll be right some day
Hey, I?ll be right some day
Hey, nobody made me believe, my gal would treat me this way
Said she leave me all night long, I cannot help my self
I said hey, hey, cannot help my self
If i don?t get the woman that I?m loving, Lord I don?t want me no one else
Edited to pick up changes from banjochris
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Here's what I hear for some of it:
1.2 Hey, Lord 'bout the break of day
1.3 Hey, I TURNED AND HUGGED THAT pillow where my woman used to lay
2.1 sure DOES GRIEVE my mind
2.2 sure DOES GRIEVE my mind
2.3 HEY at the beginning
4.3 HEY at the beginning
5.1 HEY, nobody MADE be believe...
6.1 cannot HE'P myself
6.2 cannot HE'P myself
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Good catches. I've made the changes.
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thanks for the help with "Where my woman USTA lay" :D
Got another song called "Snake Woman Blues"
Its almost the same lyrics as "You never can tell"
Snake Woman Blues:
sad you cant never tell, whats on ....... mind
whats on ...... mind
even hugging you and kissing you, and quitting you all the time
I want home this morning ...9:30 and 10
....
I met my woman's second men, right back......
All you working man, all to come home here on time?
come home here on time
So you can catch your crouched woman, just like i caught mine
some woman (are) just like a dollar, dollar go from hand-to-hand
some woman (are) just like a dollar, dollar go from hand-to-hand
some are no good woman ...... men-to-men
http://youtu.be/oAT3Ictcu8M (http://youtu.be/oAT3Ictcu8M)
here are the two added verses for "You never can tell":
vers 3:
you are a dirty mistreater, and you drove me from here door
she drove me from here door
the good book sad mama you go to read just what you saw.
last vers:
You know my woman sad she loves me, she bin lovin me all here life
my woman sad she loves me, bin lovin me all here life
she met a second men on the corner, she told him that same lie twice
http://youtu.be/iW_D1Gy7IB8 (http://youtu.be/iW_D1Gy7IB8)
damm.... I really love those songs ;D Blind Boy Fuller is a true master!
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Here' the best I can do. Few spots are a little iffy. The first word sounds like he starts out saying "says" but ends up saying "well". And he stumbles in the last verse, about dollars, and says something like dollies once.
Words in Italics are spoken.
Snake Woman Blues
S?well, you cain?t never tell, what?s on these women mind
Hey, hey, what?s on these women mind
Hey, they either hugging you and kissing you, and quitting you all the time
Says, I went home this morning twixt 9:30 and 10
Hey, hey, twixt 9:30 and 10
Yes, I met my woman's second man, ranned right back in my den
Says, all you working men, ought to come home head o? time
I said, hey, hey, come home head o? time
So you can catch your crooked woman, boys, just like I caught mine
Boy these crooked women won?t do.
Get all your money, put that thing on you.
And they put that ol? thing on you
Said, some women just like a dollar, dollar go from hand to hand
Some women just like a dollar, dollar go from hand to hand
Yeah, some of these no good women, they run from man to man
----
Yeah, I dig Fuller a lot. Gettin' back to playing more of his songs to help get my chops back on the resonator. Always fun stuff.
Wax
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Getting back into the great songs of Mr. Fuller, this is what I've have so far on the lyrics for Let Me Squeeze Your Lemon, any help would be great. >:D
https://youtu.be/owQ-WYUbzFU
Let Me Squeeze Your Lemon - Blind Boy Fuller
You got fruit in your basket Mama, You got lemon lime all on your shelf
You got fruit in your basket Mama, Lemon lime all on your shelf
I want to squeeze your lemon baby, Because you can not squeeze them yourself.
I want to squeeze you lemon Mama, While I'm in your lonesome town
Hey hey, While I'm in your lonesome town
I want to squeeze your lemon mama, We got cherry my love calm down.
I?m a stranger her baby, Just passing though your town
I said I?m a stranger her Mama, Just passing though your town
I going to ask you for one favour baby, Please don?t turn me down.
I squeeze your lemon one time baby, Want me to squeeze them again
If I squeeze your lemon one time Mama, Want me to squeeze them again
I won't you to learn to hold the pitcher baby, We got and let that old juice run in.
I'm a lemon squeezer, Don?t deny my name, Way I squeeze your lemon baby, gonna sound a shame
Hey hey, I sure don't deny my name
And when I squeeze your lemon baby, We got jealous and a shame.
I want to squeeze your lemon Mama, While I'm in your lonesome town
Hey hey hey, While I'm in your lonesome town
Now it's a good time to squeeze them baby, Because while your man is not around.
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parts of verse five are still eluding me but i have these suggestions
You got fruit in your basket Mama, You got lemon LYING all on your shelf
You got fruit in your basket Mama, Lemon LYING all on your shelf
I want to squeeze your lemon baby, PLEASE GOD you can not squeeze them yourself.
I want to squeeze you lemon Mama, While I'm in your lonesome town
Hey hey, While I'm in your lonesome town
I want to squeeze your lemon mama, PLEASE GOD TIL my love calm down.
I?m a stranger her baby, Just passing though your town
I said I?m a stranger her Mama, Just passing though your town
I GWINE to ask you for one favour baby, Please don?t turn me down.
I squeeze your lemon one time baby, Want me to squeeze them again
If I squeeze your lemon one time Mama, Want me to squeeze them again
I WANT you to learn to hold THAT pitcher baby, PLEASE GOD and let THIS old juice run in.
I'm a lemon squeezer, Don?t deny?? my name, Way I squeeze your lemon baby, gonna sound a shame
Hey hey, I sure don't deny?? my name
And WAY I squeeze your lemon baby, PLEASE GOD jealous and a shame.
I want to squeeze your lemon Mama, While I'm in your lonesome town
Hey hey hey, While I'm in your lonesome town
Now it's a good time to squeeze them baby, PLEASE GOD while your man is not around.
-
Thank you :D
verse five:
?Don?t DYE my name", could mean change of colour, or slang for change my name?
or
?Don?t Doubt my name?, hard one because he's not clear.
"Deny" with a silent D, sounds like it could be a word that starts with an "N"
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Pretty sure Gumbo got it right with "deny", with the "d" and "n" run together. Think "didn't" which comes out "di'n". It's a pretty standard blues line used in such classics as Whinin' Boy and many others. You could write it "don't 'ny my name."
Wax
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I din't have an opinion on 'deny' in the fifth verse. just followed KingCatfish. Sounds like 'now' to me so I'm baffled
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Oh, sorry KingCatfish, I was following along Gumbo's version while listening.
Wax
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Hi all,
Blind Boy Fuller accompanied himself out of G position in standard tuning for "When You Are Gone". It seems to have a strong Buddy Moss influence, with lots of brushed triplets in the treble. It's really well played and sung, and has a more serious feel than a lot of Fuller's songs. The last verse is a shocker.
https://youtu.be/8-g73F6fMcQ
This war is raging, what are you men going to do?
Well, this war is raging, what is you men going to do?
If Uncle Sam call you in the war, and there's no use of feelin' blue
Hey, Uncle Sam'll call you, be by one and two and three
Yeah, when Uncle Sam call you, be by one, two and three
Yeah, you no use of worryin', leave all these women back here with me
SOLO
Yeah, when you gone, no use to weep and moan
Well, when you gone, no use to weep and moan
Yeah, you ain't no use of worryin', for this good work be carried on
Yeah, when you're fighting, blood running in your face
Well, when you're fighting, blood running in your face
Ain't no use to worryin', you know this world is a funny old place
Edited 8/20 to pick up correction from dj
Edited 5/21 to pick up correction from CF
All best,
Johnm
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I think line 2.3 is:
Hey, you no use of worryin', BECAUSE these women back HERE WORRYIN' me
I also think that that last verse is one of the best verses I've heard in any song in any genre. I love the image of someone wading ashore in the Normandy invasion or fighting at Iwo Jima and thinking "this world is a funny old place".
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Thanks very much for the catch, dj, I re-listened and you are sure enough right about that line. I will make the correction. I share your enthusiasm for the final verse, it's really striking.
All best,
Johnm
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Great song. Interesting to consider the timing. The recording was sometime in 1940 and Fuller died in 41 before Pearl Harbor. Wonder if the song goes back to WW I or if he is singing in response to the activity in Europe at the time and predicting America's entry into WW II...social commentary from the noted protest singer BB Fuller ;-)
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Good point, Scott. I'd guess the latter since the 1930s were an unusually quiet time for the US Military
http://en.wikipedia.org/wiki/Timeline_of_United_States_military_operations#1930.E2.80.931939 (http://en.wikipedia.org/wiki/Timeline_of_United_States_military_operations#1930.E2.80.931939)
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I think it's definitely from the Second World War, and it's an amazingly topical song at that. When You Are Gone was recorded on June 19, 1940. By that date, British troops had been forced to evacuate from France, Japan was continuing to advance in China and Southeast Asia, The United States was starting to rebuild and modernize its armed forces, and, most importantly, the Selective Service Act of 1940 was in the news. It was being debated in Congress at that point, and would be signed into law by President Roosevelt in September, initiating the first peacetime draft in US history.
By the end of the year, a number of artists would be singing draft-related songs, like the Nat King Cole Trio's Gone With The Draft. But Fuller's might just be the earliest recorded American World War II song.
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Hi all,
Blind Boy Fuller recorded "Working Man Blues" at a session in New York City on July 12, 1937. He played the song out of D position in standard tuning, and it has some interesting phrasing. He has a signature lick that he plays in response to his vocal phrases, and in the second vocal phrase he is consistently short with it, giving it six beats rather than 8 beats. Fuller shows a lot of nifty moves working out of one of the most under-utilized playing positions in standard tuning.
https://youtu.be/R-3aZe8XmAo
SOLO
Somebody done learned my baby how to change gears on a Cadillac 8
Somebody done learned my baby how to change gears on a Cadillac 8
Ever since that happened I can't keep my baby straight
I hate to hear that Cadillac whistle blow, boo-hoo
Says, I do hate to hear, Cadillac whistle blow, boo-hoo
Every time my woman hear it, makes her feel like riding, too
A working man ain't nothing but a woman's slave
A working man ain't nothing but a woman's slave
When she start to lovin', Great God, it just won't 'have
I said, hey-hey, Lawdy-Lawdy Lawd
I said, hey-hey, Lawdy-Lawdy Lawd
Hey-hey, Lawdy-Lawdy Lawd
Have my dinner all ready, don't let my coffee be cold
I said, have my dinner ready, woman, don't let my coffee be cold
And don't forget, baby, save my sweet jellyroll
Now, you know my woman, she got something, I don't know what it is
Hey-hey, Lord, I don't know what it is
When I get in that bed with her, can't keep my black self still
All best,
Johnm
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Hi all,
Blind Boy Fuller recorded "Worn Out Engine Blues" at a session in New York City on March 5, 1940, backing himself out of a position in standard tuning. Out of all the recordings of "Broke Down Engine" by Blind Willie McTell, Buddy Moss and others, and all of the songs working out of this basic song family, this is my favorite version, mostly by virtue of Blind Boy Fuller's incredibly catchy signature lick.
https://youtu.be/JVrrbK1LX4A
Whoa-ho-ho-ho Lordy-Lord, ah-ha, what more can I do?
Whoa-ho-ho Lordy, babe, now, what more can I do?
I'm in love with you, lyin' little woman, but I can't get along with you
Says, my babe's got a little engine, and I call it my Ford machine
Say, my baby got a little engine, I call it my little Ford machine
If your generator ain't bad, baby, Great God, you must be burnin' bad gasoline
Says, I stepped on your starter, Great God, and your motor turned over slow
Says, I stepped on your starter, babe, Great God, and your motor turn over slow
If you ain't gettin' your right spark, little woman, Great God, call on Blind Boy Fuller for more
Say, they call me a blacksmith, mam', and sometime a mechanic, too
Say, they call me a blacksmith, mam', sometime and I'm mechanic, too
If my work you okay, little woman, Great God, you know it will have to do
Says, I called up in Chicago, I couldn't find my little woman over there
Says, I called up in Chicago, couldn't find my baby nowhere
I'm gwine take a trip over in Chiny, Great God, see can I find my gal over there
Says, now, I'm lonesome here, mama, Great God, I feel lonesome everywhere
Says, I'm lonesome here, babe, Great God, I feel lonesome everywhere
When I get in my woman's arms, Great God, I can't feel lonesome there
All best,
Johnm
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Blind Boy Fuller recorded "Worn Out Engine Blues" at a session in New York City on March 5, 1940, backing himself out of a position in standard tuning. Out of all the recordings of "Broke Down Engine" by Blind Willie McTell, Buddy Moss and others, and all of the songs working out of this basic song family, this is my favorite version, mostly by virtue of Blind Boy Fuller's incredibly catchy signature lick.
Fuller's playing on this song is just amazing. The way he floats the A note on the 2nd fret of the 3rd string... wow. It just HANGS there! Fantastic.
-
Hi all,
Blind Boy Fuller backed himself out of G position in standard tuning for his recording of "Worried And Evil Man Blues". The piece shows a strong Blind Blake influence, but as most often seems to be the case with Blind Boy Fuller's renditions, it really ends up just sounding like Fuller himself. Fuller goes long in his ninth bar every time, and the more you study him, the more you realize his sense of time was governed by pulse and phrase length, not meter.
https://youtu.be/l9HdEKhWWN0
SOLO
Says, I can't see how these worried mens can sleep
Yes, I can't see how these worried mens can sleep
Says, he bes up all night, mama, like a police on his beat
Says, I walk last night, mama, my feet got soakin' wet (Spoken: Aw, pshaw!)
Says, I walked last night, mama, my feet got soakin' wet
Says, I ain't found the woman I'm lovin', and I ain't stopped walkin' yet
Well, I'm gonna find my little woman, don't think she can be found
Hey, hey, don't think she can be found (Spoken: Why, boy?)
I'm gon' walk this hard, hard road, mama, 'til my mustache drag the ground
SOLO (Spoken: Ah, play it a long time now.)
Yes, I got a new way of lovin', boy, you know I think it must be best
Yeah, hey, think it must be best (Spoken: Why, boy?)
'Cause these here North Carolina women just won't let Blind Boy Fuller rest
All best,
Johnm
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Hi all,
Blind Boy Fuller accompanied himself out of A position in standard tuning for his version of "Lost Lover Blues". I confess to a fondness for Fuller's songs on which he is joined, as on this one, by Bull City Red on washboard. The song seems to be related to the song the Watson Family recorded as "Honey Babe Blues", and is very closely related to Sam Collins' "Graveyard Digger's Blues". Listening to the George Mitchell Collection on Fat Possum really brought home to me just how influential Blind Boy Fuller was, and not just in the Carolinas. In that set, you find Fuller's songs and arrangements being covered by musicians from the Carolinas and Georgia, and Alabama, and Mississippi, and this tune probably ended up being covered the most of any of his songs (with the possible exception of "Step It Up And Go"). In any event, it's a beautiful and distinctive song and performance, very memorable.
https://youtu.be/n07td4OO8gs
INTRO SOLO
And I went down, 'bout that freight depot
And that freight train, he come rollin' by
Lord, and I sure ain't got no lovin' baby now
And I sure ain't got no lovin' baby now
Then I went off in that far distant land
I weren't there long 'fore I got a telegram (Spoken: What it said?)
Sayin', "Man, won't you please come home?
Now, man, won't you please come home?"
Then I went back home, I looked on the bed
And that best old friend I had was dead
Lord, and I ain't got no lovin' baby now
And I ain't got no lovin' baby now
Then I'm sorry, sorry, sorry to my heart
But that best o' friends someday must part
Lord, I ain't got no lovin' baby now
And I ain't got -- lovin' baby now (Spoken: Play it for me now!)
SOLO
Now as sure as the bird range in the sky above
Life ain't worth livin' if you ain't with the one you love
Lord, and I ain't got no lovin' baby now
Lord, I ain't got no lover now
If I knowed you didn't love me, and didn't want me to
I would take morphine and die
Lord, I ain't got no lovin' baby now
And I ain't got no lovin' baby now
All best,
Johnm
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Lost Lover Blues seems like it belongs in a family of tunes that includes 'Reno Factory' (one of the Foddrells, I think) and Raleigh and Spencer (Fields Ward).
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Good call, Frank, that is certainly so! Here is Fields Ward's performance:
http://youtu.be/Xeq7Y82iDLk (http://youtu.be/Xeq7Y82iDLk)
It's unusual the way these songs seem to back up on themselves at the end of each verse.
All best,
Johnm
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Hi all,
Blind Boy Fuller, accompanying himself out of E position in standard tuning, was joined by Sonny Terry on harmonica and Bull City Red on washboard for "Blue and Worried Man", a loosely-structured rollicking number. The trio starts the song as a 12-bar blues, switches to an 8-bar form for the next three verses, returns to a 12-bar form for the refrain, does two more 8-bar verses and concludes with a 12-bar final verse, interspersing four solos along the way, where Fuller really shines. Probably the only drawback on the cut (if it strikes you so) is the tuning between Fuller's guitar and Sonny Terry's harmonica, which is noticeably flat to Fuller's guitar--the effect is pretty bilious. It makes for some difficult listening for me, at least.
https://youtu.be/2_egJSfVrOc
Hey, hey, baby, what is you tryin' to do?
Hey, hey, what is you tryin' to do?
Yeah, you're tryin' to quit me but that's all right for you
Aw, looky-here, mama, see what you done done
Done made me love you, now your man done come
SOLO (Spoken: Play it a long time! Yeah!)
My baby wears a hat, then again she wears a tam
She got great big legs and they shaped like Georgia hams
I dreamed last night that the woman I love was dead
When I woke up, I was talkin' all out of my head
SOLO (Spoken: Yeah!)
Hey, hey, baby, what are you tryin' to do?
Says, hey, hey, what is you tryin' to do?
Says, the way you treat me is comin' back home to you
Just as sure as one and, I say, two is three
My man laid his head where mine, oh, ought to be
SOLO
Now if you lose your money, baby, please don't lose your mind
If you lose your little woman, please don't you fool with mine
SOLO (Spoken: Yeah!)
Then I don't see why m' baby don't write to me
Said, I don't see why my baby won't write to me
Said, I'm very deep lonesome, blue as a man can be
All best,
Johnm
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Hi all,
Blind Boy Fuller, playing out of C position in standard tuning, capoed up, is joined by Bull City Red on washboard and Rev. Gary Davis on backing guitar, in F position, for "Baby, You Gotta Change Your Mind". The song utilizes a ragtime progression that Fuller recorded many times, but Davis's stellar work really gives the track some special excitement, as does the trio's steady acceleration over the course of the rendition. Wow!
https://youtu.be/kS-DMb4sUcY
SOLO
Baby, if you think I'm crazy 'bout you, you got to change your mind
Baby, if you think I'm crazy 'bout you, you got to change your mind
I woke up this morning, 'bout half past four
Somebody knockin' at my back door
But if you think I'm crazy 'bout you, mama, you got to change your mind, I mean,
You got to change your mind
Baby, if you think I'm crazy 'bout you, you got to change your mind
Baby, if you think I'm crazy 'bout you, you got to change your mind
What you're doin', mama, you'll do it again
Stay out at night 'til about half past ten
But if you think I'm crazy 'bout you mama, you better change your mind, I mean,
You got to change your mind
SOLO (Spoken: Play that thing, boy!)
Baby, if you think I'm crazy 'bout you, you better change your mind
Baby, if you think I'm crazy 'bout you, you better change your mind
Up before the judge, my eyes full of tears
For beatin' up my gal I got four, five years
But if you think I'm crazy 'bout you, mama, you got to change your mind, I mean,
You got to change your mind
SCAT CHORUS
But if you think I'm crazy 'bout you, mama, you got to change your mind, I mean,
You got to change your mind
SOLO (Spoken: Play that thing, boy! Do it a long time.)
Baby, if you think I'm crazy 'bout you, you got to change your mind
Baby, if you think I'm crazy 'bout you, you got to change your mind
My gal like whiskey, like her rye and gin
We can't get her whiskey, drink most anything she can
Baby, if you think I'm crazy 'bout you, you got to change your mind, I mean,
You got to change your mind
SOLO
All best,
Johnm
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Hi all,
Blind Boy Fuller accompanied himself out of E position in standard tuning for "Baby You Got To Do Better", a 12-bar chorus blues covered later by Dan Pickett. Fuller's playing on this song shows a strong Buddy Moss influence.
https://youtu.be/M7P1LgAMM_A
SOLO
My woman went out this mornin', stayed out 'til both day and night
Come back jivin' me, say, "Daddy, I'm treatin' you right."
REFRAIN: Mama, you got to do better, babe, you got to do better
Babe, you got to do better, let another mama move in
I'm not rough, don't like to fight
Next woman I get she got to treat me right
REFRAIN: Baby, you got to do better, mama, you got to do better
Baby, you got to do better, let another mama move in
I met a gal this mornin', she was sixteen years old
Say, if I would beat your woman she would satisfy my soul
REFRAIN: Baby, you got to do better, (Spoken: Yes you is) baby, you got to do better
Baby, you got to do better, let another mama move in
SOLO (Spoken: Play that thing now, boy!)
Mama, you know you been talkin', 'bout you goin' and goin'
This mornin' will be your movin' time
REFRAIN: Babe, you got to do better, (Spoken: That's what I'm talkin' 'bout) babe, you got to do better
Baby, you got to do better, let another mama move in
Get out of my kitchen, stop your hangin' around
You know a man gets tired of one woman all the time
REFRAIN: Baby, you got to do better, baby, you got to do better
Baby, you got to do better, let another mama move in
All best,
Johnm
-
Hi all,
Blind Boy Fuller was in C position in standard tuning for his recording of "Throw Your Yas Yas Back In Jail". The song is one of the many 16-bar (18 bars with the tag) raggy progressions that he recorded. He passes through an E7 chord on his way to A7 and hits a notable "sick" bend when he gets to A7. He was either bending the second string at the first fret, a move that always amazes me, or reefing on the third string at the fifth fret, a much easier bend but less "under the hand".
https://youtu.be/ZOwKYIakw1I
If I catch you doin' I caught you doin' last night, throw your yas yas back in jail
If I catch you doin' what I caught you doin' last night, throw your yas yas back in jail
Says, you told that man you were sixteen years old
Had him 'round the window tryin' to see your jellyroll, now,
If I catch you doin' what I caught you doin' last night, throw your yas yas back in jail, I mean,
Your yas yas back in jail (Spoken: Yeah!)
SOLO
If I catch you doin' what I caught you doin' last night, throw your yas yas back in jail
If I catch you doin' what I caught you doin' last night, throw your yas yas back in jail
Said, a-when I'm on my wagon tryin' to sell a little coal
You was in the street, hollerin', "Who wants jellyroll?", now
If I catch you doin' what I caught you doin' last night, throw your yas yas back in jail, I mean it,
Throw your yas yas back in jail (Spoken: Yeah!)
SCAT BREAK
If I catch you doin' what I caught you doin' last night, throw your yas yas back in jail
If I catch you doin' what I caught you doin' last night, throw your yas yas back in jail
Says, it's early this mornin', 'bout half past four
Seen a man runnin' out my woman's back door, now
If I catch you doin' what I caught you doin' last night, throw your yas yas back in jail, I mean it,
Throw your yas yas back in jail (Spoken: Yeah!)
SOLO (Scat singing on bridge)
All best,
Johnm
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Hi all,
Blind Boy Fuller accompanied himself out of E position in standard tuning for "Sweet Honey Hole", and was joined by Bull City Red on washboard. The song has a lively rhythm and shows a lot of Buddy Moss influence in the guitar part, utilizing a lot of the moves that Buddy recorded on "Hey Lawdy Mama".
https://youtu.be/AzlDrUhkYJw
SOLO
Sweet honey, sweet honey hole
I say, sweet honey, sweet honey hole
Says, it even take my honey, satisfy my soul
Said, I want my honey every morning, late at night
If I don't get my honey, don't b'lieve I'm treated just right
REFRAIN: Sweet honey hole, sweet honey hole
Says, it even take my honey, satisfy my soul
Says, I want my honey in the mornin', late at night
If I don't get my honey don't b'lieve I'm treated just right
REFRAIN: Sweet honey hole, sweet honey hole
Says, it even take my honey, satisfy my soul
Now, you talk about your pork chops and your jellyroll
Ain't anything sweeter than my sweet honey hole
REFRAIN: Sweet honey hole, sweet honey hole
Says, it even take my honey, satisfy my soul
SOLO (Spoken: Yeah!)
Now, you talk about your honey, you haven't taste mine
You taste your honey, you gwonna lose your mind
REFRAIN: Sweet honey hole, sweet honey hole
Says, it even take my honey, satisfy my roll
Now, you talk about your honey, better leave mine alone
You taste my honey, your woman can't keep you home
REFRAIN: Sweet honey hole, sweet honey hole
Says, it even take my honey, satisfy my soul
Says, I can't see, to save my life
What a single man want with a married woman wife
REFRAIN: She got a sweet honey, sweet honey hole
Says, it even take my honey, satisfy my soul
All best,
Johnm
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Hi all,
This thread starts with Blind Boy Fuller's "Walking My Troubles Away", but the transcription was never completed. Fuller played the song out of the E position in standard tuning; it is a 12-bar chorus blues with an unusually pretty melody. Fuller's opening solo is spectacular, as are his fills throughout the course of his rendition. Here is his performance of the song:
https://youtu.be/Ht3M6scDDzs
Paperboy holl'in', "Extra! Have you read the news?"
Shot the brown I love, I got them walkin' blues
REFRAIN: I keep on walkin', tryin' to walk my trouble away
I'm so glad trouble don't last always
You used to be my sweet milk, you soured on me
We won't be together like we used to be
REFRAIN: I keep on walkin', tryin' to walk my trouble away
I'm so glad trouble don't last always
I got the bad luck blues, my bad luck time done come
You say bad luck followin' everybody, seem like I'm the only one
REFRAIN: I keep on walkin', tryin' to walk my trouble away
I'm so glad trouble don't last always
SOLO (Spoken: Play that thing now, boy!)
I got coffee grinds in my coffee, boll weevil in my meal
Tacks in my shoes keep stickin' in my heel, and
REFRAIN: I keep on walkin', tryin' to walk my trouble away
I'm so glad trouble don't last always
All best,
Johnm
-
On 'When You Are Gone', the line in question is the 2nd verse, 3rd line
Hey, you no use of worryin', because these women back here worryin' me
I'm hearing 'YEAH, you no use of worryin', LEAVE all these women back here WITH me
-
Thanks for the fix, Mike, you are certainly right. I will make the change.
All best,
Johnm
-
Hi all,
Blind Boy Fuller played "Thousand Woman Blues" out of A position in standard tuning. The song has unusual phrasing, and Fuller puts some neat rhythmic twists in his rendition. Lightnin' Wells does a great version of this song, as he does with many of Blind Boy Fuller's songs.
https://youtu.be/Sn2AQ0zG0X4
I ain't never loved but a thousand womens in my life
Wo-oh Lord, but a thousand womens in my life
Now, the love I have for you, woman, God knows, it sure is strong
Wo-oh Lord, I say, God knows, it sure is strong
Then if you love me now, woman, then you won't do nothin' wrong
Hey-hey Lord, and you won't do nuh-huhthin' wrong
Now, my woman, please don't worry, baby, while I'm out of your town
Hey-hey Lord, I say, while I'm out of your town
Now, the love I have for you, mama, God knows, it can't be turned around
Hey-hey Lord, and it can't be tur-hurned around
SOLO
Now, my little woman, I says, she's sweet as she can be
Hey-ey Lord, she's just as sweet as she can be
Every time I kiss her, then that cold chill run over me
Hey-ey Lord, then that cold chill run over me
All best,
Johnm
-
Hi all
I'M trying to figure out the lyrics to this one, and could sure use some help, especially on the bent bracket parts. All suggestions and correction are welcome.
https://youtu.be/vsbbprWZjiI
I'm A Stranger Here -Vestapol in F, with a slide.
Says, I'm a stranger here, just blowed in your town,
I'm a stranger here, just blowed in your town,
But just because I'm a stranger, (every)body wants to dog me around.
Says, I wonder do my good gal know I'm here?
Yes, I wonder do my good gal know I'm here?
I says if she do, she sure don't seem to care.
Then I wonder how can some people dog a poor stranger so?
Then I wonder how can some people dog a poor stranger so?
[I said he just remember, gonna reap just what he sow.]
Spoken: Oh play it now boy, play it for me now.
solo
Then I will stay up north, nothing here that I can do,
I will stay up north, nothing here that I can do,
But hang around a corner, singing poor stranger's blues.
Going back south [if] I wear 99 pair of shoes,
Then I'm going back south (if) I wear 99 pair of shoes,
Goin' where I'll be welcome, won't have the stranger blues.
Cheers, and thank you!
Pan
Edited as suggested by Lignite.
-
Last line; Goin' where I'll be welcome, won't have the stranger blues.
-
Thanks Lignite, much appreciated!
I'll make the change.
Cheers
Pan
-
I live in an area where recent blues musicians still used to freely interpret Blind Boy Fuller as our local hero; http://picosong.com/SQUR
-
Very cool. Amazing in fact... the local tradition is carried on.
-
What Slack said!
Cheers
Pan
-
Hi all,
I had never before particularly noticed or remarked upon Blind Boy Fuller's "Wires All Down", but found upon listening to it that it is one of the strongest East Coast blues I've ever heard in G position in standard tuning, just a ripping tune and rendition. I have never heard it covered. I'm having a tough time with the last verse and would very much appreciate some help with it. Here is Blind Boy Fuller's performance of the song:
https://youtu.be/s_5N6wxIF3g
INTRO
Lord, I love a woman, I'm scared to call her name
I say, hey, hey, I'm scared to call her name
I said, she's a married woman, Lord, but I love her just the same
But now, my woman, she done quit me, black cat crossed my trail
I say, hey, my woman done quit me, black cat done crossed my trail
Says, and I reckon that's the reason now, mama, Papa Fuller sure can't get no mail
Says, it ain't but two women, sure can spend my change
I say, hey, hey, sure can spend my change
Says, one is my little wife, and the other one I'm scared to call her name
The wires all down, my woman done left town
Reckon that's the reason, I can't get the message to that brown of mine
Says, my woman, she done quit me, and news all over town
I jumped the fast mail rambler, almost went a-flyin'
I say, hey, hey, mama, almost went a-flyin'
I said, "Hurry, engineerman, 'cause I wanta see that woman of mine."
Edited 4/19 to pick up corrections from frankie
All best,
Johnm
-
I jumped a [Fast Lane Rambler], almost [made her] flyin'
I say, hey, hey, mama, almost [end up] flyin'
I said, "Hurry, engineerman, 'cause I wanta see that woman of mine."
Hi John - I transcribed this for myself years ago in a fit of enthusiasm for Blind Boy Fuller's "blues in G" and this one was the top of the heap. At the time, I transcribed the last verse like this, but I'll go back later tonight for a fresh listen:
Oh I jumped the fast mail rambler, almost went-a-flying
I say hey, hey mama, almost went-a-flying
I said "Hurry, engineerman, 'cause I want to see that woman of mine"
-
Hi Frank,
Thanks for the help! I will re-listen, too, with your hearing of that verse in mind. Thanks!
All best,
John
EDITED TO ADD: Yup, sounds good, Frank. I've made the changes.
-
Frank's got that for sure. Wonder who changed it from rattler to rambler first?
http://weeniecampbell.com/wiki/index.php?title=Gone_Dead_On_You_Blues
Chris
-
I think it was about 10 years ago or more on a trip back to Jersey that you turned me on to Fuller's playing in G, Frank. So when I got home I culled out all the songs he played in G and settled on this one for the guitar part. Pretty similar to "Wires all Down" but a little more developed maybe. For instance the nifty little phrase he plays in the 7th bar of the 2nd verse. Then again it's a little more controlled and not so edgy. But the lyrics of "Wires All Down" are pretty great. Couldn't find my original transcription so I did it again.
https://youtu.be/_Bwo4MWAdXg
Screaming and Crying Blues
Solo
Yes I lied down last night laughin', woke up this mornin' screamin' and cryin'
Yes I lied down last night laughin', woke up this mornin' screamin' and cryin'
Said I was worryin' and grievin', 'bout that girl had done left me behind
I said she's gone and left me, sick and on my bed
I said she's gone and left me, sick and on my bed
Said then I didn't have nobody, lord to hold my worried head
(play it now, boy, play it for me)
Solo
Says, I don't care when you go mama, don't care how long you stay
I said I don't care when you go mama, don't care how long you stay
Said that ol' good kind treatment baby, bring you back home to me some day
-----------
I stole a solo from one of his other songs in G to use as a full pass outro.
Wax
-
Just new here and I got some lyrics so thought to pitch this in. I could not find any on here though know there are lots of versions out there. Think this is what Blind Boy Fuller is singin on the only recording I can find and a good start anyway; any additions corrections? Really hard to hear even slowed down.
https://youtu.be/kEYD8Ff4lcw
Truckin Little Baby Blind Boy Fuller
Got a little girl, she lives cross that hill, she ain?t good at cookin, but I love her still
She?s a truckin little baby, she?s a truckin? little baby
She?s a truckin little baby, gonna tell it everywhere I go
Got a girl, she named Marie, she got good jelly, but she?s stingy with me
She?s a trucking little baby, she?s a trucking little baby
She?s a truckin little baby, I?m gonna tell it everywhere I go
Break.. Yeah
Now wake up boys, don?t be no fool, heres? a little girl just dressed for two
She?s a trucking little baby, she?s a trucking little baby
She?s a truckin little baby, I?m gonna tell it everywhere I go
She?s long and slim, she?s lean and brown, she can look up as long as I can look down
She?s a truckin little baby. She?s a truckin little baby
She?s a truckin little baby, I?m gonna tell it everywhere I go
Get out boys, let me shut the door, I gotta truck some before I go
She?s a truckin little baby, she?s a truckin little baby
She?s a truckin little baby, I?m gonna tell it everywhere I go
Here you boys, cause you are my pal, mighty good side to advertise your gas
She?s a truckin little baby, she?s a truckin little baby
She?s a truckin little baby, I?m gonna tell it everywhere I go
Remarks after the song ?You boys oughta get you a truckin little baby?
-
Hi Farmboy Williams,
Welcome to Weenie Campbell! I merged your post with a pre-existing "Blind Boy Fuller Lyrics" thread. Folks will give you a hand with those lyrics as they hear them.
All best,
Johnm
-
I'll second John's welcome and offer some suggestions:
1.1 she's gonna quit me but I love her still
3.1 here's a little gal she's just from school
4.1 She's long and slim, she's made up round,
6.1 Tell you boys ? mighty bad sign to advertise your gal
Chris
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Hello! First time poster but long time visitor! I have been working out Death Alley and can not figure out some of the lyrics! Have an idea but need some help!! Thanks!!!!!!!
https://youtu.be/dSP2HVPIf64
Death Alley
Says I live down in death alley mama
Ways that I cannot understand
Says I live in death alley mama
In ways that I cant understand
------???--???????-------
Now You know my meals arent regular baby
Something sho is going on wrong
Said my meals aren't regular mama
Something sho is going on wrong
My woman got a backdoor man
She must be carryin' that suitcase home
Said well ill tell you something mama
I say you sho dont know
Said I'm gwina(gonna) tell you something mama
I say you show dont know
When i quit you this time baby
Said I cant use you no more
Said my woman she cant do right
Well ????(lord) For doing wrong ?????
Says my woman she wont do right
Whoa lord for doing wrong
I says when I catch her
She gone bring that ???????? home(?)
-Ezekiel
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Hi BollWeevil,
Welcome to Weenie Campbell! Post what you have so far for the lyrics and other folks will pitch in as they are able to help you.
All best,
Johnm
-
Says I live down in death alley mama
Place that I cannot understand
Says I live in death alley mama
Place that I cant understand
The women cook cornbread for their husbands
And save that sour bread for their man
-
"suitcase home" isn't right, but I can't quite catch it, it's "good something on."
Last verse is
My woman she can't do right, whoa Lord for doing wrong
Says my woman she won't do right, whoa Lord for doing wrong,
I says when I catch her, she goes in that wagon car.
(I assume he means he's gonna call the police on her.)
Chris
-
Hi all,
Blind Boy Fuller played "I Crave My Pigmeat" out of G position in standard tuning, utilizing his favorite raggy 16-bar (18 bars with the tag) progression, and he is joined by Bull City Red on washboard. Is there anybody who did this kind of material better than Fuller did? I'm dubious. Here is the song:
https://youtu.be/M2Y123GMTys
INTRO SOLO
Now, pigmeats that's taken today, today, something I do crave
Now, pigmeats that's taken today, today, something I do crave
Ash to ashes and dust to dust, show me a woman that a man can trust
Pigmeats taken today, today, something I do crave, I mean it, something I do crave
Now, pigmeats that's taken today, today, is something I do crave, yeah!
Pigmeats that's taken today, today, something I do crave
Had a little gal, she was little and low, she used to let me shake it, but she won't no mo'
Pigmeats taken today, today, something I do crave, I mean it, something I do crave (Spoken: Play it for me now!)
SOLO (Spoken: Ah, they taken today. You know that's something I crave. Yes!)
Now, pigmeats taken today, today, something I do crave
Now, pigmeats taken today, today, something I do crave
Looked down that road, far as I could see, the boys had my woman and the blues had me
Pigmeats that's taken today, today, something I do crave, I mean it, something I do crave, yeah!
SOLO
Now, pigmeats taken today, today, something I do crave
Now, pigments taken today, today, something I do crave
Ash to ashes and sand to sand, show me a woman ain't got a backdoor man
Pigmeats that's taken today, today, something I do crave
All best,
Johnm
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Hi all,
Blind Boy Fuller recorded "I'm A Good Stem Winder" at a session in New York City on April 6, 1938. He played the song out of A position in standard tuning. God, he was good--his time, his singing, everything! Here is "I'm A Good Stem Winder":
https://youtu.be/aRdBtDlP9lc
Early in the mornin', late at night, the way I twist that thing is bound to be all right
REFRAIN: Says, I'm a good stem winder, yeah, a good stem winder
Says, I'm a good stem winder, please bring your work to me
Says, I want to the telephone, pulled the receiver down, said, "Hello, Central, want to talk to that gal across town."
REFRAIN: Says, I'm a good stem winder, yeah, I'm a good stem winder
Yes, I'm a good stem winder, please bring your work to me
Says, I'm not joking, ain't gon' change my mind, the way you treat me, mama, is a dead cat on the line
REFRAIN: Says, I'm a good stem winder, yeah, I'm a good stem winder
Yeah, I'm a good stem winder, please bring your work to me (Spoken: Yeah!)
SOLO
Says, I went to the door with my, hat in my hand, says, "Tell me, woman, where's your other man?"
REFRAIN: Says, I'm a good stem winder, says, I'm a good stem winder
Says, I'm a good stem winder, please bring your work to me
SOLO
Says, when I'm gone, go and write my name on the door, it ain't no sign I'm dead, I'll sure be back for some more
REFRAIN: Says, I'm a good stem winder, yeah, I'm a good stem winder
Says, I'm a good stem winder, please bring your work to me
My gal said, "You can treat me mean, and you can take me low, but every time I see you, now, I want to wind some more."
REFRAIN: Says, I'm a good stem winder, yeah, I'm a good stem winder
Says, I'm a good stem winder, please bring your work to me
All best,
John
-
Reading through the lyrics I met up with an old friend, a dead cat on the line. I remembered we had discussed its meaning in an older thread so went looking for it. For those who don't know or, like me, have forgotten, here's a link (https://weeniecampbell.com/yabbse/index.php?topic=1824.msg13946#msg13946).
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Hi there!. I'm a new user. I need some help whit a blind boy fuller's song. I can't found lyrics of "climbing on the top of the hill" in anywhere.
I would like to add it to my repertorie, but for me is very difficult hear everywords (English is not my principal language), so ..someone may could help me and put the lyrics to me. I'll be so apreciate of this.
Thanks a lot!
PD( Excuse me for my english :) )
Here the song: https://youtu.be/okWx073b8Rw
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Hi Frankie Windmill:
First, welcome to Weenie, glad you found us. We've got several non-native English speakers in the group, no need to feel alone.
Our usual process is to post the lyrics that we do have so far, and other members help fill in the blanks. If you read through earlier pages on this thread you'll find plenty of other examples.
Lindy
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Need help in a couple of places, mostly the last verse:
[Revised 11/8 to include banjochris' changes ... thanks Chris ...]
https://youtu.be/cDQyvzufKFY
BLACK AND TAN
Blind Boy Fuller
Hey, hey, hey-hey-hey.
Hey, hey, hey-hey-hey.
Hey, hey, hey-hey-hey.
There's one thing 'bout my woman, I can't understand.
Ey, ey, lord, I can't understand.
Every night she go to bed, she wanna do that old black and tan.
I got me a brownskin woman, man, she's long and slim.
Ey, ey, lord, long and slim.
Says, when I start to loving her, great god, it's too bad Jim.
I don't want no midnight woman, knocking on my door.
Ey, ey, knocking on my door.
Lord, I got me a pigmeat woman, I can not use sow belly no more.
I ain't never loved but three womens in this land.
Ey, love, three womens in this land.
Said that's my mother and my sister, woman that love me to black and tan.
There's one thing I sure do hate.
Ey, hey, lord, I sure do hate.
Ever since my woman learned me the black and tan, I cannot keep her straight.
Said, I believe I heared my woman call my name.
Ey, lord, heared her when she call my name.
She never calls so loud, but she calls so nice and plain.
-
Here you go, Lindy:
3.2 Ey, ey, LORD long and slim.
4.3 woman that LEARNED ME THE black and tan.
6.1 Believe I HEARED my woman call my name.
6.2. Ey, lord, HEARED here when she call my name
Chris
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Need some ears in a couple of places for Oozing You Off My Mind, a more energetic clone of You Got to Change Your Mind, which Fuller recorded two years earlier.
A key word in the first line gets repeated throughout the song . . . at first I thought it was always ?dreaming,? but in two cases it really sounds like he?s singing ?grieving,? and in one case he might be singing ?feeling,? though I?m less certain about that one.
https://youtu.be/J-TidHrL50w
Oozing You Off My Mind (1937), key of C
Woman if you think I?m grievin' cause you quit me
You got to change your mind.
When you see me sittin? around sleepin?
I?m oozing you off my mind.
Said looka-hear gal, you been treatin? me mighty tough,
You know good and well I?m tired of that doggone stuff.
If you think I?m grievin' cause you quit me,
Gal you got to change your mind, still tellin? you,
You got to change your mind . . . Yeah!
Solo
Said, now gal you think I?m grievin' cause you quit me.
You got to change your mind.
When you see me sitting around sleepin?,
I?m oozing you off my mind.
Said ashes to ashes and dust to dust,
Show me a woman that a man can trust.
If you think I?m grievin' cause you quit me,
Babe you better change your mind, still tellin? you,
You got to change your mind . . . Yeah!
SPOKEN: Now mama if you think I?m grievin? cause you quit me,
You better change your mind.
When you see me sittin? around sleeping,
I?m just oozing you off my mind.
Scat
Baby if you think I?m grievin' cause you quit me,
You better change your mind.
When you see me sittin? around sleeping
I?m oozing you off my mind.
Said a nickel is a nickel and a dime is a dime,
Gal, what?s that you been givin? away of mine?
If you think I?m grievin' cause you quit me,
Gal you got to change your mind, still tellin? you,
You got to change your mind . . . Yeah!
SPOKEN: Lord, this world's in a turnip patch,
Everybody pickin' salad.
Awwww, too bad.
Scat
Said gal, if you think I?m grievin' cause you quit me,
You better change your mind.
When you see me sittin? around dreamin?
I?m oozing you off my mind.
Just like a squirrel that goes from limb to limb,
See my woman go from man to man and it?s too bad Jim.
Now gal, if you think I?m dreaming ?cuz you quit me,
Babe you better change your mind, still tellin? you,
Gal you better change your mind.
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I would say that it?s grievin? and sleepin? throughout
The spoken interlude sounds to me like:
Lord, this world?s in a tough patch
Everybody?s pickin? salad.
Last verse:
See my woman go from man to man, it?s too bad Jim.
Last line is
Gal you better change your mind (and no ?yeah?).
Chris
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Thanks, Chris.
I still hear a "d"/dreamin' in a couple of places, but I'm going with "grievin'" throughout because I hear the "g" in two places, and the word is a better fit meaning-wise.
Anyone know of another song describing people as "picking salad" during hard times? I'm assuming the meaning is that people are so poor that they're going into the woods and fields to pick greens.
L
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Anyone know of another song describing people as "picking salad" during hard times? I'm assuming the meaning is that people are so poor that they're going into the woods and fields to pick greens.
I assumed that meaning too, but if someone hears something else, too, I'm certainly not 100% sure of it.
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Hey guys, I think he's saying "Lord this world's in a turnip patch. Everybody's pickin' salad". I had some good turnip greens at lunch today. They are a part of many North Carolinian's diet. Also sometimes called turnips with roots with pieces of the true turnip mixed with the cooked greens in small cubes and prepared with some kind of fatback or ham for flavor.
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Yeah, Lignite, I believe you're right about "turnip" ? he kinda swallows the last syllable, but it sounds more like that (and makes more sense) than "tough." Reinforces the "salad" bit, which listening again I'm more sure that's correct.
Chris
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It's really hard for me to imagine anyone sighing and saying, "Man, this world sure is in a turnip patch," but I was raised in southern New York City, so what do I know . . .
Change made -- thanks Lightnin'!
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Lindy,
I think that it's a saying kind of in the same context as "eating high on the hog." in this case,there is a super abundance of my favorite food and plenty for everyone.
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Thanks Lightnin' ... up until your comment, the only two idioms I knew involving turnips were negative: falling off the turnip truck and getting blood out of a turnip. That's why I immediately interpreted "everyone's eating salad" to mean "poor people scrounging for wild greens 'cause there's nothing else to eat."
I know that "salad days" means "good times, when everything is going well," but when I saw turnips and salad next to each other I went for the negative interpretation, especially since the song was recorded in the mid-1930s, when economic times were at their toughest. Maybe BBF was singing about that wonderful time in late summer when gardens are really cranking out the greens.
L
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Excuse this aging thespian, but "salad days" refers to youth, first used by Shakespeare in Antony and Cleopatra, where the latter uses the phrase, "in my salad days, when I was green in judgement", speaking to her two servants, Iras and Charmion, moments before placing an adder to her breast.
Some years before money was thought of as cabbage.
You'd be surprised how many phrases in common usage were written by the Bard.
Wax
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You are correct, Wax, re: Shakespear's use being the locus classicus and the earliest attested usage. But Lindy is also correct as the meaning has expanded since the use in the text (and context) you cite.
Be that as it may. What we are trying to figure out here is what BBF specifically had in mind and what he was expressing in the spoken aside.
However, he may have had nothing specific in mind as it relates to the lyrics of the song. We've seen and heard this kind of thing before. --But it gives us something to do...
P.S. Aging thespian, you are excused ;D
Edited to add: Trying to think of a meaning that fits the context of the song, it is possible that the spoken aside may be a sexual metaphor. BBF might have meant, "The world is a turnip patch," that is, full of sexual beings, with everybody pickin'....
There's more than one turnip in the patch.
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... moments before placing an adder to her breast.
Hey wax, we did that one in school, it was an asp not an adder. Not that I know my asp from my elbow or anything :)
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Hi all,
"Mama, Let Me Lay It On You No. 2" was attempted way back in the beginning of this thread and it was never finished, so I thought I would give it a try. Blind Boy Fuller accompanies himself out of G position in standard tuning for this version of the song, and he's joined by Sonny Terry. Fuller's concluding solo is really neat--it's fun to be surprised that near the end of a song. I'd very much appreciate help with the bent bracketed passage. Here is "Mama Let Me Lay It On You No. 2":
https://youtu.be/_KA1P6nlnXw
INTRO SOLO
REFRAIN: Mama, let me lay it on you, mama, let me lay it on you
Said I'll do anything, this whole round world, mama, let me lay it on you
I'll buy you a diamond ring, now 'ets go shake that thing
Said I'll do anything, this whole round world, now, mama, let me lay it on you
SOLO
I'll try to live true to you, and nothin' else I know to do
Said I'll do anything, this whole round world, now, mama, let me lay it on you
SOLO
I'll buy you a Ford machine, then I'll furnish you the gasoline
Says I'll do anything, this whole round world, mama, let me lay it on you
SOLO
I'll buy you a Ford Machine, then I'll fill it full of gasoline
Said I'll do anything, this whole round world, now, mama, let me lay it on you
REFRAIN: Now, mama, let me lay it on you, mama, let me lay it on you
Said I'll do anything, this whole round world, now, mama, let me lay it on you
I got me a stingaree, I'll sting it sure as one-two-three
Said I'll do anything, this whole round world, now, mama, let me lay it on you
Babe, we had a fallin' out, says, over another man's wife
Said I'll do anything, this whole round world, now, mama, let me lay it on you
Now, mama, let me lay it on you, nothin' else I know to do
Said I'll do anything, this whole round world, now, mama, let me lay it on you
SOLO
Edited 7/24 to pick up corrections from Prof Scratchy and harry
All best,
Johnm
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'll buy you a Ford Machine, then I'll [get it] full of gasoline
Looks good to me.
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...fill it full of gasoline...?
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Some suggestions,
2.2 Said I'll do anything
3.2 Said I'll do anything
5.1 then I'll fill it full of gasoline
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I hear "fill it full of gasoline".
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Thanks, Prof Scratchy and Harry and dj for the lyric catches. I have made the changes. Thanks!
All best,
Johnm
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Hi all,
I'm finding a lot of low-hanging fruit in these threads--lyric transcriptions that were either fully completed and never entered in Weeniepedia, or ones so close that they only require a little bit of listening to complete. Three like that that I have entered in Weeniepedia are Blind Boy Fuller's "Big Bed Blues", "Ten O'Clock Peeper" and "Three Ball Blues".
All best,
Johnm
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Hi all,
There was a request for help with lyrics to "I'm Climbin' On Top Of The Hill" back in 2018 from a non-native English speaker who never received the help he wanted. I don't know if he ever returns to the site, but I sure like the song. Blind Boy Fuller is capoed up, playing in E position in standard tuning, and his seconding guitarist is playing A position, standard tuning, without a capo, while often voicing his A chord above Fuller in pitch, doing a D shape up at the ninth fret a la Lemon Jefferson or Bo Carter. Does anyone know who the seconding guitarist is? The JSP Fuller set Vol. 1 shows it as a solo track, which it certainly is not. Evidently, they think Rev. Davis may have been in the studio with Fuller the next day, but this player does not sound like Rev. Davis to me--he's nowhere near as flashy as Rev. Davis tended to play when seconding Fuller on other tracks. I'd appreciate some help with the bent bracketed place in the lyrics. Here is "I'm Climbin' On Top Of The Hill":
https://youtu.be/okWx073b8Rw
Y' needn't come runnin', screamin' and crying, you know you mistreat me, woman, now you's off my mind
REFRAIN: Go on, papa got your places filled
Well, I can't be worried, I'm climbin' on top of the hill
When I tried to love you, you wouldn't pay me no mind, you could spend my dollars, like you spend my dimes
REFRAIN: Go on, papa got your places filled
Then I can't be worried, I'm climbin' on top of the hill
You know I told you, long time ago, that you had to reap, everything you sow
REFRAIN: Reap on, papa got your places filled
Then I can't be worried, I'm climbin' on top of the hill
SOLO (Spoken: Play that thing for me, boy. I'm gonna try to sing it--best I can)
A nickel is a nickel, a dime is a dime, house full of women, ain't nary one mine
REFRAIN: Go on, papa got your places filled
Then I can't be worried, I'm climbin' on top of the hill
You know I told you, times and times again, I wouldn't be your enemy, rather be your friend
REFRAIN: Go on, papa got your places filled
Then I can not be worried, I'm climbin' on top of the hill
I done start to climbin', I don't need you now, I ain't fixin' to let you, pull me back down
REFRAIN: Go on, papa got your places filled
Then I can't be worried, I'm climbin' on top of the hill
SOLO
Edited 7/27 to pick up correction from banjochris
All best,
Johnm
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Could it be ‘I don’t start to braggin’ ‘?
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Bull City Red (Oh Red, George Washington) was with Fuller and Davis at the same session. He's better known as a washboard player, but during that July 1935 New York session he recorded 8 songs (2 unfortunately unissued) accompanying himself on guitar. He'd be a good bet for the second guitar player on I'm Climbin' On Top Of The Hill.
As for your bracketed word, I hear crabbin' or grabbin'.
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Thanks Prof and dj for the lyric suggestions. It does sound more like "crabbin'" than "grabbin'" to me--there's a bit of a hard c sound at the front end of the word, so I'm going to go with "crabbin'". Thanks for the help.
I had noticed in the JSP set that they show Bull City Red in the studio with Fuller and Rev. Davis two days after "I'm Climbin' On Top Of The Hill" was recorded, and I think, based solely on the aural evidence, Bull City Red seems a likelier second guitarist on the song than does Rev. Davis. Thanks for the suggestion, dj. I'll make that tentative ID of him in Weeniepedia.
All best,
Johnm
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I would suggest
I done start to climbin'
for the start of the last verse, which would go along with the end of the line.
Also, for the first line of the chorus, I also offer the suggestion "Papa got to play this fiddle" – phonetically that's a difficult line to parse and John, what you have makes sense, too, but I always heard it as that and that by playing his guitar he's not worried about her any more.
Chris
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Thanks for the suggestions, Chris. I do think the opening of the last verse is "I done start to climbin'", as you have it, and I will make that change. It also makes sense of the ending of that line. I re-listened to the choruses, and I'm consistently hearing a strong "y" in the word that follows, "got", and am hearing "your" clearly there throughout. I also don't hear any "d" sound in the middle of the word that begins with "f" at the end of the line, nor do I hear two syllables there. I'll keep that line of the chorus as is. Thanks!
All best,
Johnm
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Yeah I wasn't sure about that suggestion either, just wanted someone else to listen with that in mind!
Chris
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Hi all,
I just entered Blind Boy Fuller's "Blacksnakin' Jiver" in Weeniepedia. It had been transcribed several years ago, and it wasn't a Fuller tune that I remembered at all. You can listen to it below. I guess my question is, can you think of any 12-bar blues that crams in more lyrics than this song? I don't know another one like it, unless there is some other Fuller song or Rev. Davis tune that has exactly the same phrasing, melody, and progression. It's really an odd one.
https://youtu.be/nbS1sO7K8o4
I woke up this early mornin', mama, someone was jiving me, and if you don't want me, mama, drop that jivin' and let me be
I'm gonna wake up some of these mornings, and 't's going to be so, I've got to kill you, mama, 'cause I'm a bad mother-fuyer, don't you know?
REFRAIN: I'd rather be bit by a rattlesnake, baby, then to let you jive poor me
Says, my baby, she went away and she left me, I didn't want her to go, she had the nerve to tell me, said, "I don't want you no more."
"But that's all right now, mama," I said, "that's all right for you. I did everything in the world I could, trying to get along with you."
REFRAIN: I'd rather be bit by a rattlesnake, mama, then to let you jive poor me
Said, I bought you all last Summer, I bought you plenty of clothes, and when Winter done come you had put me out in the cold
But you know now, mama, I said, "That ain't no way to do. The same way you jivin' me, someone gonna jive you too."
REFRAIN: I'd rather be bit by a rattlesnake, baby, then to let you jive poor me
Said, I dumped sugar all the Summer, and loaded coal all the Fall, and had to go out on Sunday, mama, in my overalls
You know now, mama, said, "That ain't no way to do. There's a hearse and a undertaker waitin' right there for you."
REFRAIN: I'd rather be bit by a rattlesnake, baby, then to let you jive poor me
SOLO
All best,
Johnm
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It kinda sounds like the song "I'd Rather Drink Muddy Water".
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You're right, Harry--that similarity hadn't occurred to me. Thanks for pointing that out.
All best,
Johnm
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Hi all,
Blind Boy Fuller recorded "Night Rambling Woman" at a session in New York City on June 19, 1940, accompanying himself out of G position in standard tuning. This may be the very last piece he recorded. His playing is as assured as ever, but his voice sounds tired--maybe I'm just interpreting it that way because I know he died relatively soon after the session, in 1941. The tagline to the last verse is at odds with the remainder of the lyrics in the song, in an odd way. Here is "Night Rambling Woman":
https://youtu.be/_r6EtuYc158
Little girl, little girl, little girl, just as sweet as she can be
I said, little girl, little girl, little girl, she's as sweet as she can be
Says, and I begin to wonder--why don't you think of me?
Says, the time I need you, baby, that's the time you gone
Well, each time I need you, mama, I said, that's the time you gone
Says, and the way you treat me, baby, gonna cause me to weep and moan
Well, you leave me every mornin', stay out all night long
Well, you leave me every morning and you stay out all night long
Says, and you come back jivin', baby, said that you ain't treatin' me wrong
Said, my left eye jump, baby, and my flesh begin to crawl
Says, my left eye jump, mama, and my flesh begin to crawl
Says, that's a mighty true sign, sugar, there's another man kickin' in my stall
Sometime I feel happy, then again I feel so blue
Sometime I feel happy then again I feel so blue
Said, I wanna see that girl I'm lovin', 'cause she was so kind and true
All best,
Johnm
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Hi all,
Blind Boy Fuller recorded "Big Leg Woman Gets My Pay" at a session in Memphis on July 12, 1939, accompanying himself out of E position in standard tuning and joined by Bull City Red (Oh Red) on washboard. It is a sensational performance, and a very unusual East Coast blues in that it never goes to a V7 chord. In some ways, it is more like a Mississippi blues. Fuller's intro solo is just ripping--wow! And his even-numbered verses, where he perseverates in his E chord down at the base of the neck are just rhythm-athons with Bull City Red clicking away on the washboard. As far as I'm concerned, this is "die-happy" stuff. Here is "Big Leg Woman Gets My Pay":
https://youtu.be/8f9fXOq64eU
INTRO SOLO
My hook's in the water and my cork's on top
My hook's in the water and my cork's on top
How in the world can I lose, yeah, with the help I've got?
Lord-Lord, Lord-Lord
Yeah-ha, yeah-ha, pshaw!
Whoa-ho, yeah, Lord, Lord
Reason why, these men, whoa-ho, don't draw no pay
Why-y, they sure don't draw no pay
Tell me why these men, they sure don't draw no pay
Let these big leg woman come and take thei' pay away
Yes, they do, Lord-Lord, Lord-Lord
Well-hell, well Lord, pshaw!
Hey-ey-ey, come and draw thei' pay away
Better stop your woman from grinnin' in my face
Better stop your woman from grinnin' in my face
Wake up some of these mornin's, babe's got up, he done took your place
Yes, I will, Lord-Lord (Yeah!), Lord-Lord
Well-hell, well Lord, pshaw!
Wake up some of these mornin's, boy, he done took your place
May be your woman, but she come to see me sometimes
May be your woman, but she come to see me sometimes
Be 'round me so often, I begin to think she's mine
Yes, I do, Lord-Lord, Lord-Lord, (Yeah!) Lord-Lord, Lord-Lord
Lord-Lord, Lord-Lord, pshaw!
Say, Lord-Lord, Lordy-Lord, Lord
All best,
Johnm
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Hi all,
Blind Boy Fuller was joined by Sonny Terry on harmonica and Bull City Red on washboard for "Somebody's Been Talkin'", an up-tempo 8-bar blues for which Fuller accompanied himself out of A position in standard tuning. This is a hugely exciting cut, and I don't think Sonny Terry ever sounded better than he does on this cut--he's completely locked in with Fuller's vocal and responding to everything Fuller does, as well as playing time like a really energetic and inventive drummer. Fuller sounds completely happy and confident in his vocal, too. This is the kind of take you always hope you'll get in the studio but so seldom do. Here is "Somebody's Been Talkin'":
https://youtu.be/bbnOUtOF64o
INTRO SOLO
Well-ell, well-ell, well, aw, pshaw!
Mmm, yeah, Lordy, Lordy, Lord
I hate to see that rising sun go down
It make me believe my woman's got me on my last go-round
She used to be mine, but look who's got her now
She didn't mean me no good, God knows I couldn't keep her, nohow
Well-ell, yeah-eah, well-ll, pshaw!
Mmm, Lord, Lordy, Lordy, Lord
Say, tell me, mama, who in the world been tellin' you?
You don't even treat me nothing like you used to do
Well-hell, yeah-eah, mmmm-hmm
Well, yes, Lordy, Lordy, Lord
Says it may be a week, and it could be a month or two
'Cause when I get lucky, gal, I'm comin' right back to you
Say the woman, I love, she rolls all over the bed
She got the kind of lovin' make me talk out of my head
Whoa-ho, yeah-eah, ohhhhhh, pshaw!
Mmm, yes, Lordy, Lordy, Lord
She got coal-black eyes, she got long, black curly hair
My baby got something will lead me most anywhere (Sonny: Whoa!) (Fuller, spoken: Play it for me now!)
Whoa-ho, yeah-eah, mmmm-hmm
Mmm, yeah, Lordy, Lordy, Lord
SOLO
I hate to see that rising sun go down
'Cause I got the notion my woman's gone and left this town
Ah-ha, yeah-eah, welll-ll, pshaw!
Mmm, yeah, my woman's gone and left this town
CODA
All best,
Johnm
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Hi all,
Blind Boy Fuller recorded "You Got To Have Your Dollar" at a session in New York City on June 19, 1940. He is backed by Sonny Terry on the song, and Fuller accompanied himself out of E position in standard tuning for the session. Here is "You Got To Have Your Dollar":
https://youtu.be/bBOrDNikbjU
When I had money, I had women and friends for miles around
When I had money, had women and friends for miles around
Yeah, now I'm broke, women and friends, they can't be found
Says I'm talkin' 'bout a dollar, I mean, a dollar bill
Says I'm talkin' 'bout a dollar, I mean, a dollar bill
Yeah, now if you've got your dollar, you sure can get your order filled (Spoken: Play it for me now, boy! Play it 'til my rider gets here.)
SOLO
Said, if I could only read, read my little woman's mind
Said, if I could only read, read my little woman's mind
Yes, I wouldn't be here, worried, and stayed blue all the time
My baby keep me guessin', 'bout things I want to know
Said, my baby keep me guessin', 'bout things I wants to know
Yeah, she's got me doin' things, that I never did before
Edited 8/5 to pick up correction from harry
All best,
Johnm
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Hi all,
I just entered Blind Boy Fuller's "Blacksnakin' Jiver" in Weeniepedia. It had been transcribed several years ago, and it wasn't a Fuller tune that I remembered at all. You can listen to it below. I guess my question is, can you think of any 12-bar blues that crams in more lyrics than this song?
Johnm
A very unusual 12 bars though!
Goes something like this: | I I7 | IV I | ii | V | ii | V | I | VI | II | V | I and turnaround over two bars
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I think the second line got tangled up somehow.
1.2 When I had money, had women and friend soft miles away friends for miles around
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You're right, Harry, thanks for the catch. I'll make the change, thanks!
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I've listened to Big Leg Woman about a dozen times now (my partner Deb can confirm this), man what a great side. In a lot of old blues literature, he was kind of described as a Rev. Davis also ran, but he's such a great player in his own right.
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I couldn't agree more, Eric. I much prefer Fuller's playing and singing of blues, in particular, to Davis's. And so did the record-buying public of his day.
All best,
Johnm
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Hi all,
Blind Boy Fuller recorded "I Don't Care How Long" at a session in Memphis on July 12, 1939, accompanying himself with a slide in Vestapol tuning and backed by Sonny Terry on harmonica. It's kind of a shame he (Fuller) didn't record more slide performances, because he was really good at it. Here is "I Don't Care How Long":
https://youtu.be/Bg1pQaTQ06c
INTRO SOLO
Says I used to call you "sweet mama", can't call you sweet no more
Says I used to call you sweet, can't call you sweet no more
'Cause every time I come to your house, there's some man hangin' 'round my door
Says I can't eat every mornin', sure can't rest at night
Says I can't eat every morning, sure can't sleep at night (Spoken: Why, boy?)
'Cause that old woman that I'm lovin', yeah, she just won't treat me right
I don't care when you go, baby, don't care how long you stay
I don't care when you go, mama, don't care how long you stay
'Cause that old good kind treatment, yeah, that bring you back home to me, someday (Spoken: Ah, play it now, boy, play it for me!)
SOLO (Spoken: Yeah!)
Baby, it's hard to try lovin', when you can't get it in your mind
Ain't it hard to try lovin', can't get it in your mind
But I'm gonna find me some woman, yeah, to treat me nice and kind
All best,
Johnm
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From those first and last verses of "I Don't Care How Long," it's pretty clear that Fuller had been listening to "Who's Been Tellin' You Buddy Brown" by Sleepy John!
Chris
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Hi all,
Blind Boy Fuller recorded "I Don't Want No Skinny Woman" at a session in New York City on June 19, 1940, and was joined by Sonny Terry on harmonica and Bull City Red on washboard on the cut. Fuller accompanied himself out of E position in standard tuning for the track. Here is "I Don't Want No Skinny Woman":
https://youtu.be/FoYzC5blrfM
INTRO
Little lean woman can't draw my pay, she haven't got a thing to drive my blues away
Little lean woman, sure can't draw my pay
'Cause she haven't got nothin' to drive my blues away
When I come home at night, you know I wants to play, but I ain't got nothin' drive my blues away
I said, little lean woman, stay 'way from my door (Spoken: Why?)
I got a big fat woman and I can't use little lean woman no more (Spoken: Play it for me now!)
SOLO
I got a big fat woman, meat shakin' on her bones, every time she shakes some lean woman lose her home
I says, little lean woman, stay 'way from my door
I got a big fat woman and I can't use little lean woman no more
When I was on my way to school, met a big fat woman made me lose my mama's rule
I said, little lean woman, stay 'way from my door
I got a big fat woman and I can't use little lean woman no more ( Spoken: Play it for me now! Play it 'til my rider comes!)
SOLO
Now, if that's your woman, you better pin her to your side, pulls up her thumb I'm gwonna sure let her ride
I said, little lean woman, stay 'way from my door
I got a big fat woman and I can't use little lean woman no more
CODA
All best,
Johnm
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Hi all,
Blind Boy Fuller recorded "Boots And Shoes" at a session in New York City on February 8, 1937 and was joined by Floyd Council, on seconding guitar for the track (though the JSP set credits only Fuller on the song, a second guitarist is plainly audible, and Council played on the song immediately prior to this one in the session, as well). Fuller is capoed up, playing out of E position in standard tuning, and Council would then be playing out of A position, standard tuning, without a capo. The duo really shines here, and Council's seconding is inventive and rhythmically exciting from beginning to end. The song is a re-working of Buddy Moss's "Hey Lawdy Mama", and Fuller is very much working the same musical territory as did Buddy. I have to admit, I sort of miss the little "mini-chorus" response line at the end of the first line of each verse. Here is "Boots And Shoes":
https://youtu.be/5_M90GeUrck
INTRO SOLO
Goin' in the bottom, you can, bring my boots and shoes
Yeah, hey, bring my boots and shoes
You can tell by that, gal, got no time to lose
Now it's a mean old engine, took my gal and left me standing here
Hey, hey mama, left me standing here
Got no one to love me, have no one to care
Sun gwonna shine in, my back door someday
Hey, hey, my back door someday
And that wind's gwine rise and blow my troubles away (Spoken: Yeah!)
SOLO
Told you, gal, when, you was treatin' me mean
Hey, hey, you was treat'n' me mean
I'm gwonna leave you here and goin' back to New Orleans
I'm gon' tell you something, mama, you don't know
Yeah, hey, mama, you don't know (Spoken: Boy, you don't)
When I quit you this time, says I don't need you no more (Spoken: Yeah!)
SOLO
The woman I love, she got dimples in her jaw
Yeah, hey, she got, dimples in her jaw
Say, she carry the kind of lovin', make a little man fall
All best,
Johnm
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Hi all,
Blind Boy Fuller recorded "Hungry Calf Blues" at a session in New York City on December 15, 1937, accompanying himself out of A position in standard tuning. Boy, did he play well in A position! Not to be argumentative, but in verse two, a calf that is sixteen years old could hardly be described as "new"! Here is "Hungry Calf Blues":
https://youtu.be/8CJMi1ziYI4
Your calf is hungry, mama, I believe he needs a suck
I say your calf is hungry, mama, and I believe he needs a suck
Yes, your milk is turning blue, I believe he's out of luck
Says, I found out now, mama, reason why I can't satisfy you to save my soul
I say, hey, hey, can't satisfy you to save my soul
Yes, you've got a new calf, he's sixteen years old
But I'm gwonna see my jelly, mama, gonna bring it right on home to you
I say, hey, hey, gon' bring it right home to you
You can't find no young calf, roll jelly like this old one do
Says, I got a new way of rollin', mama, I think it must be best
I say, hey, hey, yes, I think it must be best
Says, these here North Carolina womens, just won't let Blind Boy Fuller rest
Mmmm, just won't let me rest
I said, hmm-mmm, just won't let me rest
Said, I got the kind of lovin', yes, Lord, I think it must be best
Says I roll jelly early in the mornin', and I also roll at night
I say, hey, hey, I also roll at night
Then I don't stop rollin', 'til I know I rolled that jelly just right
All best,
Johnm
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Not to be argumentative, but in verse two, a calf that is sixteen years old could hardly be described as "new"!
I think he means "new" to her! :)
Chris
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I was kidding, Chris, just doing my imitation of a dopey literalist blues scholar.
-
Oh I know, just having fun too. :D
Chris
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Hi all,
Blind Boy Fuller recorded "Shaggy Like A Bear" at a session in New York City on December 15, 1937, accompanying himself out of G position in standard tuning. I think his record company must have been in love with him at this point, because in looking at his session dates for 1937, he was in New York and recording on four different occasions, spending three days there each time, in February, July, September and December, recording a total of 51 titles that were released--a Herculean output, and I've yet to encounter a weak track in the bunch! That kind of productivity is pretty humbling for any musician who has recorded. It also goes some way towards explaining why he was the most popular Piedmont blues recording artist ever, as well as the most influential.
Fuller was operating in Texas Alexander's territory with regard to the frankness of his language on this song. He liked that one tagline so much he used it three verses in a row. It sounded to me like he mis-spoke at the end of the first line to his last verse, but if you can hear something that makes more sense there, I'd appreciate if you would let me know. God, his guitar playing is good on this one, and his singing was always great. Here is "Shaggy Like A Bear":
https://youtu.be/cfmEJvvRznc
See my woman, tell her I says, "Hurry home."
Hey, hey, tell her I says, "Hurry home."
Says, I ain't had no lovin', Great God, since my gal's been gone
Says, I know my little woman, sure gwonna change my mind
Hey, hey, sure gwonna change my mind
Says, because whenever she walks, and she reel and rocks behind
Says, my woman, she's got something, shaggy like a bear
Hey, hey, shaggy like a bear
She says, "Come around to my room, daddy.", Great God, and that stuff is there
Says, she asked me for fifteen cents, pay her way in the fair
Hey, hey, just to pay her way in the fair
She said, "Come around to my room, daddy.", Great God, and the stuff is there
She's a little bit knock-kneed, but she'll brook to carry her anywhere
Hey, hey, her looks will carr' her anywhere
And she just call around to my room, "Daddy", Great God, and the stuff is there
CODA (Spoken: Great God, that stuff is good!)
Edited 8/12 to pick up additional lyrics from banjochris
Edited 8/13 to pick up corrections from harry
All best,
Johnm
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Hi all,
For "Mojo Hidin' Woman", recorded on September 7, 1937 in New York City, Blind Boy Fuller accompanied himself out of A position in standard tuning. Here is "Mojo Hidin' Woman":
https://youtu.be/H5Kn7cJ0sxQ
INTRO SOLO
Now, it's stingy mama, don't be so stingy with me
Stingy mama, don't be so stingy with me
You's a good little girl, but you so stingy with me
Throw your water out your pitcher, mama, let your bowl go dry
Throw your water out your pitcher, let your bowl go dry
Then I'll give you my lovin', mama, mama, just before you die
My gal got a mojo, she won't let me see
Says, my babe's got a mojo, she won't let me see
One morning about four o'clock, she eased that old thing on me
Now mama, mama, you can't keep that mojo hid
Hey, hey, mama, can't keep that mojo hid (Spoken: Why, boy?)
'Cause I got something just to find that old mojo with
Now my mama, lent me something, she calls that stingeree
My mama lent me something, called that stingeree
I done sting my baby, and she won't stay away from me
CODA
All best,
Johnm
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Hi all,
Blind Boy Fuller recorded "Been Your Dog" at a solo session in New York City on February 10, 1937, accompanying himself out of D position in standard tuning. Fuller didn't shy away from playing in D position as some well-known players like Blind Lemon and Charlie Patton did. Here is "Been Your Dog":
https://youtu.be/pHOHn7l-pSg
INTRO SOLO
Says, I've been your dog, mama, ever since I've been your man
Been your dog, mama, ever since I've been your man
Leavin' you this morning, mama, you can do the best you can
Says, I got me a suitcase, and gettin' me a travelin' trunk
Got me a suitcase, mama, gon' get me a travelin' trunk
Every night I come home, you piled up in the bed, drunk
Mama, today have been, long old lonesome day
Day have been, mama, long old lonesome day
Seem like tomorrow gonna, be the same old way
I said, Lord, Lord, what more can a poor man do?
I said, Lord, Lord, what more can a poor man do?
Try to be good to you, mama, you keep me worried and blue
Now when I'm gone, mama, no use to weep and moan
When I'm gone, mama, no use to weep and moan
Get you another man, God knows this one's gone
Edited 8/13 to pick up corrections from lindy
All best,
Johnm
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On "Shaggy," I agree that he misspeaks on that one line; the meaning is certainly clarified by the next one – what you have there is a good phonetic representation, I think.
Don't forget the very end – Spoken: Great God, that stuff is good!
Chris
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Thanks for corroborating the mis-spoken line Chris and for the catch on the last spoken line--I just figured he was done at the end off that little coda and didn't listen through to the end--now I know! Thanks!
-
On "Been Your Dog," a couple of minor points:
First verse--I think he sings "ever" both times instead of "every," this might be a spellcheck issue.
Second verse--I think he sings "dead drunk" instead of only "drunk."
Lindy
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Lindy, thanks for the catches of the "every" mistakes in verse one--I'll make those changes. Verse two is correct as is. What you're hearing as "dead drunk" is "bed drunk". Thanks!
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Some suggestions for Shaggy Like A Bear
1.1 See my mama woman
3.1 Says, my woman, she she's got something, shaggy like a bear
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Thanks for the fixes, Harry, and I've made the changes. Thanks!
-
Verse two is correct as is. What you're hearing as "dead drunk" is "bed drunk". Thanks!
I agree with Lindy.
If it is "bed drunk", then the line is "you piled up in bed, bed drunk". Doesn't sound like "the" to me. I like "you piled up in bed, dead drunk" better. There is very little difference between the plosives "b" and "d" on a scratchy, poorly mic'ed recording, which leaves it pretty open to "interpretation".
Wax
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I'm hearing it exactly the way John is here. Fuller puts a bit of odd emphasis on "the" is all. Listening with headphones I would say it's possible he's singing "this" and trails off.
But "bed, drunk" is definitely what I am hearing.
Chris
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Hi all,
Blind Boy Fuller recorded "Tom Cat Blues", an 8-bar blues played out of E position in standard tuning at a session in New York City on February 9, 1937. The session notes in the JSP Fuller set have Bull City Red backing him on the track, on washboard, and he doesn't--it is certainly a solo number for Fuller. It's a terrifically strong track in every way, lyrics, singing and guitar-playing, the last of which is heavily indebted to Buddy Moss. As was always the case with Fuller, he emphatically made ideas whose source was elsewhere his own through the forcefulness and personality of his own delivery. Here is "Tom Cat Blues":
https://youtu.be/0W0BVrmCbhs
INTRO SOLO
You's a dirty mistreater, don't mean your man no good
Gwonna quit you this mornin', gwonna leave your neighborhood
Now I used to, have a woman, had her front teeth is crowned with gold
I wouldn't mistreat my baby, not to save nobody's soul
Now I told, you, mama, you been mistreatin' me every way
Sun gwonna shine in my back door someday
Now the sun, is shinin', in Blind Boy Fuller's door today
I ain't got many dollars but things sure is comin' my way
HUMMED VERSE
Now I used to, have a woman, make a passenger train, jump the rails
Got a hard-head gal, mama, make a tomcat heist [sic] his tail
Now, rider, I told you, when you were doin' me mean
Gwonna quit you, gal, goin' back to New Orleans
Now I got, me a woman, she rolls all over the bed
She got the kind of lovin' make a man talk out his head
SOLO
What you want, with a woman, can't cheat, beg, robbin' or steal?
When you get in trouble, she can't bring you a decent meal
I got a new, way of lovin', woman, you know I think it must be best
These here women up the country, won't let Blind Boy Fuller rest
SCATTED AND HUMMED VERSE
CODA
Edited 8/20 to pick up corrections from banjochris
Edited 8/21 to pick up correction from harry
All best,
Johnm
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A few suggestions on "Tom Cat," John –
1.2 and 6.2 QUIT instead of fix
3.1 missing an "r" in mistreatin' (just a typo but kind of a funny one!)
7.1 WOMAN instead of mama
7.2 THESE HERE women up the country
Chris
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I re-listened, Chris, and all of your suggestions were spot on, so I have made the changes. Thanks! Isn't that a great take? And I've never heard it covered.
-
It really is great – Fuller I think is a very underrated musician.
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Hi all,
Blind Boy Fuller was joined by Sonny Terry for "You're Laughing Now", recorded at a session in Columbia, South Carolina on October 29, 1938. Fuller accompanies himself out of G position in standard tuning, but he is capoed up to sound in A, so Sonny would be playing cross-harp on a D harmonica, and the high pitch really suits him, he sounds like a million bucks, and his solo intro, before Fuller comes in on the guitar, is hair-raising. It's refreshing to hear a song employ a different arranging idea. This seems an unusually well-crafted set of lyrics. Here is "You're Laughing Now":
https://youtu.be/S2H0qVA9Rvo
HARMONICA INTRO
Work for you now, baby, treat you like you was a baby child
Says, I work for you now, mama, treat you like you was a baby child
Say, you're laughin' now, mama, but you be cryin' after awhile
Says, I'm a hard-workin' man, you're quittin' me for yourself, hard-workin' man, you quittin' me for your fellow,
Oh babe, ought not to be so doggone wild
Says, you're laughin' now, mama, you'll be cryin' after awhile
Say, you're three times seven now, baby, you know what you want to do, you're gonna think about the good things, that I used to do
You laughed and said, be glad to pile my clothes in a fire
Says, you're laughin' now, mama, you'll be cryin' after awhile (Spoken: Play it for me now, Mr. Man!)
SOLO
Then I tried so hard, mama, to get along with you, but I couldn't feel you, baby, no matter how I do
You laughed and said, how I was drivin' you wild
Say, you're laughin' now, mama, you'll be cryin' after awhile
Edited 8/21 to pick up correction from Harry
All best,
John
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Hi Johnm,
In the first two lines it sounds to me like he sings "treat you like you WERE THE baby child."
Wax
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Hi Wax, I'll stick with what I have--the vowel sound is perfect for "was" and wrong for "were", plus there's a "z" sound at the end of that verb, like "was", and no "r" sound at all.
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Wax, I can see how you would hear "were the" there, but I agree with John on "was a."
Chris
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2.1 Says, I'm a hard-workin' man, you're quittin' me for yourself, hard-workin' man, you quittin' me for your fellow
-
Suggestion for Tom Cat Blues,
Now I used to, have a woman, had her front teeth was is crowned with gold
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Good catches, Harry, I will make both of those changes. Thanks!
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Hi all,
Blind Boy Fuller recorded "Long Time Trucker" at the same Columbia, South Carolina session on October 29, 1938 as he recorded "You're Laughing Now", and as on that song, he was joined by Sonny Terry on harmonica. Fuller accompanied himself out of A position in standard tuning for this song. Lyrically, the song sort of makes a left turn after the solo in the middle of the rendition, and by the time it gets to the end, the opening premise is forgotten. It reminds me of Lemon Jefferson's "Balky Mule Blues", which ends up being about a bearcat. I'm not at all certain I have the opening of the tagline to the last verse correct and would appreciate correction or corroboration. Here is "Long Time Trucker":
https://youtu.be/CAY-qQPxRbU
INTRO SOLO
Says I'm a long-time trucker, what these womens all crazy about
Says I'm a long-time trucker, what these womens all crazy about
While your other man is gone, I'll 'bout wear your mattress out
When I start to lovin', it runs right to your head
When I starts to lovin', run right to your head
Then, when your other man come home, he's gonna swear you's almost dead (Spoken: Play it, now! Play it for me, now!)
SOLO (Spoken: Yeah!)
Said, I b'lieve to my soul, my gal got a black cat bone
Said, I b'lieve to my soul, my gal got a black cat bone
Says, I can eat one Sunday night, Monday mornin' I go slippin' back home
I say, mmmmmmmmmm, I go slippin' back home
I say, mmmmmmmmmm, I go slippin' back home
Said, I b'lieve to my soul, my gal's got a black cat bone
Says, he's up on his feet, like a tom cat on his beat
Oh, he's up all night long, like a tom cat on his beat
So if he talks about Blind Boy Fuller, don't care who he meet
Edited 8/21 to pick up correction from harry
All best,
Johnm
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I'm hearing "talks" instead of "talking" on the final line.
-
I re-listened, and I agree with you, Harry--"he talks" rather than "he's talkin'", which I had. I will make the change. Thanks!
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Hi all,
Blind Boy Fuller recorded "My Brownskin Sugar Plum" at a session in New York City on July 26, 1935, accompanying himself out of C position in standard tuning. Vocally, this piece doesn't have Fuller's characteristic energy--he almost sounds as though he was a little under the weather. Here is "My Brownskin Sugar Plum":
https://youtu.be/sRxG46Hr9U4
INTRO SOLO
I got me a brownskin woman, she don't pay me no mind
I got me a brownskin woman, she don't pay me no mind
And I know she gwonna miss me, baby, if I leave this town
I want you to tell me, mama, where did you get your sugar from?
I want you to tell me, sugar, where'd you get your sugar from?
And I b'lieve you got it way down, on your Daddy's sugar farm
Lord, I've got me a brownskin woman, she lives up on that hill
Lord, I've got me a brownskin woman, she lives up on that hill
She got ways like a tadpole, she won't keep her body still
Says, I'm getting old, mama, my head is turning grey
I'm getting old, mama, my head is turning grey
And I'm getting tired of, my low-down sinful ways
Yes, there's a change in the ocean, change in the deep blue sea
Lord, there's a change in that ocean, change in the deep blue sea
There's a change in my woman, there ain't gon' be no change in me
Lord, Lord-Lord, Lord, Lord, Lord, Lord, Lord
Lord-Lord, Lord-Lord, Lord, Lord, Lord, Lord, Lord
There's a change in my woman, there ain't gon' be no change in me
Edited 8/24 to pick up corrections from harry
All best,
Johnm
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John Jackson does a great version of this song (Blues Houseparty).
Some suggestions
I want you to tell me Now just tell me, mama, where did you get your sugar plum
I want you to tell me Now just tell me, sugar, where'd you get your sugar plum
And I b'lieve you got it way down, on your Daddy's sugar farm
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Thanks for the catches, Harry. For the first and third lines you are correct, and I've made the changes. In the second line, Fuller does sing, "Now just tell me, sugar . . . .", so I've left that line the same as I had it. Thanks!
EDITED: First line began with "Now just tell me" also.
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John,
Your post on Brownskin Sugar Plum says you edited with harry's changes, but I don't see those changes in the text.
Dave
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It's because I had the first two lines of the second verse correct originally, and changed them both back to "Now just tell me" at the front end. I picked up Harry's "and" beginning a line near the end of the song. I also in the second verse corrected "plum"--Fuller sang "from" both times.
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I thought "from" was correct, then re-listened. It could be "plum", it's really hard to discern. Same with the "I want you to tell me" vs "Now just tell me".
If I was singing it, I would certainly prefer the fewer syllables of "Now just tell me".
Dave
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He definitely never says "to" at the front end of either of the first lines, and he pronounces "from" more like "f'om". Those front ends are right as they are.
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John, listening to "Sugar Plum," I have to agree with Harry on both of those beginnings for 2.1 and 2.2. The first time he sings "I want you tell me mama" and the second time he sings "I want you to tell me, sugar." He swallows the "to" quite a bit, in fact he's swallowing all of those words a bit, but it's there.
Chris
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Well, if more than one close listener hears it, I re-listen, and I finally heard it. Good on you, Harry and Chris, that is some seriously twisted pronunciation. I will make the changes. Thanks!
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Hi all,
Blind Boy Fuller recorded "Stingy Mama" at a session in New York City on July 12, 1937, accompanying himself out of A position in standard tuning. When he starts his intro solo, you can't really tell whether he is playing in A or C until he goes to the IV chord in the fifth bar, at which point the key center becomes clear. Fuller recorded essentially the same song later the same year, calling it "Mojo Hidin' Blues" then. Here is "Stingy Mama":
https://youtu.be/8U5W6EMzqJ8
INTRO SOLO
Stingy mama, don't be so stingy with me, I says
Stingy mama, don't be so stingy with me
Says you's a good little girl, Lord, you so stingy with me
Throw your water, out your pitcher, mama, let your bowl go dry
Throw your water out your pitcher, let your bowl go dry
Said I want some of your lovin', mama, just before you die
Says my babe, got a mojo, and she won't let me see
Says my babe got a mojo, she won't let me see
One mornin' 'bout four o'clock she, eased that old thing on me
Now, mama, now, ma, you can't keep that mojo hid
I say hey, hey, mama, can't keep that mojo hid
'Cause I got something, mama, just to find that mojo with
Now my mama, lent me something, called that old stingeree
Hey, mama lent me something, called that stingeree
Says, I done stung my little woman, and she can't stay away from me
CODA
All best,
Johnm
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John:
In the last verse of "Stingy Mama" I here let instead of lent. Doesn't make sense though.
Alex
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Thanks for suggestion, Alex. I re-listened, and the "n" in "lent" is certainly not very pronounced, but I'm just hearing a little nasal suggestion of it before the "t" in "lent" in both of those lines. And as you noted, "let" doesn't make sense anyway, so I'm inclined to stick with "lent".
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"to let" means "to lease", as in "rooms to let" a very common sign of 20th century era. So the sense of "LENT me something, called that old stingeree" vs "LET me something, called that old stingeree" would be whether the owner of the stingeree expected compensation, either she was lending it as a favor, or leasing it for some sort of return favor.
Listening I would agree with John that the suggested nasality is not very pronounced. Attempting to sing the line, I find it is very hard to sing that nasality followed by a "T" sound at speed, that if I really wanted to sing "lent" it would come out as "len' " eliding into the "me" with no hard "T". Tough call.
Wax
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Hi wax,
I don't think that "let" in the "rent" meaning is any more plausible than "let" in the "allow" meaning in this context.
She's renting Fuller her stingeree? I don't think so.
All best,
Johnm
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It's definitely not "let" – there's another sound there. To me in headphones it sounds more like "left," which makes more sense than "let" but less than "lent." I think you could make a case for either left or lent sound-wise.
Chris
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In a song named Stingy Mama you think it is unreasonable that she would make him pay for sex? I guess it's too subtle a joke for Fuller to sing? That's a judgement call.
I think the fact that there is such a strong "T" sound argues for "let", because "left me" would most likely be sung "lef'me" and likewise, "lent me" would be sung "len'me". Fuller was a very nasal singer and I think this can cause a lot of extraneous sounds. But I leave it to you all.
Wax
Edit to add: I remembered that in Screaming and Crying Blues Fuller sings "left me" at the end of verse 1 and in the first two lines of verse 2. Checking just now, he very clearly sings ""lef'me".
-
For what it's worth, wax, when I sing or say "lent" I get exactly the sound I hear in Fuller--mostly a "t" at the end of the word and just a little hint of a nasal "n" sound immediately prior. I don't sing or say "len'" at whatever speed.
All best,
Johnm
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Hi all,
Blind Boy Fuller recorded "Walking And Looking Blues" at a session in New York City on July 12, 1937, accompanying himself out of G position in standard tuning. In the tagline to the first verse, "bes" is not a misprint or mis-spelling. Here is the song:
https://youtu.be/VzlUENpvkgE
INTRO SOLO
Said, I can't see how these, worried mens can sleep
Said, I can't see how these, worried men do sleep
Said, he bes up all night just like a, police on his beat
Said, I walked last night, baby, feet got soaking wet (Spoken: Yeah!)
Said, I walked all night, mama, feet got soaking wet
Said, I didn't find my woman, ain't stopped walking yet
But I'm gwonna find my little woman, don't think she can be found
I say, hey, hey, don't think she can be found (Spoken: Why, boy?)
I'm gon' walk this hard, hard road 'til my, mustache drag the ground
SOLO
Said, I got a new way of lovin', think it must be best (Spoken: Aw, pshaw!)
I got a new of lovin', think it must be best (Spoken: Why, boy?)
Said, these here North Carolina women, won't let Blind Boy Fuller rest
All best,
Johnm
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In the tagline to the first verse, "bes" is not a misprint or mis-spelling.
I whole heartedly agree with this approach.... to include southern convention/black dialect. It's a challenge on how best to spell or express it though... ! In this vain, imo:
Said, I can't see how these, worried mens can sleep... should be
Said, I can't see how dees (however you want to spell it), worried mens can sleep
-
You make a good point, Slack. I find that it feels okay to me to leave off a "g" at the end of a participle, or to use gon' for "going" or gonna or gwonna for "going to", but I resist using o' for "of", do' for "door" or ta for "to". It's weird that some sort of sense of what's right or appropriate creeps in sometimes, and it's really a matter of taste, not necessarily something that is carefully considered before the choice is made. I guess that's an indication of the extent to which transcribing is an art at some level and not a science.
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Ha, well it really is.... and I know what you mean, it's a funny thing. Some of the dialect I may have almost an overwhelming urge to correct to 'proper english'.... others, meh, not so much.
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Hi all,
Blind Boy Fuller recorded "When Your Gal Packs Up And Leaves" at a session in New York City on April 29, 1936, accompanying himself out of E position in standard tuning. In some ways this doesn't seem like a Carolina blues--no V chord. I'd very much appreciate help with the bent bracketed places. Here is "When Your Gal Packs Up And Leaves:
https://youtu.be/xhUBhHnB_es
INTRO SOLO
I woke up this morning, woke up this morning, blues all 'round my bed
We-ell, mama, blues all 'round my bed
We-ell, mama, blues all 'round my bed
Went to eat my breakfast, had the blues all in my bread
Lord-Lord, Lord-Lord, Lord-Lord, Lord-Lord
Lord-Lord, Lord-Lord, pshaw
Hey, Lord-Lord, Lordy, Lordy, Lord
Don't your room, look lonesome, when your gal pack up and leave?
We-ell, mama, when your gal pack up and leave
We-ell, mama, when your gal pack up and leave
They drink your belly full of moonshine, but your heart sure ain't never free
Lord-Lord, Lord-Lord, (Spoken: Yes!) Lord-Lord, Lord-Lord
Lord-Lord, Lord-Lord, pshaw
Drink your belly full of moonshine, but your heart sure ain't never free
I got up this morning, say this morning, worried all the time
Well I got up this morning, worried all the time
I got up this morning, worried all the time
Way my woman treat me, sure gon' make me lose my mind
Lord-Lord, Lord-Lord, Lord-Lord, Lord-Lord
Lord-Lord, Lord-Lord, pshaw
Hey, Lord-Lord, Lordy, Lordy, Lord (Spoken: Yeah!)
SOLO
Be she lookin' for me, she's up all hours at night,
Mmm-mmm, hmmm, hmmm, hmmm
Mmmm-mmmm, hmmm, hmmm, mmm
Don't care how late I go there, she never cut out all her lights
CODA
Edited 9/8 to pick up corrections from harry and Johnm
All best,
Johnm
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Fuller sure does swallow that last word in verses 2 and 3 of "When Your Gal Packs Up And Leaves". "Free" certainly fits phonetically and also makes lyrical sense. I'd go with that.
Incidentally, what a great performance. After the second line of each verse, you expect Fuller to go to the V chord and the last line of a typical 12 bar blues, but he doesn't. Even after listening a few times in a row, that gives me a little mental jerk because it's so ingrained in me where the song has to go, and it doesn't go there.
-
Thanks very much for the help, dj, I will go with "free". And I agree, Fuller's playing is so exciting and has such rhythmic vitality. And I have a similar response, being brought up short when I think he's going to the V chord and he doesn't, even when I know it's coming! He amplifies the effect by going to a V note in the bass, but as the fifth of the I chord, rather than the root of the V chord. It's a sort of "resolvus interruptus" moment.
All best,
Johnm
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Man, this is a great side. I hesitated about posting "free" earlier but wasn't sure. dj meant verses 3 and 4?
Some suggestions,
1.I woke up this morning, woke up this morning, blues all around 'round my bed
We-ell, mama, blues all around 'round my bed
We-ell, mama, blues all around 'round my bed
3.4 You'll They drink your belly full of moonshine, but your heart sure ain't never free
I know it doesn't make sense but I clearly hear "they" instead of "you'll".
I think Fuller mispoke here which might explains why he skipped that word in verse 4.
5.1 I got up this morning, yeah this morning, worried all the time
5.4 Way my woman treat me, sure gonna gon' make me lose my mind
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Hi Harry, thanks for the catches. I agree with all of them except "yeah this morning", which I believe is "say this morning". I've made the changes. Thanks!
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Hi all,
Blind Boy Fuller recorded "If You Don't Give Me What I Want" at a session in New York City on February 8, 1937 for which he was joined by Bull City Red on washboard and Floyd Council on second guitar. Fuller was capoed up, playing out of C position in standard tuning, and Floyd Council backed him out of F position in standard tuning on the song, which utilized an 18-bar rag blues progression like so many other Fuller songs. Here is "If You Don't Give Me What I Want":
https://youtu.be/DNfK5-Ejw88
INTRO
If you don't give me just what I want, mama, then I know who will
If you don't give me just what I want, then I know who will
Woke up this morning, 'bout half past four, found a man runnin' out my woman's back door
'f you don't give me just what I want, baby, then I know who will, I mean, mama, then I know who will (Spoken: Yeah!)
You don't give me just what I want, mama, then I know who will
You don't give me just what I want, then I know who will
Ashes to ashes, sand to sand, show me a woman ain't got a back-door man
You don't give me just what I want, baby, then I know who will, I mean, baby, then I know who will (Spoken: Yeah!)
If you don't give me just what I want, mama, then I know who will
If you don't give me just what I want, then I know who will
Ash to ashes and dust to dust, show me a woman that a man can trust
'f you don't give me just what I want, baby, then I know who will, I mean, sugar, then I know who will (Spoken: Yeah!)
SOLO (Scat singing, Yeah!)
Now if you don't give me just what I want, baby, then I know who will
If you don't give me just what I want, then I know who will
I asked my gal where she stay last night, "Reason why I'd ask you, mama, sure ain't actin' right."
You don't give me just what I want, baby, then I know who will, I mean, baby, then I know who will
You don't give me just what I want, mama, then I know who will
You don't give me just what I want, telling' you I know who will
Met a gal this mornin', she was sixteen years old, said if I'd quit you, woman, she would satisfy my soul
'f you don't give me just what I want, mama, then I know who will, see I'm tellin' you, then I know who will (Spoken: Yeah!)
SCAT SOLO
'f you don't give me just what I want, baby, then I know who will, I mean, mama, then I know who will
Edited 9/11 to pick up corrections from harry and Johnm
All best,
Johnm
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1.4 'f you don't give me just what I want,
mama baby, then I know who will, I mean, baby mama then I know who will
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Thanks for the catches, harry, I've made the changes. Thanks!
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Just wanted to say what a splendid performance, there's drive from everyone involved and Fuller's singing is absolutely phenomenal! Just fills me with joy when he starts scatting over the bass-line about half way through. Marvellous!
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Hi all,
For "Heart Ease Blues", recorded on December 15, 1937 in New York City, Blind Boy Fuller was again joined by Floyd "Dipper Boy" Council, with Fuller again working out of C position in standard tuning, capoed, and Council playing out of F in standard tuning, tuned low. As Thomas noted on "If You Don't Give Me What I Want", this particular duo worked wonderfully well together. Musically, "Heart Ease Blues" could be seen as a cover of Blind Blake's "Diddie Wa Diddie", though its lyrics are altogether different. Fuller shared a quality with Barbecue Bob, another prolific Country Blues musician who similarly died young--they both always sounded so alive. Here is "Heart Ease Blues":
https://youtu.be/kHckoUanMYA
There's one thing I need to do, stop that truckin', start Suzin' Q, now
REFRAIN: Give it to me, yeah, give it to me
Mama, you know I can't take it, you got to give me just what I want
I went to my baby with the heart's disease, "Give me somethin', mama, ease my poor heart ease, but
REFRAIN: Give it to me, please, give it to me
Mama, I can't take it, you got to give me just what I want (Spoken: Yeah!)
You're takin' this medicine, if it goes to your head, if you take it you have to be in the bed, now
REFRAIN: Give it to me, mama, please give it to me
Gal, you know I can't take it, you got to give me just what I want (Spoken: Play it now!)
SOLO (Spoken: Yeah!)
Now if you take my medicine and take it right, had to take it from eight o'clock 'til twelve o'clock at night, now
REFRAIN: Give it to me, mama, please give it to me
Say, you know I can't take it, you got to give me just what I want
Says, its not whiskey, it don't look like wine, if you don't get it ain't no fault of mine, now
REFRAIN: Baby, give it to me, mama, please give it to me
Gal, you know I can't take it, you got to give me just what I want (Spoken: Yeah, play it now!)
SOLO X 2 (Spoken: Yeah! Yeah!)
If you give it to men at eighty-three, I know good and well you got to give it to me, now
REFRAIN: Baby, give it to me, yeah, give it to me
Mama, I can't take it, you got to give me just what I want
Edited 9/12 to pick up correction from harry
All best,
Johnm
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I like Blind Boy Fuller more than I used to.
5.1 Says, it's not of whiskey
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Thanks, harry, I agree. I heard a "v" sound in there before, preceding whiskey, and the only thing that made sense was "of whiskey", but I must have been listening super sensitively, because re-listening, I'm not hearing it. I will make the change. Thanks!
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Hi all,
Blind Boy Fuller recorded "Some Day You're Gonna Be Sorry" at a session in New York City on July 12, 1937, accompanying himself out of E position in standard tuning. The song is an 8-bar chorus blues, closely related to "Worried Life Blues" or "You To To Reap Just What You Sow". Fuller diverges from the sung form for his intro solo. Here is "Some Day You're Gonna Be Sorry":
https://youtu.be/l4i5fpNvTVA
INTRO SOLO
I told you baby, time and times again, I wouldn't be your enemy, 'd rather be your friend
REFRAIN: But some day, you're gonna be sorry, you mistreat me
Now you mistreat me here, can't when I go home, I got somebody there, mama, make you leave me 'lone
REFRAIN: But some day, you're gonna be sorry, you mistreat me
Today have been, long lonesome day, seem like tomorrow, be the same ol' way
REFRAIN: But some day, you're gonna be sorry, you mistreat me
The woman I love, four feet from the ground, every time I hug and kiss her, make my love come down
REFRAIN: But some day, you're gonna be sorry, you mistreat me
If you see my woman, tell her I said, "Hurry home.", ain't had no lovin', since my gal been gone
REFRAIN: But some day, you're gonna be sorry, you mistreat me
You're gonna want my love, some lonesome day, gwon be too late, mama, I be too far away
REFRAIN: But some day, you're gonna be sorry, you mistreat me
Take me now, baby, just as I am, ain't got no money, Lord, I'm in a jam
REFRAIN: But some day, you're gonna be sorry, you mistreat me
All best,
John
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Hi all,
Blind Boy Fuller recorded "Black Bottom Blues" at a session in Memphis on July 12, 1939, accompanying himself out of C position in standard tuning. It came in the midst of a session in which he was, for the most part, joined by Sonny Terry and or Bull City Red. I think Fuller's accompaniment here shows a Lonnie Johnson influence, in as much as he plays a C version of Lonnie's signature lick. Here is "Black Bottom Blues":
https://youtu.be/wS7xbHCzpM4
INTRO SOLO
Say you travel water, mama, I say you travel land
I say you travel water, mama, I say you travel land
Yeah, you can't find nobody to love you, mama, just like the way I can
I say, you must remember, oh Lord, I once been called your friend
Say you must remember, baby, I once been called your friend
Hey, I believe you'd help me, mama, if you waren't in the shape you's in
I sent for you yesterday, baby, and here you come today
Says I sent for you yesterday, and here you come today
Yeah, mama, if you can't do better, you might as well to shake away
I got a call in Black Bottom, hey, mama, and I got to go
I got a call in Black Bottom, mama, and I got to go
Yeah, I wanta have a little talk, with my gal, so-and-so
CODA
All best,
Johnm
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Hi all,
Blind Boy Fuller recorded "Painful Hearted Man" at a session in New York City on April 5, 1938, accompanying himself out of D position in standard tuning. Musically, the song strongly resembles his "Working Man Blues" and has substantially the same accompaniment. Here is "Painful Hearted Man":
https://youtu.be/DCLU3qQ--Bk
INTRO SOLO
Said I was standin' at the station, waitin' on that evening train
I was standing at the station, waitin' on that evening train
Says my head hangin' low, mama, my heart was growing in pain
Says I get my money, and give it to you free
Says I take my money, mama, and give it to you free
I'm gwon tell you this morning, mama, you ain't what you intend to be
Please hurry down, sunshine, see what that morrow brings
Hey, hey, see what that morrow brings
May bring down my woman, ridin' on that southbound train
Mmmm-mmmm, mmmm-mmmm-mmm
Hey, hey, mmmmm-mmmmm-mmm-mmm
May bring down the woman I'm lovin', ridin' on that eastbound train
Yeah, feel like walkin', feel like lyin' down
Said I feel like walkin', mama, feel like lyin' down
You know I feel just like lovin', my rider ain't nowhere around
Yeah, went to the station, I sure didn't see no train
Says I went to the station, mama, I didn't see no train
Say I didn't see the woman I was lovin', no one to call for 'er name
All best,
Johnm
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Hi all,
Blind Boy Fuller recorded "Bulldog Blues" twice, and both versions were 8-bar blues played out of A position in standard tuning. Here is the first version, which was recorded at a session in New York City on July 12, 1937. (Fuller sure became voluble when the cop asked him his right name.):
https://youtu.be/lGvepg1BC0Y
INTRO SOLO
Gonna buy me a bulldog, watch you whilst I sleep
Keep these here men from makin' this early mornin' creep
I got me a bulldog, shepherd and two or three hounds
Takes all them dogs to run my crooked woman down
Then I'm goin' uptown, have a talk with the Chief Police
Says my gal done quit me, I can't see no peace
Says my gal went away, and she wouldn't even write to me
Say that made me lonesome, worried as I can be (Spoken: What you do, boy?)
Yes, she wrote one line, and she lied that pencil down
Says her heart struck sorrow and the tears come rollin' down
Hey-hey, hey-hey, Lord-Lord, Lord-Lord
Lord, Lord, Lord, Lordy-Lordy, Lord
Then I feel just like snappin', my pistol in your face
Let some lonely graveyard be your restin' place
SOLO
Says I was standing, on the corner, Lord, Fifth and Main
Say that police rid by, said, "Tell me your right name."
Then I told him, "My name, writ in the bosom of my shirt."
Says, "I'm a woman lover, sure don't have to work."
Says, "It ain't, no use, sir, set me, workin' so hard."
Says, "I got too many women in the white folks' yard."
Says, "They kill that chicken, and they save me the wing."
Say, "They think I'm workin' and I ain't doin' a doggone thing."
Now, bye-bye, baby, gonna leave you here myself
Say you done quit me, and I gotta get me someone else
CODA
Fuller re-recorded the song again, shortly thereafter, at a session in New York City on September 7, 1937. Here is that version,
and note how different the opening solo is:
https://youtu.be/uKMvEMPj0ss
INTRO SOLO
Gonna buy me a bulldog, yeah, shepherd and two, three hounds
Got me two high yella women, one black and one brown
Gwonna buy me a bulldog, yeah, watch you whilst I sleep
Just to keep these men from makin' this early-mornin' creep
Then I'm goin' uptown, have a talk with the Chief Police
Says my woman I love quit me, I don't see no peace
She got my mind all worried, like water in the deep blue sea
Says that's all right, mama, way you treat poor me
Mmmm-mmm, mmmm-mmm, mmmm-hmmm
Mmmmmmmm, Lordy-Lordy, Lord
Then I feel like snappin' my pistol in your face
Let some lonely graveyard be your restin' place (Spoken: Ah, play it a long time!)
SOLO
I was standing on the corner, yeah, call it Broad and Main
Say that police rid by, asked me my right name (Spoken: what you tell him, boy?)
Then I told him, "My name, is written in the bosom, my shirt."
Says, "I'm a woman's lover and I sure don't have to work."
Hey-hey, hey-hey, mmmmm-hmmm
Says, "I'm a woman's lover, sure don't have to work."
All best,
Johnm
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One minor suggestion first version
2.1 Well I got me a bulldog
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Hi all,
Blind Boy Fuller recorded "Where My Woman Usta Lay" at the same July 12, 1937 session as he recorded the first version of "Bulldog Blues", and like "Bulldog Blues", it was accompanied in A position, standard tuning, capoed up. The song appears to be a sort of semi-cover of "Mamie", which he recorded four months earlier. I'm perfectly happy to hear Fuller play this kind of material as often as he wished. Here is "Where My Woman Usta Lay":
https://youtu.be/hZRc1FQ75LI
INTRO SOLO
Say it was early one morning, mama, just 'bout the break of day
Hey, Lord, 'bout the break of day
Hey, I try to hug that pillow, where my woman used to lay
Yeah, she done gone and, sure does grieve my mind
Hey, sure does grieve my mind
Hey, I don't do nothin', but cry, cry all the time
Say that woman that I'm lovin', woman that I crave to see
Hey, hey, woman that I crave to see
Hey, my gal's in Texas and she won't write to me
Says I don't see why Papa Fuller can't be treated just right
Hey-ey, Papa Fuller can't be treated just right
Hey, the woman I love give me the blues, have to walk them streets all night
Says I may be wrong, mama, but I'll be right someday
Hey, I'll be right someday
Hey, nobody made me believe, my gal would treat me this-a way
Says she leave me all night long, I can not hear myself
I say hey-hey, can not hear myself
If I don't get the woman I'm loving, Lord, I don't want me no one else
Edited 11/28 to pick up corrections from Blues Vintage
All best,
Johnm
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Hi Blues Vintage,
Thanks for the suggestion but there is absolutely no "l" sound at all at the front end of that line. If anything different, it would be
"OH I go me a bulldog. . .
I think he just dragged out "I".
All best,
Johnm
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Hi all,
Blind Boy Fuller recorded "Stealing Bo-Hog", a chorus blues played out of A position in standard tuning, at the September 7, 1937 session in New York City which also yielded the second version of "Bulldog Blues". In its intro, the song sounds like it's going to be played in C position in standard tuning based on the sliding double stop with which Fuller began it, but his resolution into A comes as a bit of a surprise. That move comes right from Buddy Moss. That having been said, you'd never mistake the rendition in the whole as being by anyone other than Fuller, as always seems to have been the case when he utilized ideas that came from other players. I'd very much appreciate help with the bent bracketed word in the final verse. Here is "Stealing Bo-Hog":
https://youtu.be/EPo48Ar2rTE
INTRO SOLO
I'm not a elephant, baby, my snout is large and round, come to see me, mama, when your love come down
REFRAIN: If you see my pigmeat mama, tell 'er I said, "Hurry home."
Says, some low-down bo-hog, mama, yeah, strayed my sow-pig from home
Yes, the reason why I like pigmeat, you know it's nice and sweet, my gal, she got something sure is, hard to beat
REFRAIN: If you see my pigmeat mama, tell 'er I said, "Hurry home."
Says, some low-down bo-hog, mama, yeah, strayed my sow-pig from home
Yes, she's large in the body, she's neat in the waist, my gal, she got something I know you would like to taste
REFRAIN: If you see my pigmeat mama, tell 'er I said, "Hurry home."
'Cause, some low-down bo-hog, mama, yeah, strayed my sow-pig from home (Spoken: Ah, play it a long time, now)
SOLO (Spoken during solo: Yeah!)
Say, you get away from my window, don't knock at my door, I got me a pigmeat woman, don't need sow belly no more
REFRAIN: If you see my pigmeat mama, tell 'er I said, "Hurry home."
Says, some low-down bo-hog, mama, yeah, strayed my sow-pig from home
CODA
Edited 11/30 to pick up correction from banjochris
All best,
Johnm
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Hi all,
Blind Boy Fuller recorded "Steel Hearted Woman" the day after recording "Stealing Bo-Hog", July 8, 1937, accompanying himself out of E position inn standard tuning. It has a very lively accompaniment that hearkens back to Buddy Moss's "Oh Lawdy Mama". I'd very much appreciate help with the two bent bracketed passages. Here is "Steel Hearted Woman":
https://youtu.be/YcPAkRqONdc
INTRO SOLO
Says I don't see why, my baby don't write to me
I say hey, hey, she won't write to me
Yeah, that make me just as lonesome, blue as a man can be
Now she wrote one line, she, lied that pencil down
I say hey, hey, lied that pencil down
Yes, her heart struck sorrow, the tears come rollin' down
Now, my woman done quit me, come around here to stay
I say hey, hey, come around here to stay
Gonna get my .45 and blow her straight face away
Mmm-hmmm, Lordy-Lordy, Lord
Hey, hey, Lordy-Lordy, Lord
Gonna get my .45 and blow her straight face away (Spoken: Aw, play it!)
SOLO
Says my gal got a heart like a piece of railroad steel
I say hey, hey, like a piece of railroad steel
She passed by me this morning, didn't say, "Daddy, how you feel?"
What you want with a woman, can't cheat, beg, robbin' or steal?
I say hey, hey, can't cheat, beg, robbin' or steal
When you get in trouble, she can't bring you a decent meal
CODA
Edited 11/28 to pick up corrections from Blues Vintage
All best,
Johnm
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Hi all,
Blind Boy Fuller recorded "Too Many Women Blues" at a session in New York City on December 15, 1937 for which he was joined on many tunes by Floyd Council on guitar and/or Sonny Terry on harmonica. "Too Many Women Blues" was a solo number for Fuller though, and he backed himself out of A position in standard tuning, anticipating the accompaniment and phrasing he would later use for "Thousand Woman Blues". In both songs, Fuller comes right in singing, without any instrumental intro at all, which was his more common practice. Here is "Too Many Women Blues":
https://youtu.be/aE_Jt8YlCqE
Don't try, to mistreat me now, baby, just because I'm young and wild, mmm-mmm, woman,
Just because I'm young and wild
Yes, you, must remember, that I am my mama's baby child, mmm-mmm, God knows I'm
My mama's baby child
Then I know, my little woman, I know she's bound to love me some, yeah, God knows she's
Bound to love me some (Spoken: Why, boy?)
'Cause she throws, her arms around me, like the circle 'round the sun, hey, God knows like the
Circle 'round the sun
Then I'm going to write, me one letter, I'm going to mail it in the air, hey, God knows gwonna
Mail it in the air
Says this, "People, in the world, know I got me a woman somewhere, Lord knows I got
Me a gal somewhere."
Says my mama, she told me, and my daddy stood and cried, hey, Lord, and my
Daddy stood and cried (Spoken: What's that, boy?)
Says, "You've got, too many women, for any man-boy of your size, hey, Lord, any
Man-boy of your size."
My mama, she's dead, and my daddy, he is too, hey, Lord and
My daddy, he is too
All best,
Johnm
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I think it is "blow her straight face away"
Where My Woman Usta Lay
3.3 Yeah, my gal's in Texas
4.3 Yeah, the woman I love give me the blues
Sounds like "hey" instead of "yeah"
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Thanks very much for the help, Blues Vintage I made all of the changes you suggested. Thanks!
All best,
Johnm
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Hi all,
I was surprised to find that "Weeping Willow" had never been transcribed in this thread or entered in Weeniepedia. Blind Boy Fuller recorded it in New York City on July 14, 1937, accompanying himself out of A position in standard tuning. The song has a very distinctive sound, due partly to his use of a minor IV chord. Here is "Weeping Willow":
https://youtu.be/oJy6bEbrPbo
INTRO SOLO
Lord, that weeping willow, and that morning dove
That weeping willow, and that morning dove
I got a gal up the country, Lord, you know I sure do love
Now if you see my woman, tell her I said, "Hurry home." (Spoken: Aw, pshaw)
'f you see my woman, tell her I says, "Hurry home."
I ain't had no loving, since my gal been gone
Where it t'ain't no love, ain't no gettin' along
Where it ain't no love, mama, ain't no gettin' along
My gal treat me so mean and dirty, sometime I don't know right from wrong
Lord, I lied down last night, tried to take my rest
I lied down last night, tried to take my rest (Spoken: What happened, boy?)
You know my mind got to ramblin', just like the wild geese in the west
SOLO
Gwonna buy me a bull dog, watch you whilst I sleep
Gon' buy me a bull dog, watch you whilst I sleep
Just to keep these men from makin' this early-morning creep
Now if you see my woman, tell her I said, "Hurry home."
'f you see my woman, tell her I said, "Hurry home."
I ain't had no lovin', since my little gal been gone
You're gwonna want my love, baby, some lonesome day (Spoken: Yeah!)
You're gonna want my love, mama, some old lonesome day
And it's be too late, I'll be gone too far away
All best,
Johnm
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Hi all,
Blind Boy Fuller recorded "Corrine What Makes You Treat Me So?" at the same session at which he recorded "Weeping Willow", immediately following that song, and like "Weeping Willow", it was played out of A position in standard tuning. Fuller was soon afterward to use substantially the same accompaniment and melody for his version of "Careless Love". Here is "Corrine, What Makes You Treat Me So?":
https://youtu.be/hl1LsCH5ALo
INTRO SOLO
Corrine, Corrine, what makes you treat me so?
Corrine, what makes you treat me so?
Corrine, Corrine, what makes you treat me so?
You done stopped me from knockin' at your door
Little girl, what have I did to you?
Little girl, what have I did to you?
Little girl, little girl, what have I did to you?
For you to treat me just like you do, do, do
Lord, it's, Lord, have mercy on poor me
And it's, Lord, have mercy on poor me
Now it's, Lord, have mercy, I say, on poor me
Lord, it's nothin' but trouble in the world I see
Lord, I'm going, I'm going, crying won't make me stay
Yes I'm going, your crying won't make me stay
Yes I'm going, and your crying, sure, Lord, won't make me stay
I'm gwine stay away, all my days
Little girl, I wants to know, how can it be?
Little girl, wants to know, how can it be?
Little girl, little girl, how in the word can it be?
You love someone and you don't love me
CODA
All best,
Johnm
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"Sow belly" is the missing bit near the end of "Stealing Bo-Hog," John –
Chris
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Upon re-listening, you are sure right, Chris--thanks for that! I have made the change.
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Hi all,
Blind Boy Fuller recorded "Break of Day Blues" in New York City on September 7, 1937, accompanying himself out of A position in standard tuning. Instrumentally and in terms of its phrasing, the song re-works many of the ideas he used in "Mamie". Here is "Break of Day Blues":
https://youtu.be/pz9SIZBffxM
INTRO SOLO
Early this morning, mama, knocked on my baby's door
Hey, hey, knocked on my baby's door
Yes I heared a voice say, "Hey, you don't live here no more."
I said, "Blues, what you doin' 'round here so soon?"
Hey, hey, "doin' 'round here so soon?
Yes, you here every morning, and you're right back to see me at noon."
Said I woke up this morning, mind two different ways
I say hey, hey, mind two different ways
Yes, I had a mind to go, and I had one mind to stay
SOLO
Yes, I went and I stood on some high old lonesome hill
I say hey, hey, high old lonesome hill
Yes, I looked down on the place, yeah, where me and my woman used to live
B'lieve now the blues, caused me to pack my things and go
Hey, hey, pack my things and go
'Cause my house washed away with blues, and I can't live there no more
All best,
Johnm
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Nothing to add to the lyric transcription; I just wanted to say that " 'Cause my house washed away with blues, and I can't live there no more" is a really great image and, I think, one of the greatest blues lines of all time.
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I know what you mean, dj. I'm particularly partial to his last verse in "When You Are Gone", too, which deals with men going off to war (and Fuller staying at home).
Yeah, when you're fighting, blood running in your face
Well, when you're fighting, blood running in your face
Ain't no use to worryin', you know this world is a funny old place
all best,
John
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Hi all,
Blind Boy Fuller recorded "Oh Zee Zas Rag" at a session in New York city on September 7, 1937, accompanying himself out of C position in standard tuning. He begins the song with a rhythm break, slapping out rhythms on the top of his guitar, something he was quite expert at doing. He proves on this recording and on several other of his raggy tunes that he was one of the Country Blues foremost scat singers. Here is "Oh Zee Zas Rag":
https://youtu.be/jNLuxl3PZe8
RHYTHM BREAK
INTRO SOLO
Zee zas, oh zas, oh zee, zee zas
Oh zas, zee zas, oh beeten-de beeten dot dah
Oh zee, zee zas, oh zee, zee zas
Oh zee, zee zas (guitar finishes form)
I got a gal, long and tall, head's in the window, feets in the hall
Has anybody seen my gal? (Spoken: Get it!)
Oh zee zas, zee z, oh zee, zee, zee
Oh zas, zee zas (Spoken: Yes!) scooby, deeten, deeten, deeten dot
Anybody seen Corrina?
Has anybody seen my gal?
Has anybody seen Corrinne? (Spoken: Yeah!)
Well has anybody seen Corrine?
I got a gal, long and slim, when she start to lovin' it's too bad, Jim
Anybody here seen my gal? (Spoken: Yeah!)
Botton dee dot, bop dee dot, dee bow
Beeten dee dot, bee dot, dee scooten dee do
I'm dee and dee and dee (Spoken: Yes!)
Scooten deeten deeten yah
Anybody seen my gal? (Spoken: Yes!)
Has anybody seen my gal?
Look-a-here boy, you in a mighty bad fix, gal 'round the corner with her arms full of bricks
Anybody seen my gal?
Oh zee zas, zee zas, oh zee, zee, zee
Oh zas, zee zas (guitar finishes line)
Anybody seen my gal?
Well, has anybody seen my gal?
Look-a-here, baby, 'd you stay last night? Hair's all tangled, clothes ain't fittin' you right
Anybody seen my gal?
Oh zee zas, zee zas, oh zee, zee, zee
Oh zee, zee zas (Spoken: Yeah!) (guitar finishes line)
Has anybody seen Corrinne?
Well, has anybody seen Corrinne?
Now you got your pistol and I got mine, pull it on the hammer, I don't mind dyin'
Anybody seen my gal?
Has anybody seen Corrinne? (Spoken: Yeah!)
Well, has anybody seen Corrinne?
Has anybody seen Corrinne? (Spoken: Yeah!)
Well, has anybody seen Cor--scooten, deeten, deeten, dot, deeten yah (guitar strum between tailpiece and bridge)
All best,
Johnm
-
Hi all,
Blind Boy Fuller recorded "Snake Woman Blues" at the same session as "Oh Zee Zas Rag", and like that song it was accompanied in C position in standard tuning. This song shows a strong Lonnie Johnson influence in one of the instrumental fills that Fuller returned to, especially. Here is "Snake Woman Blues":
https://youtu.be/_MF0Z49SvG4
INTRO SOLO
Say, you can't never tell, what's on these women's mind
Hey, hey, what's on these women's mind
Yeah, they're either huggin' you and kissin' you, and quittin' you all the time
Says I went home this morning, twixt nine-thirty and ten
Hey, hey, twixt nine-thirty and ten
Yes, I met my woman's second man, rared right back in my den
Says all you working men, ought to come home 'head of time
I says hey, hey, come home 'head of time
So you can catch your crooked woman, boy, just like I caught mine
SOLO (Spoken: Boy, these crooked women won't do! They get all your money and put that thing on you.)
And they'll put that old thing on you
Says some women just like a dollar, dollar, it goes from hand to hand
Some women just like a dollar, dollar go from hand to hand
Yeah, some of these no-good women, they run from man to man
Edited 12/3/21 to pick up corrections from banjochris
All best,
Johnm
-
Couple of suggestions on "Snake Woman," John. Worth noting that this is one of the titles that Fuller recorded for Decca that were either issued and withdrawn or only issued after his death – the Decca version is "You Never Can Tell," and he re-recorded many of the numbers for OKeh right afterwards.
1.1 and 1.2 ...WHAT'S ON these women mind
2.3 Yes, I met my woman's second man, RARED right back in my den.
Chris
-
Thanks very much for the help, Chris. I agree with all of the changes you suggested and have incorporated them into the transcription. Thanks!
-
Hi all,
Blind Boy Fuller recorded "Careless Love" at a session in New York City on September 8, 1937, re-using the accompaniment that he had used for "Corrine What Makes You Treat Me So" back in July of that year. Fuller uses bends to make the melody much more bluesy-sounding than "Careless Love" ends up sounding in the hands of most players. Fuller's vocal is very blue-sounding, too, and doesn't have any of his customary exuberance (apart from an incongruous "Yeah!" in the last verse)--he really sounds aggrieved. Here is his version of "Careless Love":
https://youtu.be/5VbsYTUimSo
INTRO SOLO
Oh love, oh love, careless love
Oh love, love, oh careless love
Oh love, oh love, oh careless love
Don't you see, what careless love will do?
And it cause you to weep, cause you to moan
And it cause you to weep, cause you to moan
And it cause you to weep, and it cause you to moan
And it cause you to have to leave, happy home
Now love, oh love, oh careless love
Oh love, oh love, oh careless love
And it's love, oh love, I mean, oh careless love
Now don't you see, what careless love will do
Now it's Lord, have mercy on poor me
And it's Lord, have mercy on poor me
And it's Lord, have mercy, mmmmm, on poor me
It's nothin' but trouble in the world I see
Now, all my money, you could spend
Says all my money that you could spend (Spoken: Yeah!)
And it's all my money, mmmmm, that you could spend
You done passed my door and you wouldn't look in
CODA
Edited 12/5 to pick up correction from waxwing
Edited 12/7 to pick up correction from Blues Vintage
All best,
Johnm
-
Hi Johnm
Now love, oh love, oh careless love
Oh love, oh love, oh careless love
And it's love, oh love, I mean, oh careless love
'Ow don't you see, what careless love will do
Wax
-
It's a nit, but in 3.2 I don't hear "oh" before the second "love", so: "Oh love, love, oh careless love".
-
Hi wax and dj,
I re-listened to verse three twice, and Fuller actually does sing all of the "ohs" I had in the first two lines. The third one in the first line is somewhat swallowed, the second one in the second line is late and rushed, and the third one in the second line comes continuously out of the "love" that precedes it. So I'm not changing any of them. The last line of that verse does begin with "now" and the "n" is actually pronounced by Fuller, so I'll make that change.
All best,
Johnm
-
Hi all,
Blind Boy Fuller recorded "New Louise Louise Blues" on September 9, 1937 in New York City, and it was the only tune he recorded that day. He accompanied himself out of E position in standard tuning for his version of the song, and it's a tribute to Johnny Temple's original version that the song would be covered so soon after he put it out, in November of 1936 (and Temple had re-recorded it in May of 1937). Here is Blind Boy Fuller's version:
https://youtu.be/cnMsBRxtWmM
INTRO SOLO
Louise, she left me this morning, she never said a word, nothing that she knowed, something that she heard
REFRAIN: Louise, why don't you hurry home?
I ain't had no lovin', since Louise been gone
Louise, she got ways, like a rollin' stone, every time she leave a man, he have to grieve and moan
REFRAIN: Louise, why don't you hurry home?
'Cause I ain't had no lovin', since Louise been gone
SOLO
Now I got a gal here name Eula, she treated me nice and kind, I don't care what she do, Louise is on my mind
Louise ain't so good-looking, her hair is not red, but she cook my breakfast, bring it to the bed
REFRAIN: Louise, why don't you hurry home?
'Cause I ain't had no lovin', since Louise been gone
Edited 12/6 to pick up correction from dj
Edited 12/7 to pick up correction from Blues Vintage
All best,
Johnm
-
For 3.1 I'd suggest "Now I got a gal here named Eula, she treat me nice and kind..."
The initial H in "here" is dropped and the whole word is rushed and the final D in "named" is pretty much swallowed, so the whole thing come's out sounding like "yerename", but I think the reading of "here named" makes the most sense in context.
-
Hi dj,
I'll go with "here", but I'm satisfied with "name" and "treated". Fuller is very inconsistent with verb tense so it's tough to argue on the basis of consistency there.
All best,
Johnm
-
Some suggestions
Careless Love
3.4 Now don't you see, what careless love will do
I don't hear now
4.2 And it's Lord, have mercy one poor me
Typo "one" (on)
Louise
Louise, she got legs ways , like a rollin' stone,
-
Hi Blues Vintage,
Thanks for the suggestions. I'm not changing 3.4 in "Careless Love", but thanks for the catch of the typo in verse four, which I have corrected. Thanks also for the catch in "New Louise, Louise", and I have made the change there. Thanks!
All best,
Johnm
-
Hi all,
Blind Boy Fuller recorded "Baby, Quite Your Low-Down Ways, Take 1" at a session in Memphis on July 12, 1939, accompanying himself out of G position in standard tuning. I think Fuller is often thought of as being particularly expert at playing in A position in standard tuning, but I don't think his G position tunes suffer by comparison. And I'm fairly sure it has been mentioned before elsewhere on the site, but he is a player who more often than not used a capo, at least when recording.
Vocal phrasing on the song is unusual, in that Fuller sings right across the first four bars, making it sound like the song will be a chorus blues, but then he sings different second and third lines in each verse, ending up with the rare A-B-C lyric archetype. The only other song in the style that does that that I can think of right off the bat is Luke Jordan's "Church Bell Blues". Here is "Baby Quite Your Low-Down Ways, Take 1":
https://youtu.be/qUuo9krE9MM
Yeah, baby, yeah, baby, why don't you quit your ways?
Ohhhh, your time now, mama, be mine some old day
Heyyy, nobody made me believe, that you'd treat me this-a way
Said I went to that station, went to the station, I sure didn't see no train
Whooa, didn't see my woman, no one to call her name
Heyyy, your time now, mama, be mine some old day
I says I'm beggin' you, mama, yeah, mama, why don't you quit your ways?
Whooa, your time now, sugar, be mine some old day
Heyyy, nobody made me believe, that you'd treat me this-a way
I said mmmmm, baby, mmmm, mama, why don't you quit your ways?
Whooa, your time now, sugar, be mine some old day
Heyyy, you gonna look for Blind Boy Fuller, and he'll be so far away
I looked down the road, looked down the road, fur as I could see
Whooa, tryin' to spy my woman, see 'f she comin' back to me
Heyyy, your time now, mama, be mine some old day
CODA
Edited 12/7 to pick up correction from Blues Vintage
All best,
Johnm
-
I'm enjoying this Fuller avalanche.
5.2 Whooa, tryin' to find my woman, see 'f she comin' back to me
It sounds like "tryin' to spy my woman"
-
I'm hearing that "f" on the front end of "find" very strongly, Blues Vintage.
EDITED TO ADD: I re-listened, and I think you're right, Blues Vintage. I'll make the change, thanks!
-
Hi all,
Blind Boy Fuller recorded "Baby, I Don't Have To Worry" at his first session, in New York City on July 23, 1935, accompanying himself in C position in standard tuning, capoed up. I believe this is the first recording he ever made, and he already sounded the consummate professional, completely poised and un-self-conscious in the studio. His guitar playing here is about the most like Blake's that I ever heard Fuller do, especially in the picking hand. I was surprised to Fuller sing "drive along so" in verse three--when I first heard the line, I thought it was "dry long so", but it is not. Here is "Baby, I Don't Have To Worry":
https://youtu.be/5ci2S7oiceE
INTRO SOLO
We can't agree, can't get along, tell by that, mama, something' goin' on wrong
REFRAIN: But I can lay, I can lay
Says I don't have to worry, baby, 'cause the stuff is here
You talk about layin' it, I'm little and slim, way I lay it, baby, it's too bad, Jim
REFRAIN: 'Cause I can lay, I can lay
I don't have to worry, baby, 'cause the stuff is here
I laid it for the rich and I laid it for the poor, laid it for the woman I love, drive along so
REFRAIN: 'Cause I can lay, I can lay
I don't have to worry, baby, 'cause the stuff is here
A nickel is a nickel and a dime is a dime, you go your way, mama, I'm goin' mine
REFRAIN: I can lay, I can lay
I don't have to worry, baby, 'cause the stuff is here
SOLO (Spoken: Yes, that stuff is here. Gettin' good and mellow, too. Done got good to Miss Williams. You know it's been good to me)
My good gal quit me, I ain't gonna wear no black, showed her somethin' the other day will bring that fool right back
REFRAIN: 'Cause I can lay, I can lay
I don't have to worry, baby, 'cause the stuff is here
My girl said, "I'm goin' uptown, I'm gonna hurry right back. You showed me somethin' the other day, God knows, I really like."
REFRAIN: 'Cause I can lay, I can lay
I don't have to worry, baby, 'cause the stuff is here
Talk about layin' it, I can lay it on down, lay it like cross-ties from town to town
REFRAIN: 'Cause I can lay, I can lay
I don't have to worry, baby, 'cause the stuff is here
CODA
All best,
Johnm
-
Hi all,
Blind Boy Fuller recorded "Looking For My Woman", an 8-bar blues played in A position, standard tuning, on his second day in the studio, July 24, 1935, in New York City. Here is "Looking For My Woman":
https://youtu.be/iQAtq9VvYVM
INTRO SOLO
My baby, packed her suitcase, and she started to the train
She's a married woman but I love her, just the same
Now I was standing here lonely, with my head hangin' low
Lookin' for the woman I love, but she won't be back no more
Now I start, walking, my feet got soaking wet
I ain't found my woman, ain't stopped walking yet
Now I start, to write a letter, but I b'lieve I'll go myself
Letter's so-so, but a telegram may get left
Now, Lord, Lor-ord, Lordy Lordy Lord
Lord, Lord, Lord, Lord, Lord
I start, write a letter, and I lied that pencil down
Heart struck sorrow and the tears come rolling down
But did you get, that letter, that I dropped in your back yard?
I woulda come to seed you, mama, but your other man had me barred
Mmm, mmm, mmmm, Lord, Lord, Lord
I'da come to seed you, baby, but your other man had me barred
SOLO X 2 (Spoken: Yeah!)
I know, you're gwine miss me, rider, when I'm gone
I know you're gwine miss me from singin' my lonesome song
I'm gwine to the station, gwonna look up on the board
Train I ride is further on down the road
Just as sure, as the birds, fly in the sky above
Life ain't worth livin' if you ain't with the one you love
Mmmm, mmm-hmmm, said Lordy, Lordy Lord
Lord, Lord, Lord, Lord, Lord
CODA
All best,
Johnm
-
Hi all,
Blind Boy Fuller accompanied himself out of G position in standard tuning for "Evil Hearted Woman", which he recorded in New York City on July 25, 1935, after having already recorded two trio tracks with Gary Davis and Bull City Red earlier that day. Fuller's accompaniment behind his singing is very intricate here--he definitely was not of the school of "hold the chordal position and just play time under your singing". Here is "Evil Hearted Woman":
https://youtu.be/Inf5z1so2GU
INTRO SOLO
You's a hard-hearted woman, don't mean me no good
You's a hard-hearted woman, don't mean me no good
You quit me this morning, talk's all over the neighborhood
Do you remember the morning, mama, I knocked upon your door?
Do you remember the morning, I knocked upon your door?
You had the nerve to tell me, baby, can't use me no more
SOLO
I'm down today, mama, won't be down always
Says I'm down today, won't be down always (Spoken: Aw, pshaw!)
Oh that sun gwonna shine, baby, in my back door some day
Yes, that sun gwonna shine, in my back door some day (Spoken: Yes it do)
Sun gwonna shine in my back door one day
And that wind gwonna rise, baby, blow my blues away
Goin' to the station, look up on the board
Says I'm goin' to the station, look up on the board
Say that woman I love, she gone, further on down the road
CODA
Edited 12/12 to pick up correction from Blues Vintage
All best,
Johnm
-
Hi all,
Blind Boy Fuller recorded "Somebody's Been Playing With That Thing" the day after he recorded "Evil Hearted Woman", accompanying himself out of A position in standard tuning. His accompaniment prefigured that of "Mamie" in many ways, and he begins the song with a full solo which was a habit of his that I like for the way it sets the musical stage. The song is a chorus blues and certainly crams a lot of music into three minutes and fifteen seconds. Here is "Somebody's Been Playing With That Thing":
https://youtu.be/Un5PMzG3L6Q
INTRO SOLO
Ida, Ida, where you stay last night? Hair's all tangled your clothes ain't fitting you right
REFRAIN: Just as sure as you're born, somebody's been playin' with that thing
Just as sure as you're born, Ida, somebody been playin' with that thing
Little brown rooster said to the little red hen, "Ain't had no lovin' in I-don't-know-when."
REFRAIN: Just as sure as you're born, somebody's been playin' with that thing
Just as sure as you're born, Ida, somebody been playin' with that thing
You can always tell when your girl's gon' treat you mean, your meals aren't regular, your house ain't never clean
REFRAIN: Just as sure as you're born, somebody's been playin' with that thing
Just as sure as you're born, Ida, somebody been playin' with that thing (Spoken: Play that thing now, boy!)
SOLO (Spoken: Yeah! I know somebody's been playin' with that thing.)
Said now, you remember that morning, knocked upon your door, had the nerve to tell me you don't want me no more?
REFRAIN: Just as sure as you're born, somebody's been playin' with that thing
Just as sure as you're born, Ida, somebody been playin' with that thing
Now, you run here, doctor, run here quick, Ida had something this morning done, made her sick
REFRAIN: Just as sure as you're born, somebody's been playin' with that thing
Just as sure as you're born, Ida, somebody been playin' with that thing
Said that little brown rooster said to the little red hen, "Meet me down at the barnyard 'bout, half-past-ten."
REFRAIN: Just as sure as you're born, somebody's been playin' with that thing
Just as sure as you're born, Ida, somebody been playin' with that thing
SOLO
Edited 12/12 to pick up correction from waxwing
All best,
Johnm
-
Some minor suggestions for "Evil Hearted Woman"
3.3 For Oh that sun gwonna shine, baby, in my back door some day
4.1 Yes, that sun gwonna shine, in my back door some day (Spoken: Yes it is) Yes it will
-
Thanks, Blues Vintage, for those suggestions. I'll take "Oh" and make that change. I don't think Fuller says "will" in the spoken comment in the next verse. I think he got caught between "will", "do", and "did" and ended up pronouncing "do" with a very weird vowel sound at the end. Basically, he was between a couple of different words. Thanks for your help.
All best,
Johnm
-
Hi all,
Blind Boy Fuller recorded "Log Cabin Blues, Take 1" on July 26, 1935 in New York City, accompanying himself out of C position in standard tuning. The song has a 18-bar With a 2-bar tag) rag blues progression and is basically Fuller's version of "Come On Down To My House" or "Ain't Nobody Home But Me". I'd very much appreciate help with the bent bracketed places or anything else you think I have wrong. Here it is:
https://youtu.be/wdqYXnXqkDA
INTRO SOLO
Come on down to my log cabin, ain't nobody there but me
Come on down to my log cabin, ain't so far, you see
My log cabin sits on the hill, get your liquor right from Dago's still
Come on down to my log cabin, ain't nobody there but me, I mean, ain't nobody there but me
Come on down to my log cabin, ain't nobody there but me
Come on down to my log cabin, ain't so far, you see
Got a girl in there cookin' them collard greens, some of the prettiest women there you 'most ever seen
Come on down to my log cabin, ain't nobody there but me, I mean, ain't nobody there but me
SOLO
Come on down to my log cabin, ain't nobody there but me
Come on down to my log cabin, ain't so far, you see
Gonna have a little fish, gonna have a little beer, have a good time, give 'em a real good hitch here
Come on down to my log cabin, air' nobody there but me, I mean, ain't nobody there but me
Come on down to my log cabin, ain't nobody there but me
Come on down to my log cabin, ain't so far, you see
Have a little whiskey, that go to your head, turn back the cover and you can go to bed
Come on down to my log cabin, ain't nobody there but me, I mean, ain't nobody there but me
SCAT VERSE
Come on down to my log cabin, ain't nobody there but me, I mean, ain't nobody there but me
(SPOKEN) Come on down to my log cabin, baby, ain't nobody there but me
Come on down to my log cabin, ain't so far, you see
Rooster chewed tobacco and that hen dipped snuff, that banty can't dance but he can strut his stuff
(SUNG) Come on down to my log cabin, ain't nobody there but me, I mean, ain't nobody there but me
SOLO
Edited 12/13 to pick up corrections from waxwing
Edited 12/13 to pick up correction from Blues Vintage
All best,
Johnm
-
I'm sure it's just typing too fast, Johnm, but that's a RED hen to whom the brown rooster is talking in the last verse of "Somebody's Been Playing With That Thing".
This has been great hearing a lot of Fuller. You might remember many years ago I did the basics for a Guitar Keys and Tunings wikipedia page for him (fortunately I had lots of folks correcting my errors) and I have transcribed and perform quite a few of his songs. I particularly like his playing in G (pointed out to me by Frank Basile, also long ago) as in "Evil Hearted Woman".
For folks just beginning to transcribe for themselves, I would highly recommend trying some Fuller songs. As Johnm says, he packs a lot of music into every song, with lots of solos. It is always fun and educational working through one of his arrangements. Also, because he recorded late in this era, in the mid '30s, his recordings are usually pretty clear. Fuller sold well so there are also a lot more extant copies for the remasterers to choose from.
Wax
-
Hi all,
For "Homesick And Lonesome Blues", recorded on July 26, 1935, Blind Boy Fuller chose to accompany himself with a slide in Vestapol tuning. He really had a nice sound with a slide, despite showcasing it so infrequently on his recordings. Here is "Homesick And Lonesome Blues":
https://youtu.be/UPFT6dpgcCY
INTRO SOLO
I lied down last night, mama, I tried to take my rest
Says I lied down last night, baby, I tried to take my rest
And, you know my mind got to ramblin', like a wild geese in the west
Ain't but the one thing, just like to change my mind
Ain't but the one thing, like to change my mind
When I started to New York, I left little Cora Mae cryin'
I sure can't sleep, mama, I sure can't rest at night
I can't sleep, mama, I sure can't rest at night
When I get to thinkin' 'bout my little woman, it takes my appetite
SOLO (Spoken: Play that thing, boy!)
I'm gwonna tell my baby, this when I go home
I'm gwine tell my baby, Lord, when I go home
These here women in Harlem, New York, won't let her baby alone
SOLO
Edited 12/13 to pick up corrections from Blues Vintage
All best,
Johnm
-
Thanks for the catch, wax. Sometimes my fingers have a (weak) mind of their own when I'm entering these lyrics.
I very much share your enthusiasm for Fuller. Really listening to so many of his pieces successively I've been so impressed with how little intact repetition of licks there is in his playing, from one song to the next. I think that plenty of players who are thought of as being sophisticated in comparison to Fuller repeated themselves with much greater frequency. Though I find that I sympathize with repetition, too, because it can be a kind of branding--think of Lonnie Johnson's down and up signature lick fill. In terms of identifying him as the player, it's kind of an instrumental equivalent of Peetie Wheatstraw's "Hoo-well-well" vocal identifier. And if you repeat something enough, it starts to have totemic value. So I guess I'm arguing both ends against the middle.
All best,
Johnm
-
Looking at the bent brackets in 'Log Cabin Blues" I think the first one is probably Dago, the pejorative for an Italian. It's expressed as Dago Hill in several songs, I think. The second one might be "hitch", which could have a sexual double entendre (a hitch is a knot) or just refer to a stay at the log cabin. Like a hitch in the army, sorta. An 'h' sound is pretty easy to swallow, and Fuller seems to catch just as he says it, maybe having forgotten the word momentarily? Just ideas.
Wax
-
Some suggestions for "Homesick And Lonesome Blues"
Ain't but the one thing, that's just like to change my mind
When I started to New York, I left little Cora behind Cora Mae cryin'
Haven't listened too "Log Cabin Blues" yet.
-
Thanks for those fixes in "Homesick And Lonesome Blues", Blues Vintage. I have made both changes. Thanks!
-
Thanks for the suggestions for "Log Cabin Blues", wax, I'm going to go with both of them. I originally had "Dago's", but thought Fuller stuck an extra vowel sound in the middle, but I think it makes the most sense, as does "hitch". I'll make the changes. Thanks!
-
Hi all,
Blind Boy Fuller recorded "Piccolo Rag" at a session in New York City on April 5, 1938, accompanying himself out of C position in standard tuning. The sung portion of the song is an 18-bar raggy blues progression that Fuller recorded many times, but he adds some interest here by playing an interlude several times that utilizes the same progression as the B part of "I Got Rhythm", a circle-of fits progression of III--VI--II--V, scatting all the while. Fuller's energy really makes performances like this work. I think "piccolo" was a slang synonym for a jukebox at the time. Here is "Piccolo Rag":
https://youtu.be/a1jWk5GGajE
RHYTHM/SCAT INTRO
INTRO SOLO
Gotta stop doin' what you're doin' to me, mama, you don't, you're gonna run me wild
Gotta stop doin' what you're doin' to me, baby, I mean just what I say
You talk about lovin' that sure is a hit, you done made me love it and it just won't quit
Gotta stop doin' what you're doin' to me, don't you're gonna run me wild, I mean, gal you're gonna run me wild (Spoken: Yeah!)
Oh dee-deet-dah
Oh deet-deet-dah (Spoken: Yeah!)
Oh dee-deeten-dah, deeten bow
Scooty-um, beeten-bouten, diddy-ah-dee
Gotta stop doin' what you're doin' to me, mama, you don't, you're gonna run me wild
Gotta stop doin' what you're doin' to me, baby, I mean just what I say
Say, when I'm on my farm I'm hollerin', "Whoa, Haw, Gee!", my gal's uptown hollerin', "Who wants me?"
Gotta stop doin' what you're doin' to me, mama, 'f you don't you're gonna run me will, I mean, gal, you're gonna run me wild
SOLO
Now you gotta stop doin' what you're doin' to me, baby, you don't, you're gonna run me wild
Gotta stop doin' what you're doin' to me, baby, I mean just what I say
Every night I come home you got your lips painted red, sayin', "Come on, daddy, and let's go to bed."
Gotta stop doin' what you're doin' to me, you don't you're gonna run me wild, I mean, gal, you're gonna run me wild (Spoken: Yeah!)
Oh deet-deet-dah
Oh deet-deet-dah
Oh be-dahten-bow, a scootum-dow (Spoken: Yeah!)
(Guitar finishes interlude)
Gotta stop doin' what you're doin' to me, mama, you don't you're gonna run me wild
You gotta stop doin' what you're doin' to me, baby, I mean just what I say
You got great big legs and little bitty feet, somethin' about you is sweet, sweet, sweet
Gotta stop doin' what you're doin' to me, mama, you don't, you're gonna run me wild, I mean, gal, you're gonna run me wild
Oh deet-deet-dow
Oh deet-deet-dow
Oh deet-deeten-dah, deetenum-dow
Scootyum, deeten-bow, deety-un
Gotta stop doin' what you're doin' to me, mama, you don't you're gonna run me wild
You gotta stop doin' what you're doin' to me, baby, I mean just what I say
You think you're the best-looking gal in town, you do that love and let it go around and around
Gotta stop doin' what you're doin' to me, you don't you're gonna run me wild, I mean, gal, you're gonna run me wild
CODA
All best,
Johnm
-
Some suggestions for Log Cabin
4.3 Have a little whiskey, then can go to your head
5.3 that biddy banty can't dance drink but he can strut his stuff
-
Hi Blues Vintage,
Re-listening after your suggestions, in 4.3, I think the missing word is "that". In 5.3 I agree with "banty" and will make that change but am leaving "dance" as is. Thanks.
All best,
Johnm
-
Hi all,
Blind Boy Fuller recorded "You've Got To Move It Out", accompanying himself in E position in standard tuning, at a session in New York City on April 5, 1938. The song uses the same opening idea in its intro solo as did "Big Leg Woman Gets My Pay". Here is "You've Got To Move It Out":
https://youtu.be/prZdazMxqNc
INTRO SOLO
Now, my woman went out this morning, didn't come back until two, you know good and well, baby, that ain't gwonna do
REFRAIN: Baby, you've got to move it out, yeah, you've got to move it out
Gal, you've got to move it out so I can let my new mama move in
Says I can tell by this, mama, you ain't treatin' me right, I can tell by that, your yas-yas ain't tight
REFRAIN: Baby, you've got to move out, yeah, you got to move it out
Gal, you got to move it out so I can let my new mama move in
Now, you talk about loving, you wants it all the time, If you don't get it, ain't no fault of mine
REFRAIN: Babe, you've got to move out (Spoken: Yeah!), yeah, you've got to move it out
Gal, you've got to move it out so I can let my new mama move in (Spoken: Yeah!)
SOLO
Now, you talk about lovin', I gotta give it to you right, 'f you don't wanta do a thing but fuss and fight
REFRAIN: Babe, you've got to move it out (Spoken: Yeah!) yeah, you got to move it out
Gal, you got to move it out so I can let my new mama move in
Say get away from my window, stay out of my face, I got a brand new woman just to take your place
REFRAIN: Baby, you got to move it out, yeah, you've got to move it out
Gal, you've got to move it out so I can let my new mama move in
Says get out of my house, I got someone else, if you don't go, you know I'm going myself
REFRAIN: Baby, you've got to move it out, yeah, you got to move it out
Gal, you got to move it out so I can let my new mama move in (Spoken: Yeah!)
SOLO
Edited 12/14 to pick up correction from Blues Vintage
All best,
Johnm
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2.1 I can tell by that, your
gears just yas-yas ain't tight
-
You are sure right, Blues Vintage. I will make the change, thanks!
-
Hi all,
Blind Boy Fuller recorded "Keep Away From My Woman, Take 2" at a session in New York City on April 29, 1936, accompanying himself out of G position in standard tuning. He sure had some nifty moves in G position, as waxwing noted a couple of posts back, and I particularly like his fill that he plays in the seventh bar of his verse accompaniments, where he walks down the fifth string chromatically from the fifth to the second fret against a droning open third string. Here is "Keep Away From My Woman, Take 2":
https://youtu.be/C3RAm1IwK0Q
INTRO SOLO
Lord, I got me a little woman, I wants her for my own
Says I got me a little woman, I wants her for my own
And for God's sakes, man, leave the woman that I love alone
I love 'er and she knows it, I just can't help myself
I love 'er and she knows it, I just can't help myself
And if I don't get the woman I'm lovin', I don't want me no one else
I'm not so black, but I'm evil, jealousy as I can be
Whoa-oa, jealous as I can be
That's why when I leave my home, I carry the woman that I love with me (Spoken: Aw, play that thing now, boy)
SOLO
Boys, if you lose your money, please, don't you lose your mind
Well, you lose your money, please don't you lose your mind
And if you lose your little woman, boy, don't you fool with mine
Yes, my woman said she loved me, don't b'lieve she told the truth
Said, my babe said she loved me, don't b'lieve she told the truth (Spoken: How come, boy?)
When I put my arms around my woman, she reared to get her loose
All best,
Johnm
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I looked back and found that I had already posted a transcription to my favorite Fuller song in G. When I read my note I thought you'd get a laugh if I quoted it, Johnm. Seems we agree about Fuller's seventh bar in G. I'm responding to a post by Frankie. (had to defarkle all the apostrophes in the original post)
Wax
I think it was about 10 years ago or more on a trip back to Jersey that you turned me on to Fuller's playing in G, Frank. So when I got home I culled out all the songs he played in G and settled on this one for the guitar part. Pretty similar to "Wires all Down" but a little more developed maybe. For instance the nifty little phrase he plays in the 7th bar of the 2nd verse. Then again it's a little more controlled and not so edgy. But the lyrics of "Wires All Down" are pretty great. Couldn't find my original transcription so I did it again.
https://youtu.be/_Bwo4MWAdXg
Screaming and Crying Blues
Solo
Yes I lied down last night laughin', woke up this mornin' screamin' and cryin'
Yes I lied down last night laughin', woke up this mornin' screamin' and cryin'
Said I was worryin' and grievin', 'bout that girl had done left me behind
I said she's gone and left me, sick and on my bed
I said she's gone and left me, sick and on my bed
Said then I didn't have nobody, lord to hold my worried head
(play it now, boy, play it for me)
Solo
Says, I don't care when you go mama, don't care how long you stay
I said I don't care when you go mama, don't care how long you stay
Said that ol' good kind treatment baby, bring you back home to me some day
-----------
I stole a solo from one of his other songs in G to use as a full pass outro.
Wax
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Hi all,
Blind Boy Fuller recorded "Why Don't My Baby Write To Me" at a session in New York City on July 12, 1937, accompanying himself out of E position in standard tuning. I'm having trouble hearing the tagline of the third verse, and had trouble in the same place in the last song Fuller sang that line in--"straight face" might make sense, but I hear no "r" in the first syllable of the two words, and I hear an "l" in the second syllable (word). I'd very much appreciate help with that. Instrumentally, the piece is very much in a "Hey Lady Mama" or "Meet Me In The Bottom" mode. Here it is:
https://youtu.be/hNHaN33-S34
INTRO SOLO
Yeah, I don't see why my baby don't write to me
Yeah, I can't see why my baby don't write to me
Yeah, that make me lonesome, just as blue as a man can be
Yes, she wrote one line, she, lied that pencil down
Yeah, she wrote one line, she lied that pencil down
And her heart struck sorrow, tears come rollin' down
Says, my baby done quit me, come around here to stay
Yeah, my babe done quit me, come around here to stay
I'm gwonna get my .45 and blow her stayed place away
SOLO
'ow what you want with a woman, can't cheat, beg, robbin' or steal?
What you want with a woman, can't cheat, beg, robbin' or steal?
When you get in trouble, she can't bring you a decent meal
B'lieve my gal got a heart like a piece of railroad steel
Yeah, I b'lieve my gal got a heart like a piece of railroad steel
Yes, she passed by me this morning, didn't say, "Daddy, how you feel?"
Now if you see my woman, tell her I said hurry home
Yeah, you see my baby, tell her I said hurry home
I ain't had no lovin', since my gal been gone
CODA
All best,
Johnm
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Hi All,
Blind Boy Fuller recorded "You Never Can Tell" at the same session as "Why Don't My Baby Write To Me", but accompanying himself out of C position in standard tuning. He begins the song on the IV chord, an unusual tactic for him. He's operating in a sort of Lonnie Johnson mode here. Here is "You Never Can Tell":
https://youtu.be/PtCEcimJZNc
INTRO
Say you can't ever tell, what's on these women' mind
Says you can't never tell, what's on these women' mind
Yeah, they be huggin' you and kissin' you, and quittin' you all the time
Said I went home this mornin', twixt nine-thirty and ten
Hey, hey, twixt nine-thirty and ten
Hey, I met that woman's second man, reared right back in my den
Says she's a dirty mistreater, and she drove me from her door
She's a dirty mistreater, she drove me from her door
Yeah, the Good Book say, mama, you've got to reap just what you sow
SOLO
Says a woman just like a dollar, dollar, it go from hand to hand
Says some women just like a dollar, dollar go from hand to hand
Yes, some of these low-down women, they just run from man to man
Yeah, you know my woman said she loved me, she been lovin' me all her life
Said, my woman said she loved me, been lovin' me all her life
Yeah, she met a second man on that corner, she told him that same lie twice
CODA
All best,
Johnm
-
I think that might be "STAID FACE" in "Why Don't Mama". I think he saying she is acting all respectable and not having feelings for him. I do hear a little catch in "face", but there also seems to be a bit of crackle on the record at the same place.
Wax
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I'm very dubious of "staid", wax. I think it's more likely he meant "straight face" and mispronounced "straight".
-
Hi John,
In the 3rd verse of "Why Don't My Baby Write To Me" I'm hearing 'face' not place, as in:
"I'm gwonna get my .45 and blow her stayed face away"
Don't quite understand the phrase 'stayed face' but that's what it sounds like to me.
All the Best,
Ned
-
I think it's;
blow her stayin' place away
2. 3 And her heart struck sorrow
I hear "sorry" instead of "sorrow" clearly. Could be Fuller's speech. Heard that line many times in the blues as "sorrow".
-
Hi all,
Thanks for the suggestions. I'm going to stay with what I had originally, "stayed place". I've re-listened many times, and Fuller actually pronounces "place" very clearly. I understand the appeal in terms of meaning of "stayin'" as opposed to "stayed", but I hear one syllable with a hard "d" sound there. I'm going to stick with "sorrow" in the tagline of verse two. That tagline is one of Fuller's favorites and he used it in many songs. I think he does pronounce "sorrow" a bit funny, but I'm satisfied that's what he said.
All best,
Johnm
-
Hi all,
For "My Best Gal Gonna Leave Me", recorded in New York City on February 10, 1937, Blind Boy Fuller accompanied himself out of G position in standard tuning. I'd appreciate help with the tagline to verse one. Here is "My Best Gal Gonna Leave Me":
https://youtu.be/azOzQB__7ww
INTRO SOLO
Yes, my best girl's goin' to leave me, and she won't be back no more
I say my best girl's going to leave me, and she won't be back no more
It weren't nothin' I was doin' to my baby, she left just drive along so
Now she's gone, she's gone, and I'll soon be gone myself
I say she's gone, she's gone, and I'll soon be gone myself
If I don't get the woman I'm lovin', Lord, I don't want no one else
I say she can't stay long, all 'f her clothes is in pawn
I say she can't stay long, all her clothes is in pawn
And I know she will be back, when her time have come
Yes, I know my baby, some day she gon' jump and shout
I says my baby, some day she gwon jump and shout
When that boat rows up, mama, and her daddy come walking out
CODA
All best,
Johnm
-
Hi Johnm,
For first part of that tag line in v.1 I'm hearing "Aint' gwon' do, what I done to my baby". The second part is confusing. I think there is a chance that he meant to sing "She left, just a dry long so." meaning 'she left, that's for sure', but it came out as you have it. Maybe a BBF Mondegreen?
Wax
-
I hear;
It were nothin' that I done to my baby , she left just drive along so
Or "was" instead of "were" spoken in a weird cut-off way. "It were" vs "it was".
-
Thanks for the suggestions, wax and Blues Vintage. After listening and listening and listening, I finally heard it:
IT WEREN'T NOTHIN' I WAS DOIN' to my baby, she left just drive along so
I'll make the change. Incidentally, Fuller seems always to have sung the expression that is usually rendered as "dry long so" as "drive along so". He sang it the very same way on another song that I transcribed recently, though I can't remember what song it was. EDITED TO ADD: I checked and it was in "Baby, I Don't Have To Worry" that he also used "drive along so".
All best,
Johnm
-
Can anyone shed any light on what that phrase means, and/or where it might have originated? I'm sure it's correct though.
-
I hadn't noticed that about the previous "drive along so" lyric, Johnm. So, a Fuller Mondegreen indeed!
Riv, if you mean "dry long so" here's the three places I have posted about this:
https://weeniecampbell.com/yabbse/index.php?topic=64.msg13919#msg13919
https://weeniecampbell.com/yabbse/index.php?topic=1412.msg95148#msg95148
https://weeniecampbell.com/yabbse/index.php?topic=4700.msg35602#msg35602
(I knew a search for "dead cert" would bring it up but I didn't know there were three;)
Wax
-
Thanks wax for the meaning. I did some digging, I see that Wikipedia and other places run the words together calling it a 'drylongso': https://en.wikipedia.org/wiki/Drylongso
It's also listed here: https://blueslyrics.tripod.com/blueslanguage.htm#dry_long_so
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Those links are rather humorous. Run three English words together, "drylongso", and call it an ancient African word meaning either the general way of being for an African American, or being poor or without means. At least Gremer gets it close, citing it as "that's how it is, it. can't be changed". He goes into a digression about 'dry' being a reference to drought, which seems like filler to me (the book has a lot of filler, primarily fanciful speculation based on context alone).
My understanding is "dry long" is an intensifier in this usage, similar to saying "f*cking" before an action or object. If someone says something that you think is true, you might say, "that is so." But if you wanted to emphasize more strongly you might say, "that's f*cking so", or in the Black neighborhoods of Mississippi, Louisiana and Oakland CA, today, you might say, "That's a dry long so." Like the difference between "that's for sure," and "that's for damned sure."
This adds an emotionality to the certainty. That emotionality could be any number of feelings, anger, fear, dismay, but that comes from the context into which the speaker places the expression. Many of these other definitions cite the context as implied meaning. Gremer does this throughout his book. A pet peeve of mine is that he and many others define "doney" as a no good woman or prostitute, then cite RJ saying "she's a no good doney". A doney, from madonna, is a young girl. If she is no good, well you might say so, like RJ did, but she could just as easily be a sweet doney.
Sorry for the digression.
Wax
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Hi all,
Blind Boy Fuller recorded "Truckin' My Blues Away" at a session in New York City on April 29, 1936, accompanying himself out of C position in standard tuning. The song is one of the many 18-bar raggy blues he recorded that utilized the same progression and essentially the same guitar accompaniment. For his intro solo, Fuller plays a 12-bar form with a couple of raggy substitutions. I'd appreciate help with the front end of the third line of verse one. Here is "Truckin' My Blues Away":
https://youtu.be/x10BgiKaLcw
INTRO SOLO
I got a gal here, in this town, she best-lookin' brown around
I got a gal, in this town, best-lookin' brown around
She's a strictly tailor-made, she ain't no hand-me-down, catch you trucking' with her, I'm gwonna sure shoot you down
Keep on truckin', mama, truckin' my blues away, truckin' my blues away
Keep on truckin', mama, truckin' my blues away
Keep on truckin' mama, 'til you truck my blues away
I got a gal, she's little and neat, when she start to truckin', man it's so sweet
Keep on truckin', mama, truckin' my blues away, truckin' my blues away
Keep on truckin', baby, truckin' my blues away (Spoken: Yes!)
Keep on truckin', baby, truckin' my blues away
I know a gal, she's long and tall, when she start to truckin' make a little man squall
Keep on truckin', mama, truckin' my blues away, I mean, truckin' my blues away (Spoken: Yeah!)
SOLO (Scatting on third four-bar phrase)
Keep on truckin', baby, truckin' my blues away
Keep on truckin', mama, truckin' my blues away
She does the dance you call beedle-um-bum, sure miss something if you don't truck some
Keep on truckin', mama, truckin' my blues away, truckin' my blues away
Keep on truckin', baby, truckin' my blues away
Keep on truckin', mama, truckin' my blues away (Spoken: Yes!)
You don't have to hurry, you don't have to go, wait a little while you might want to truck some more
Keep on truckin', baby, truckin' my blues away, truckin' my blues away
Keep on truckin', mama, truckin' my blues away (Spoken: Yeah!)
Keep on truckin', baby, truckin' my blues away
Make a lame man run, make a blind man see, sure gets good when she truckin' with me
Keep on truckin', baby, truckin' my blues away (guitar finishes verse)
Edited 12/21 to pick up correction from banjochris
All best,
Johnm
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Believe it's "strictly tailor-made" there, John –
Chris
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Thanks very much for the help, Chris. I've made the change, thanks!
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Could be a typo. That's "Beedle um bum" not "needle-um-bum". Blind Willie McTell and Tampa Red had a song with this title.
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Thanks, Blues Vintage, I typed "beedle" and my stupid spell-check assumed I had made a mistake. I'll correct it.
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Hi all,
Blind Boy Fuller recorded "Funny Feeling Blues" on April 5, 1938 in New York City, accompanying himself out of E position in standard tuning. This is a wonderfully loose take, and in some ways is a throwback to the earlier days of recorded Country Blues, ten or more years previous to the date it was recorded. That old-time feel comes from Fuller switching his form for a couple of verses and a solo, going from the 12-bar form which predominates into an 8-bar form, much as Bo Weavil Jackson did in his "Pistol Blues". Fuller takes the song at a terrific clip, too. I'm not sure I have the middle of the tagline to the seventh verse correct, and would very much appreciate correction/corroboration. Here is "Funny Feeling Blues":
https://youtu.be/Fo8CuGasCA0
INTRO SOLO
Said I feel funny, mama, seem like something gonna happen to me
Said I feel funny, mama, seem like something gwon happen to me
Going back to my baby 'cause I'm lonesome as I can be
Now it seem cloudy, mama, b'lieve it's going to rain
I says hey-hey, b'lieve it's going to rain
I'm going to my baby 'cause she got everything
Now you string your string beans, mama, whilst I shell my peas
You string your string beans, mama, whilst I shell my peas
Going to my rider, you can stay with who you please (Spoken: Yes!)
SOLO
Says hey-hey, Lordy, Lordy, Lord
Said hey-hey, Lordy, Lordy, Lord
Said Lordy-Lord, Lordy, Lordy, Lord
This World, made round, it's shaped just like a ball
Says I'm so glad one gal ain't got it all
I wish to the Lord my baby would stay home
Said I wish to the Lord my baby would stay home
So in the midnight hours I can be lyin' in my good gal's arms
Now it's Lord have mercy on poor me, down here
It's Lord have mercy on poor me down here
In the midnight hours, y' know them, the blues draw near
She left me, this mornin', and that clock was strikin' four
When she walked out, them blues walked in my door
SOLO
Says, Lord, I'm goin' mount', set down on the top
Said I'm goin' up on a mountain, gonna set down on that top
Gonna show these womens how to do that Eagle Rock
CODA
Edited 12/22 to pick up correction from waxwing
Edited 12/23 to pick up corrections from banjochris and Johnm
All best,
Johnm
-
I'm not sure I have the middle of the tagline to the seventh verse correct
I think you're spot on, John. It sounds like Fuller just needed a couple of syllables and threw in "Y'know dim" as an aside.
-
Thanks for checking, dj. I'll go with what I have then. Thanks! I forgot to mention in the post on the song that I'm crazy about the third verse--I've never heard that opening line before.
All best,
Johnm
-
Just want to throw out the possibility that he sang "Y'know damn" instead of "Y'know dim."
To me it sounds like it's on the fence between the two words. Don't know if Fuller ever used "damn" in any other song.
Lindy
-
Also, it sounds like the 1st line of the dim/damn verse starts with a "Now".
Wax
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I agree with the first line of the verse beginning with "now" rather than "and" and will make that change, thanks. I'm not hearing "damn" at all, and the vowel sound seems clearly that of "dim" to me. I think a use of "damn" would require a more emphasized context, too, as opposed to being an afterthought as it is here.
-
My understanding is "dry long" is an intensifier in this usage, similar to saying "f*cking" before an action or object. If someone says something that you think is true, you might say, "that is so." But if you wanted to emphasize more strongly you might say, "that's f*cking so", or in the Black neighborhoods of Mississippi, Louisiana and Oakland CA, today, you might say, "That's a dry long so." Like the difference between "that's for sure," and "that's for damned sure."
I'm not convinced, lacking any hard evidence proving that "dry long" could be an adjective.
This probably deserves a separate thread in its own right, so I'll bow out gracefully, yet skeptically.
-
You're right, Riv, it should be transcribed with a comma: "a dry, long so." It's a dry so, and it's a long so, both adjectives. We're all gonna die, that's a dry, long so.
Wax
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In "Funny Feeling" 7.3 I'd suggest, "you know, THEN the blues draw near"
also in 3.1 there's a missing "mama" in the middle
Chris
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Thanks for the suggestions, Chris. I agree with the "mama" in 3.1 and have made that change. After listening to the "dim", "damn", "then" line many times, I think Fuller may have meant to sing "then", but ended up singing "them". I'm certain he ended that syllable with an "m". I think he may have intended to sing "y' know then them blues draw near" and done half a spoonerism. The vowel sound on the "the" before "blues" is a little strange. Anyhow, I'm going with "them".
All best,
Johnm
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Hi all,
Blind Boy Fuller recorded "Meat Shakin' Woman" at a session in New York on April 6, 1938, accompanying himself out of C position in standard tuning. His accompaniment is a kind of theft-fest, with him copying Lemon's "Bad Luck Blues" for what he plays over his I chord in the first four bars and Blind Blake for what he plays over the IV chord and Bill Broonzy for what he plays over the V chord. He ends up just sounding like himself, though, as was usual when he drew on other players for his instrumental ideas. Here is "Meat Shakin' Woman":
https://youtu.be/HHdouose78M
I got a big fat woman, meat shakin' on her bone
I say hey-hey, meat shakin' on her bone
And every time she shake, some men dollar gone
Says I asked my woman, give me her smallest change
I say hey-hey, give me her smallest change
And the dollars come showerin' down, baby, just like drops of rain (Spoken: Yeah!)
SOLO
If you boys take my woman, you can't keep her long
I say hey-hey, you can't keep her long
I got a new way gettin' down, you monkeymen can't catch on
SOLO
Send for my dinner, I want ham and egg
Hey-hey, I want ham and egg
And for my supper, mama, I wants to feel your leg
Now you let me feel your leg, and it felt so soft
Hey-hey, and it felt so soft
Says you know what you promised me, baby, please don't put me off
Edited 12/24 to pick up correction from dj
Edited 12/24 to pick up corrections from Blues Vintage and waxwing
All best,
Johnm
-
I have never heard the phrase delivered with an interior pause--it's always been with equal continuous weight and emphasis. If "dry" were an adjective modifying "long so", you'd also have the possibility of "wet, long so", "hot, long so", etc. Yet you never hear such usages. The late playwright August Wilson was fond of the idiom and used it in at least one of his plays. It means something as a unit, not as the combination of its components. Trying to suss out a meaning working off the definitions of the individual words and combining them doesn't get you there. Its meaning is mutable, too, depending on the context in which it is delivered. Most often where I've seen it used, it indicates a world-weary agreement/acceptance, like "You said it." or "That's the way it goes", or "Wouldn't you know it?", or "There you go", or "Sure enough", of "F-cking A" or "It has always been thus."
You should use a comma between two adjectives when they are coordinate adjectives. Coordinate adjectives are two or more adjectives that describe the same noun equally.
https://prowritingaid.com/grammar/1008103/Should-I-use-a-comma-between-two-adjectives
When describing language, either written or especially spoken, dry generally means without emotion or inflection, lacking adornment. Obviously, a long "so" would be "sooooooo". Dry does not describe long, therefore they are coordinate adjectives and should have a comma. All of the phrases you cited, Johnm, could just as easily be synonymous with "That is so." This is strong evidence that the addition of "dry, long" does not change the meaning except to intensify it.
I agree, once coined and in popular usage, a phrase will take on new meanings, depending on context. Certainly the phrase has a certain fatalistic sense, given that it intensifies the meaning of "That is so", heightening the certainty. Well, that makes it right at home in the blues, which have a strong fatalistic theme. That doesn't somehow actually negate the meaning of the words as originally intended.
When I heard the expression used in Oakland around 2000 it was used very casually. I don't recall for sure but I think we were talking about the likelyhood of overtime on the next job. I may have said something like, "we may see a few 60 hour weeks, and my friend responded, "That's a dry long so." That doesn't mean that the phrase implies a labor grievance. Or if a particularly acerbic parent says to a child, "you're gonna go to bed after supper for 2 weeks," and another sibling whispers, "That's a dry long so," it doesn't mean that the phrase implies the depressive dependence of childhood, altho it's usage in context might.
As I related in the three links above, I questioned my friend and he assured me the expression is in use commonly in East Oakland and areas where his family lives in Mississippi and Louisiana. I'm sure it is used casually in many different contexts. My friend was greatly amused that a bunch of white blues aficionados were debating the meaning at length. I seriously doubt that there is any secret, dogwhistle, anti-Jim Crow meaning involved.
Wax
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Thanks for the suggestions, Chris. I agree with the "mama" in 3.1 and have made that change. After listening to the "dim", "damn", "then" line many times, I think Fuller may have meant to sing "then", but ended up singing "them". I'm certain he ended that syllable with an "m". I think he may have intended to sing "y' know then them blues draw near" and done half a spoonerism. The vowel sound on the "the" before "blues" is a little strange. Anyhow, I'm going with "them".
I think you're right, John, he's probably just going too fast there and misspeaks a bit. Either way "then" or "them" makes good sense there too, so "them" is just as likely.
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Hi all,
Blind Boy Fuller recorded "My Baby Don't Mean Me No Good" at a session in New York City on February 10, 1937, accompanying himself in E position, standard tuning. Here is "My Baby Don't Mean Me No Good":
https://youtu.be/O2nkAL1Saxw
INTRO SOLO
I say, hey-hey, my baby don't mean me no good no more
I say, hey-hey, don't mean me no good no more
She got evil-hearted last night, mama, and drove me from her door
I don't b'lieve it's a woman, in the whole round world do right
I don't b'lieve it's a woman, whole round world do right
She act like a angel in the daytime, crooked as the devil at night
Some time I feel like, Lord, I'd as soon as to be dead
Some time I feel like, mama, I'd as soon to be dead
'Cause I ain't got nobody, to hold my achin' head
SOLO
She wanta treat me like a rattlesnake, crawling down on the ground
She wanta treat me like a rattlesnake, mama, crawling down on the ground
And I'm gon' try to be good, or that woman dog me around
CODA
Edited 12/24 to pick up correction from Blues Vintage
All best,
Johnm
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I hear 2.1 and 2.2 as
I don't b'lieve it's a woman
-
I agree, Blues Vintage, and have made the change. Thanks!
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Hi all,
Blind Boy Fuller recorded "Put You Back In The Jail" at a session in New York City on July 12, 1937. The piece is a raggy one that he played out of C position in standard tuning. Lyrically, this archetype can get a bit monotonous. Blind Boy Fuller sounds like he's having fun, though. Here is "Put You Back In The Jail":
https://youtu.be/JA4lCtBTbd0
INTRO SOLO
'f I catch you doin' what I caught you doin' last night, have you put back in jail
'f I catch you doin' what I caught you doin' last night, have you put back in jail
Says I woke up this morning 'bout-a half past four, had a man 'round the corner knockin' in my back door
Says 'f I catch you doin' what I caught you doin' last night, have you put back in jail, I mean, have you put back in jail (Spoken: Yeah!)
'f I catch you doin' what I caught you doin' last night, have you put back in jail
'f I catch you doin' what I caught you doin' last night, have you put back in jail
Says early this morning when I was tryin' to take my sleep, had a man in here makin' the fore-day creep
Now,'f I catch you doin' what I caught you doin' last night, have you put back in jail, I mean, have you put back in jail (Spoken: Yeah!)
GUITAR INTERLUDE WITH SCAT CONCLUSION (Spoken: Yeah)
'f I catch you doin' what I caught you doin' last night, have you put back in jail
'f I catch you doin' what I caught you doin' last night, have you put back in jail
Says, when I'm on my wagon, tryin' to sell a little coal, you's in the street, hollerin' "Who wants jellyroll?"
Now,'f I catch you doin' what I caught you doin' last night, have you put back in jail, I mean, have you put back in jail (Spoken: Yeah!)
'f I catch you doin' what I caught you doin' last night, have you put back in jail
'f I catch you doin' what I caught you doin' last night, have you put back in jail
Said, reckon what the elephant said to the cat, "Got a bellyful of hair and I'm tight like that."
Now, 'f I catch you doin' what I caught you doin' last night, have you put back in jail, I mean, have you put back in jail
GUITAR INTERLUDE with SCAT CONCLUSION (Spoken: Yeah!)
'f I catch you doin' what I caught you doin' last night, have you put back in jail
'f I catch you doin' what I caught you doin' last night, have you put back in jail
Says I looked down the road, far as I could see, the boys had my woman and the blues had me
Now, 'f I catch you doin' what I caught you doin' last night, have you put back in jail, I mean, have you put back in jail
'f I catch you doin' what I caught you doin' last night, have you put back in jail
'f I catch you doin' what I caught you doin' last night, have you put back in jail
Say you told that man you weren't but sixteen years old, had him 'round the window tryin' to steal your jellyroll
Now, 'f I catch you doin' what I caught you doin' last night, have you put back in jail, I mean, have you put back in jail (Spoken: Yeah!)
SOLO
All best,
Johnm
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One nit in "Meat Shakin' Woman": I think in verse 4 Fuller sings "ham and egg" in the first two lines, not "ham and eggs". I don't hear an "s" at the end of either line.
Interesting to hear about the source of the various pieces of Fuller's accompaniement to "Meat Shakin' Woman". Taken as a whole it's one of my favorite of Fuller's accompaniments.
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I'm sure you're right, dj, just hearing it in my head, and I will make the correction. Thanks for the help!
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Same goes for bone vs bones in the 1st verse. I think it's "bone"
I don't hear the "of" in 3.3 either;
I got a new way of gettin' down
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Also on Meat Shakin' Woman, I think v.4 starts with "SEND for my dinner" or possibly "SAYIN'", but I don't hear an 's' at the end. I've always sung it as 'send', possibly because I learned it from Ari's video and he may have transcribed it that way. Listening now that's how it sounds.
I agree on "bone" with no 's', too.
Wax
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Thanks very much, Blues Vintage and waxwing, for the additional suggestions on "Meat Shakin' Woman". I re-listened and incorporated them all. Thanks and Merry Christmas!
All best,
Johnm
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I’m assuming BBF didn’t record any Christmas songs. ;)
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Hi all,
Blind Boy Fuller recorded "Let Me Squeeze Your Lemon" at a session in New York City on February 10, 1937, accompanying himself in G position in standard tuning. It didn't take long for the song to be covered--Tennessee musician Charlie Pickett recorded his own version of the title on August 3, 1937, and to his credit came up with an altogether different approach to accompanying the song, in C position standard tuning. The song's subtle A=A message was to result in at least one other cover, by the Georgia musician Dan Pickett. I'd very much appreciate correction/corroboration of what I have for the ending of the first and third lines of the fifth verse. Here is Blind Boy Fuller's "Let Me Squeeze Your Lemon":
https://youtu.be/owQ-WYUbzFU
INTRO
You've got fruit in your basket, mama, you got lemon lyin' all on your shelf
You got fruit in your basket, mama, lemon lyin' all on your shelf
I wants to squeeze your lemon, baby, Great God, you can not squeeze 'em yourself
I want to squeeze your lemon, mama, while I'm in your lonesome town
Hey-hey, while I'm in your lonesome town
I want to squeeze your lemon, mama, Great God, 'til my love come down
I'm a stranger here, baby, just passing through your town
I said I'm a stranger here, mama, just passing through your town
I'm gwon to ask you for one favor, baby, please don't turn me down
I'll squeeze your lemon one time, baby, want me to squeeze 'em again
If I squeeze your lemon one time, mama, want me to squeeze 'em again
I want you to learn how to hold that pitcher, baby, Great God, and let this old juice run in
I'm a lemon squeezer, don't 'ny my name, way I squeeze your lemon, baby, scandalous and a shame
Hey-hey, I sure don't 'ny my name
And the way I squeeze your lemon, baby, Great God gal, scandalous and a shame
I'm gon' squeeze your lemon, mama, while I'm in your lonesome town
Hey-ey-hey, while I'm in your lonesome town
Now it's a good time to squeeze 'em, baby, Great God, while your man is not around
CODA
Edited 12/26 to pick up corrections from waxwing, Blues Vintage
All best,
Johnm
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Hi all,
Blind Boy Fuller recorded "If You See My Pigmeat" on July 12, 1937 in New York City, accompanying himself out of A position in standard tuning. Here is "If You See My Pigmeat":
https://youtu.be/ggkKe9vco7k
INTRO
I'm not a elephant, mama, my snout is large and round, come to see me, baby, when your love come down
REFRAIN: If you see my pigmeat, tell 'er I said, "Hurry home."
Some low-down boar-hog, mama, done strayed my sow belly from home
Reason why I like pigmeat, boys, it's nice and sweet, my gal, she got somethin' sure is, hard to beat
REFRAIN: If you see my pigmeat, tell 'er I said, "Hurry home."
Some low-down boar-hog, mama, done strayed my sow belly from home
Says she's large in the body, and she's neat in the waist, boys, I know my gal got something you would, like to taste
REFRAIN: If you see my pigmeat, tell 'er I said, "Hurry home."
Some low-down boar-hog, mama, done strayed my sow belly from home
Says, a-get away from my window, don't knock at my door, I got me a pigmeat woman, I can not use sow belly no more
REFRAIN: If you see my pigmeat, tell 'er I said, "Hurry home."
Some low-down boar-hog, mama, done strayed my sow belly from home
Says I got good slops, mama, feed you each and every day, come along a little boar-hog and like to strayed my sow pig away
REFRAIN: If you see my pigmeat, tell 'er I said, "Hurry home."
Some low-down boar-hog, mama, done strayed my sow belly from home
Say, you know that gal I love, got 'er mouth chock full of gold, God knows she got something, satisfy my soul
REFRAIN: If you see my pigmeat, tell 'er I said, "Hurry home."
Some low-down boar-hog, mama, done strayed my sow belly from home
CODA
All best,
Johnm
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That's a tough one on Squeeze Your Lemon, Johnm. I think I am hearing something like "scandal-less and ashamed" but I'm not sure how that makes sense. He pronounces it more like "scand'less" both times, and it may be a different word entirely, but my ear is not hearing it. Interestingly, spell check suggested 'scandalized' as I was typing. Possibly that might be what he was trying to say? I seem to remember that Fuller's manager/A&R guy, whose name I can't remember (Art something?) Would often provide lyrics for Fuller to sing over his arrangements to create new songs. If that was the case (appreciate confirmation from someone) he may have had issues hearing words he didn't know and then singing them, either by just repeating the sounds or by substituting a word he did know that sounded the same. I think, if this is true, that the "drive along slow" mondegreen my have been a product of this. Just a thought.
Wax
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Thanks for the suggestion, wax, "scandalous and a shame" it is! He even pronounces it clearly (once it's been pointed out that that is what he was singing). The phrase had been used a number of years prior by Josh White singing and playing with Joe Taggart, doing the song that the Mississippi Sheiks called "Do You Call That Religion". I will make the change, thanks!
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Probably a typo (Lemon)
1.1 You've got fruit in your basket, mama, you get got lemon lyin' all on your shelf
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Yup, you're right, Blues Vintage, thanks for the catch--I've made the change.
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Right, ‘scadaLOUS’. D’oh!
My mind was still half asleep. Long day yesterday, up at 7 to get the turkey stuffed and in the smoker, made an apple cranberry pie, plus the cranberry sauce with orange bits and my signature Brussels sprouts and chestnuts. Conked out immediately after the pie.
Wax
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Hi all,
Blind Boy Fuller recorded "She's Funny That Way" at a session New York City on April 29, 1936. The title is usually shown as "[I Got A Woman Crazy For Me] She's Funny That Way". Fuller accompanied himself out of C position in standard tuning for the song. The song is an unusual one for Fuller to be doing, it's very Poppy, and incidentally bears no musical resemblance to the better known Pop hit of the same name by Neil Moret. This sounds to me like it might be one of the relatively unusual Fuller recordings that showed a decided Rev. Davis influence. Here is "She's Funny That Way":
https://youtu.be/gJv3aYno6lE
INTRO SOLO
I got a gal, she's crazy 'bout me. just as crazy as she can be
She ain't crazy, but she's little bit funny that way
Went home last night, knocked on my door
Heard a voice say, "You don't live here no more."
You ain't crazy, but you're little bit funny that way
Kept on knockin', thought she was havin' fun
Heard a voice say, "Put it to your boy and run."
She's not crazy, but she's little bit funny that way
Oh zaz, zee, zaz
Oh zaz, zee, zaz
Oh zaz, zee, zaz
Scooty-un, deeten-deet-uh-deet, da-yeah
SOLO
I asked my woman where'd she stay last night, "None of your business, I been treatin' you right."
You're not crazy, but you're little bit funny that way
Look-a here, woman, you talkin' too tough, you got a man ain't gwonna stand that stuff
You're not crazy, but you're little bit funny that way
INTERLUDE SOLO
'Fore my dinner, I wanta feel your leg, 'fore my dinner I wanta feel your leg
You're not crazy, but you're little bit funny that way
Lemme feel your leg, then it felt so soft, you know what you promised me, you c' put me off
Y' not crazy, but you're little bit funny that way
Oh zaz, zee, zaz
Oh zaz, zee, zaz
Oh zaz, zee, zaz (Spoken: Yeah!)
(Guitar finishes bridge)
SOLO
I love that woman, scared to call her name, she's a married woman, love her just the same
She's not crazy, but she little bit funny that way
INTERLUDE AND SOLO
Edited 12/27 to pick up corrections from David Kaatz, Johnm and Blues Vintage
All best,
Johnm
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John,
Regarding She's Funny That Way
I don't hear the word "can't" in this line:
you know what you promised me, you can't put me off
I don't know if you care to notate this way, but the line
she's married woman, love her just the same,
I hear Fuller really swallow the she's, reducing it to just s' married woman
Dave
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Hi Dave,
I agree that Fuller does not pronounce "can't" in that line, though he does in other songs where he sings the same line. He does pronounce the hard "c" that begins the word, though, so I'll delete "can't" and replace it with "c'".
In the other place you mentioned, I'm actually hearing him say clearly, though very quickly, "she's a" rather than just "she's" which is what I had. I'll make these two changes, and thanks for the suggestions.
All best,
Johnm
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Some suggestions,
2.3 Look-a here, woman, you talkin' you're too tough
3.3 Lemme feel your leg, then and it felt so soft (he also sings this same line in meat shakin')
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Hi Blues Vintage,
I agree with "too" tough and will make that change. I'm hearing Fuller saying "then" very clearly in the other place, listening at high volume, so I'm not changing that. Thanks for the suggestions.
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Hi all,
Blind Boy Fuller recorded "Ain't No Gettin' Along" at a session in New York City on September 8, 1937, accompanying himself out of A position in standard tuning. It's kind of a mysterious track, because it is a self-cover of Fuller's "Weeping Willow" which he had recorded less than two months prior to the date. He sounds tired and possibly unwell here, and his guitar is a little bit out of tune, which was unusual for him (though certainly not in Gabriel Brown's or J. T. Smith's territory in that regard).
In transcribing so many Fuller tunes in rapid succession, I have found myself wondering if it was, in fact, Fuller himself who delivered the spoken yeahs that are interspersed throughout his recordings. Fuller's own voice had a fair amount of gravel and loose matter in it, and those yeahs are always so smooth and breathy and sometimes seem to enter almost while he is still holding a sung note. In this song, contrast the "Yeah!" in verse two with the "Why, boy?" in the same verse--the speaking voice on "Why, boy?" matches up with Fuller's singing voice, where as the "Yeah!" does not. Perhaps it was J. B. Long doing the yeahs. I remember being similarly dubious that William Moore was delivering the spoken narrations on "Old Country Rock" and "Barbershop Blues", for the very same reason--the vocal quality and pitch of the speaker didn't match Moore's singing voice at all.
In any event, here is "Ain't No Gettin' Along":
https://youtu.be/_O-TnwtnJXQ
INTRO SOLO
Now and that weepin' willow, and that mourning dove
That weeping willow, and that mourning dove
Got a gal up the country, Lord, you know I really love
Now if you see my woman, tell 'er I said, "Hurry home." (Spoken: Yeah!)
You see my woman, tell 'er I said, "Hurry home." (Spoken: Why, boy?)
I ain't had no lovin' since the woman I love been gone
Mmmm, mmmnmmmmmm
Mmmm, mmmmmmmmm
I ain't had no lovin' since the woman I love been gone
Where it ain't no love, ain't no gettin' along (Spoken: Yeah!)
Where it ain't no lovin', ain't no gettin' along
My gal treat me so mean and dirty, some time I don't know right from wrong
Mmmm, mmmmmmmmmm
Mmmm, mmmmmmmmmm
Sometimes she treat me so mean and dirty, I don't know right from wrong
SOLO
Now I'm goin' away, mama, crying won't make me stay
'Cause the more you cry, further you drive your man away
Edited 1/5 to pick up corrections from Blues Vintage
All best,
Johnm
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Hi all,
Blind Boy Fuller recorded "Passenger Train Woman" at a session in New York City on March 5, 1940, accompanying himself out of G position in standard tuning. I've noticed that in Fuller's tunes that he played in G position he often omitted the customary full intro solo which he would play in other playing positions, and while playing very interestingly and inventively, fairly often did not take a solo in the middle of the song either, as is the case here. He's long on all of his instrumental responses in this song, and may have felt the guitar was featured adequately in them. If that was the case, I think his reasoning was right on, at least to my taste. In the opening line of the first verse I think he got caught halfway between "you" and "she" and ended up singing "ye". Here is "Passenger Train Woman":
https://youtu.be/jIby6lCPlWM
Little girl, little girl, little girl, just as sweet as ye can be
Little girl, little girl, little girl, you just as sweet as you can be
Then I begin to wonder, do you ever think of me?
Then she left me this mornin', clock was striking four
Then she left me this mornin', and that clock was strikin' four
And when she walked out, yes, them blues stepped in my door
Well, the time I need you, baby, that's the time you gone
Well, the time I need you, mama, Lord, that's the time you gone
I b'lieve you got ways like a passenger train, when one getting off, the other one getting on
Now my left eye jump, mama, my flesh begin to crawl
Says my left eye jump, baby, and my flesh begin to crawl
Says that's a mighty true sign, some man kicking in my stall
Don't mind you goin' out, mama, if you don't stay both night and day
I don't mind you goin' out, sugar, if you don't stay out both night and day
Says, that's a mighty true sign, baby, that you given' my lovin' away
Edited 1/5 to pick up correction from Blues Vintage
All best,
Johnm
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Concerning Fuller's recording of Ain't No Gettin' Along: He is here covering his own tune which was given a new song title probably at the insistence of his manager J.B. Long. He had previously recorded Weeping Willow for the Decca label on the one trip he made to record for the rival label accompanied by the Trice brothers. This was done without knowledge or permission from his manager J.B. Long who stopped the release of the Decca recordings when he found out and promptly put Blind Boy Fuller under contract. Fuller is once again recording for the American Recording Corporation (ARC) on this track and giving a less vibrant performance of his squelched masterpiece. I agree that the spoken asides sound like they come from another voice, possibly J.B. Long or Uncle Art Satherly. I had never really caught this before but had a suspicion of the other voice on other tracks of his such as Flyin' Airplane Blues. I guess they thought of it as a signature gimmick, kind of like Peetie Wheatstraw's Ooh,Well,Wells and wanted to keep it in his recorded performances.
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Thanks very much for that explanation, Lightnin'. I hadn't thought to look and see that "Weeping Willow" and "Ain't No Gettin' Along" were recorded for two different labels. That clarifies the whole situation, thanks! I'm glad to hear that you also think those Yeah!s do not sound like Fuller.
All best,
John
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Hi all,
Blind Boy Fuller recorded "Crooked Woman Blues" at a session in New York City on March 7, 1940, accompanying himself out of D position in standard tuning. The spoken "Yeah!" in the solo is definitely from Fuller this time. Here is "Crooked Woman Blues":
https://youtu.be/ZL9eYuU2_Xk
You can always tell when your, woman don't want you 'round
You can always tell when your, woman don't want you around (Spoken: Why, boy?)
She will put you in jail, six feet in the ground
Hey, locked up in jail and I just can't help myself
Locked up in jail, mama, and I sure can't help myself
Yeah, when I get out, I'm gwonna find me someone else
Yeah, I don't believe it's a woman, in the whole round world do right
I don't b'lieve there's a woman in the, whole round world do right (Spoken: Why, boy?)
She act like a angel in the daytime, crooked as the devil at night (Spoken: Play it for me now!)
SOLO (Spoken: Yeah!)
Said I got the blues, then I had 'em all day long
Yes, I got the blues and I been, had 'em all day long
Yeah, when I get my pistol, I won't have them long
Hey, I'd know my woman, tell you how I know
Know my woman and I'll tell you how I know
By that great long hair, that same little dress she wore
CODA
Edited 1/5 to pick up correction from Blues Vintage
All best,
Johnm
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Hi all,
At this point, all of Blind Boy Fuller's solo recorded performances have had their lyrics transcribed, with the exception of a few tunes in which two takes are available. In those instances, only one of the takes has been transcribed. So with the exception of those untranscribed extra takes, all of his recorded performances that remain untranscribed are ones in which he is either joined by a seconding guitarist, Bull City Red on washboard, and/or harmonica, most often Sonny Terry. I'm going to hold off on transcribing those songs (some of which have already been transcribed), but any of you who would like to take them on are welcome to do so.
All best,
Johnm
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That's great. All of Jefferson is complete too right? We should aspire to work out the entire McTell, Patton, etc. output too.
Or even every country blues musician for that matter. I was planning to do the entire Montgomery St. Charles Hotel session.
Some suggestions for the last Fuller songs
Ain't No Gettin' Along
1.1 Now and that weepin' willow, and that morning mournin' dove
1.2 And that weepin' willow, and that morning mournin' dove
Passenger Train Woman
typo
2.1 The (then) she left me this mornin', clock was striking four
Crooked Woman Blues
5.1 Hey, I I'd know my woman, tell you how I know
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Thanks for the suggestions, Blues Vintage. I re-listened and have made the changes. Just for clarity's sake, I'll add that all of Blind Boy Fuller's titles have not had their lyrics transcribed yet--only his solo titles (minus a few multiple takes) have been transcribed. There are quite a few titles with Sonny Terry, especially, that have not been transcribed, as well as a couple with Rev. Davis backing him, and some duos with Bull City Red. So there is work yet to do, unlike with Lemon, where all the titles have been transcribed.
All best,
Johnm
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Hi all,
Blind Boy Fuller recorded "Oozin' You Off My Mind" at a session in New York City on December 15, 1937. It has a standard 18-bar raggy progression and Fuller accompanies himself out of C position capoed up, while Floyd Council, who is seconding him plays out of F position in standard tuning. The interplay between the two guitars is really a treat, and I think all of the cuts in which these two duetted are terrific. I'm not at all sure I have all of the lyrics, so any assistance is appreciated. I realize now that this song was worked on previously in this thread, but perhaps not finished and definitely not put up in Weeniepedia, so I'll hope to get it this time. Here is "Oozin' You Off My Mind":
https://youtu.be/eCLu4O93qd8
Mama, if you think I'm grievin' 'cause you quit me, you got to change your mind
When you see me settin' around sleepin' I'm oozin' you off my mind
Said, look-a-here gal, you been treatin' me mighty tough, you know good and well I'm tired of that doggone stuff
If you think I'm grievin' 'cause you quit me, gal, you got to change your mind, still tellin' you, you got to change your mind (Spoken: Yeah!)
SOLO
Says now, gal, you think I'm grievin' 'cause you quit me, you got to change your mind
When you see me settin' around sleepin' I'm oozin' you off my mind
Says, ashes to ashes and dust to dust, show me a woman that a man can trust
If you think I'm grievin' 'cause you quit me, babe, you better change your mind, still tellin' you, you've got to change your mind (Spoken: Yes!)
(Spoken: Now, mama, if you think I'm grievin' 'cause you quit me, you better change your mind
When you see me settin' around sleepin' I'm just oozin' you off my mind
(Sung:Skoo-dop un bop-bop, dee bop-bop, be dahpen-bo zaz-oh-zaz) (Spoken: Yeah!)
(Guitars finish verse)
Baby, if you think I'm grievin' 'cause you quit me, you'd better change your mind
When you see me settin' around sleepin' I'm oozin' you off my mind
Says a nickel is a nickel and a dime is a dime, (Spoken: Gal, what's that you've been givin' 'way--of mine?
Baby, if you think I'm grievin' 'cause you quit me, gal, you've got to change your mind, still tellin' you, you got to change your mind (Spoken: Yeah!)
(Spoken: Lord, this world in a turnip patch! Everybody's makin' salads! Aaah, too bad.)
(Sung: Ah bop bop, bop be-dow, bee-deepen-dee-bo, zaz-oh-zaz) (Spoken: Yeah!)
(Guitars finish verse)
Says, gal, if you think I'm grievin' 'cause you quit me, you better change your mind
When you see me settin' around sleepin' I'm oozin' you off my mind
Just like a squirrel that go from limb to limb, if my woman go from man to man it's too bad, Jim
Now, gal, if you think I'm grievin' 'cause you quit me, baby, you'd better change your mind, still tellin' you, gal, you better change your mind
Edited 1/11 to pick up correction from banjochris
All best,
Johnm
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My only suggestion on "Oozin," John, would be in 4.3:
(Spoken: Gal, what's that you've been givin' AWAY--of mine?)
I put AWAY but 'WAY might be better there.
Chris
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Thanks for the help, Chris. I've made the change. Lots of words on that one!
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Hi all,
Blind Boy Fuller was once again joined by Floyd Council for "Shake That Shimmy", recorded on the same day as "Oozin' You Off My Mind". The accompaniment had the players working in the same playing positions, too, with Fuller once again in C position in standard tuning and Council in F position in standard tuning. The solos on this one are pleasantly bumpy. Here is "Shake That Shimmy":
https://youtu.be/U-vqyR-w_rY
Know my baby's gonna jump and shout, the boat rows up and I come walkin' out
REFRAIN: Shake your shimmy, gal, shake your shimmy
If you can't shake your shimmy, please shake your yas-yas-yas
SOLO
She called me this mornin' 'bout a half past ten, "Wake up, daddy, I'm ready to roll it again.", Now
REFRAIN: Shake our shimmy, mama, please shake your shimmy
If you can't shake your shimmy, please shake your yas-yas-yas
She called me this mornin' 'bout a half past one, "Wake up, daddy, shakin' just begun." Now
REFRAIN: Shake your shimmy, please shake your shimmy
If you can't shake your shimmy, please your yas-yas-yas (Spoken: Yeah, shake it now, boy!)
SOLO
She called me this mornin' 'bout a half past two, "Wake up, daddy, shakin' ain't near through." Now
REFRAIN: Shake our shimmies, mama, please shake your shimmy
If you can't shake your shimmy, please shake your yas-yas-yas
Some folks say I killed a man, self-defense, shot him in the yas-yas-yas and I jumped that fence, now
REFRAIN: Shakin' shimmy, you know he shook his shimmy
If he couldn't shake his shimmy, shake his was-yas-yas (Spoken: Yeah!)
SOLO (Spoken: Yeah!)
If you see my woman, tell 'er to hurry home, ain't had no shakin' since she been gone, now
REFRAIN: Shake your shimmy, please shake your shimmy
Well, if you can't shake your shimmy, please shake your yas-yas-yas (Spoken: Yeah!)
SOLO
All best,
Johnm
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Hi all,
For "Flyin' Airplane Blues", recorded October 29, 1938 in Columbia, South Carolina, Blind Boy Fuller was joined by Bull City Red on washboard and Sonny Terry on harmonica. I heartily approve of the relatively subdued level at which Sonny Terry was recorded here--he doesn't take up all of the musical space as he was prone to do sometimes, especially in later years. Fuller accompanied himself out of E position in standard tuning for the song. The song shares its phrasing with Sonny Boy Williamson's "Good Morning, Little Schoolgirl". For whatever reason, Fuller's voice sounds abnormally harsh on this track. Here is "Flyin' Airplane Blues":
https://youtu.be/rwTKp01_caI
Gwon get in my airplane, gwon get in my airplane
Gwonna ride all over, gwonna ride all over your town
And if I spy the gal I'm lovin', old Full' gon' let this airplane, Old Full' gon' let this airplane down
Now here's my hand (Spoken: Yeah!), now here's my hand
You can lead me where you want me, you can lead me where you want me to go
And if you lead me wrong this time, and you want lead me no, and you won't lead me no more
And I feel like walkin' (Spoken: Yes I do!), I feel like walkin' (Spoken: Yeah!)
I feel like lyin', I feel like lyin' down
And you know I feel just like lovin', my gal ain't nowhere, my gal ain't nowhere, around
Now you're three times seven (Spoken: Yeah!), now you're three times seven
Oughta know what you want, child, oughta know what you want to do
Mama, and the day that you quit me, I won't be mad with, said I won't be mad with you
Then I know my little woman (Spoken: Yeah!), said I know my little woman,
She's bound to jump, she's bound to jump and shout
And whenever she get hold of this here letter, I done rolled my long time, I done low [mis-spoken] my long time out
CODA
Edited 1/11 to pick up corrections from Blues Vintage
All best,
Johnm
-
4.1 Now you're three times seven (Spoken: Yeah!), now you're three times seven
4.3 Typo; Mama, and the day that you quit me, I won't be made (mad) with, said I won't be mad with you
-
Thanks for those catches, Blues Vintage. I have made the changes.
-
And of course it's a direct cover of Sleepy John's "Airplane Blues" – he even picks up John's "Now..."
Chris
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Hi all,
Blind Boy Fuller was joined by just Bull City Red on washboard for "Jivin' Woman Blues", which was recorded at the same Columbia, South Carolina session as "Flyin' Airplane Blues". Fuller accompanied himself out of C position in standard tuning here, and the song has a nice uptown feeling to it. Here is "Jivin' Woman Blues":
https://youtu.be/xt6BulDyMB8
INTRO SOLO
Got a gal you call Betty Mae, she goes out and truck all day
She ain't crazy but, she just jivin' that way
Oh, bap-en-bappy, oh, zaz-zee
Ohten beepen boppen bam, bam-bam, boppen bee, bah bee-zaz-zaz (Spoken: Yeah!)
SOLO
Have my dinner ready, don't let me coffee get cold, don't forget to save my sweet jellyroll
You're not crazy but, youjust jivin' that way
(Guitar plays form) (Spoken: Yeah!)
She go to bed, early at night, speak about lovin' she want to fuss and fight
She's not crazy but, she just jivin' that way
Oh, yeck-pitty, oh, zee-zee
Oh beeten-beeten boppen-boppen bow, (Guitar finishes form) (Spoken: Yeah!)
She go to bed, rag tied around her head, speak about lovin', she swear she's almost dead
She's not crazy but, she just jivin' that way
(Guitar finishes form)
Had a whiskey you drunk and run right to your head, had to take a bath before you went to bed
You're not crazy but, you just jivin' that way
CODA
All best,
Johnm
-
I knew that "Flyin' Airplane Blues" was a cover, Chris, but I couldn't remember of whose version. It's funny, I always think of Fuller as being heavily indebted to a number of musicians who recorded before him, like Blind Blake, Buddy Moss, Lonnie Johnson and Blind Lemon Jefferson, but I less often think of him being influenced in any way by people who were recording contemporaneously with him.
all best,
Johnm
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Hi all,
Blind Boy Fuller was joined by Sonny Terry on harmonica for "Georgia Ham Mama", recorded at a session in New York City on April 5, 1938. Fuller accompanied himself out of A position in standard tuning for the song. Here is "Georgia Ham Mama":
https://youtu.be/BGxCSV707IY
INTRO SOLO
When that sun was risin', baby, blues was knockin' at my door
Hey-hey, blues knockin' at my door
Says, I had so much of trouble, says I didn't know where to go
Says I'm gettin' so, now baby, don't nothin' worry my mind
I say hey-hey, don't nothin' worry my mind
Says, God, I spied a spider, he was crawlin' up that longest line
SOLO (Spoken: Yeah!)
Says it my be your woman, but she come to see me sometime
I say hey-hey, come to see me sometime
Yes, she bes 'round me so often, I begin to call her mine
Sometime my baby wears a hat, then again she wears a tam
Hey-hey, sometime she wears a tam
Yes, she got great big legs, and they shaped just like Georgia ham
All best,
Johnm
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Hi all,
Blind Boy Fuller recorded "What's That Smells Like Fish?" at the October 29, 1938 session in Columbia, South Carolina, backed by Bull City Red on washboard. The song used Fuller's favorite 18-bar raggy form. I believe that the title's query was rhetorical. I'd appreciate help with the bent bracketed word in the second solo. Here is "What's That Smells Like Fish?":
https://youtu.be/WY7PSvJ1430
INTRO SOLO
What's that smell like fish, mama, good if you really wants to know
What's that smell like fish, baby, good if you really wants to know
Smell like puddin' and it ain't no pie, same thing that you know you have to buy
What's that smell like fish, good if you really wants to know, I mean, good if you really wants to know (Spoken: Yeah!)
SOLO
What's that smell like fish, mama, good if you really wants to know
What's that smell like fish, baby, good if you really wants to know
Smell like sardines and ain't in no can, same doggone thing you took to the other man
What's that smell like fish, mama, good if you really wants to know, I mean, good if you really wants to know
What's that smell like fish, baby, good if you really wants to know (Spoken: Yeah!)
What's that smell like fish, mama, good if you really wants to know
Smell like puddin' and it ain't no pie, really good to me and it t'ain't no lie
What's that smell like fish, mama, good if you really wants to know, still tellin' you, good if you really wants to know (Spoken: Yeah!)
SOLO (Spoken: Play it a long time! Play it 'til it get good to me
What's that smell like fish, mama, good if you really wants to know
What's that smell like fish, baby, good if you really wants to know
Make you weep and it can make you moan, same doggone thing made me leave my home
What's that smell like fish, baby, good if you really wants to know, I mean, good if you really wants to know
CODA
Edited 1/12 to pick up corrections from banjochris
Edited 1/13 to pick up correction from Blues Vintage
All best,
Johnm
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"TASTE of it". ??
I didn't listen to every single one, but every one I did listened to sounded like "DAD" not "daddy" to me.
Wax
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A few suggestions on "Fish," John:
I think in each line, it's not "your daddy" but "good if you" meaning "it's good if you"
in 2.3 it should be took TO the other man
and the bracketed bit is PLAY IT TILL it get good to me.
Chris
-
Thanks for the help, Chris. I have made all of those changes. Thanks!
-
Hi all,
Blind Boy Fuller was once again joined by Sonny Terry for "Big House Bound", recorded at the very productive Columbia, South Carolina session of October 29, 1938. Fuller accompanied himself out of A position for this song, and it is really special, with a a beautiful melody and a great set of lyrics. The duo forgoes the usual intro solo and opens right up with the first verse after a brief lick from Fuller. Here is "Big House Bound":
https://youtu.be/rZtG0NIUtjw
I never will forget the day, they transferred me to the county jail
Lord, I never forget the day, Lord, they transferred me to the county jail
I have shot the woman I love, ain't got no one to come go my bail
Then I sent for my friends, "Please, spare the rod."
And I sent for my friends, "Lord, please spare the rod."
Then my friends sent me word, "Lord, this time is too doggone hard."
I got friend that got money, please, tell him come go my bail
I got a friend that's got money, Lord, please tell him come go my bail
And my friend sent me word, had no business in the county jail
Then I felt all right, 'til the judge turned around and frowned
Then I felt all right, Lord, 'til the judge turned around and frowned
Says, "I'm sorry for you, buddy, but you's on your last go-round."
I said, "Hmmmm, ain't got nobody now."
I said, "Hmmmmm."
Says I got nobody, Lord, come and go my bail
I said, "Hmmmmm, I mean, come and go my bail."
(Guitar finishes verse)
All best,
Johnm
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Hi all,
For "Ain't It A Crying Shame", recorded in New York City on July 24, 1935, Blind Boy Fuller was joined by Gary Davis on guitar. The duo's division of labor was an unusual one, with Fuller capoed up playing out of E position in standard tuning and Davis seconding him out of A position in standard tuning without a capo. This is a terrific song and performance--I think the song should have become a Blues Standard, like "In The Evening" or "Prison Bound". Here is "Ain't It A Crying Shame":
https://youtu.be/sB82_u_IrZo
INTRO SOLO
I've forsaken my sister, forsaken my brother, I've forsaken my daddy and my dear old mother
I had to do that to change that woman's name
But now she's fixin' to leave me, ain't this a cryin' shame?
If it wasn't for love, people, never would be blue, if it wasn't for women, I d'know what I'd do
They's awful tricky, but I love 'em just the same
But my woman, she have tricked me, ain't this a cryin' shame?
I didn't know, people, she was that tricky kind, I was very weak and I grabbed the hook and line
But she had that feelin', and made me change her name
She throwed me down, ain't this a cryin' shame?
Say, them weak-minded people, they's easy to be misled, especially when they're sleepin', in their lonesome bed
She had a feelin', and made me change her name
But my baby's fixin' to leave me, ain't this a cryin' shame?
I woke up this mornin', 'bout the break of day, reached over and grabbed the pillow, where she used to lay
It's awful, people, but I love her just the same
But my baby's fixin' to leave me, ain't this a cryin' shame?
CODA
All best,
Johnm
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A few suggestions on "Fish," John:
I think in each line, it's not "your daddy" but "good if you" meaning "it's good if you"
in 2.3 it should be took TO the other man
and the bracketed bit is PLAY IT TILL it get good to me.
Chris
One further suggestion,
Smell like sardines and ain't in no can, same doggone thing you took chucked to the other man.
or at the other man.
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Thanks for the suggestions, Blues Vintage. I agree with "in" and have made the change. The rest I don't agree with--the vowel sound is wrong for "chucked" and Fuller definitely said "to" rather than "at", so I'll leave that part of the line as is.
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John – don't know if you've ever heard this one:
https://youtu.be/vUE6ivz1Yqk
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I had not heard that before, Chris, and it's really a treat. Thanks for posting that! Boy, Merle played a lot of guitar in the course of that song, changing up all the way through. It makes you realize how much he had worked out on the instrument.
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On "Ain't It A Crying Shame," second verse, first line, I don't hear the first "do" in "I do' know what I'd do." I sounds to me like BBF is singing "I know what I'd do."
No difference in meaning.
Lindy
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I did a clumsy job of communicating what I heard in that line, Lindy. I meant to put an elided "don't" prior to "know". It would more accurately have been written as d'know, or even dunno. For the second half of the line to have a parallel structure with the first half of the line, "don't know" makes much more sense than "know" would, it seems to me. I think if he knew what he would do, he would tell us what it it is he would do.
All best,
Johnm
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Concerning Ain't No Gettin' Along, Fuller recorded 12 songs during his Decca session. Two disks were issued soon after the session: If You See My Pigmeat/Why Don't My Baby Write To Me? and Weeping Willow/Corrine What Makes You Treat Me So. Those records were recalled by Decca after J.B. Long wrote the company threatening legal action for breach of Fuller's contract with him (though he actually had no contract with Fuller at the time, it was just a bluff). All 4 songs were rerecorded at Fuller's ARC session 2 months later: If You See My Pigmeat as Stealing Bo-Hog, Why Don't My Baby Write To ME? as Steel Hearted Woman, Weeping Willow as Ain't No Getting Along, and Corrine What Makes You Treat Me So as Careless Love. The last three songs were the only three recorded on the second day of Fuller's ARC session, suggesting that overnight someone had the idea of rerecording everything that was released on Decca.
All 12 of the Decca titles were released on late 1941 after Fuller's death.
Sorry to be so late on this - I'm just catching up on some stuff I glided over during the holidays.
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Hi all,
Blind Boy Fuller was joined by Sonny Terry on harmonica for "Mistreater, You're Going To Be Sorry", recorded in New York City on December 15, 1937. Blind Boy Fuller accompanied himself out of E position in standard tuning for the song. Fuller and Sonny Terry work together beautifully on their solos--they're really playing together as opposed to simply playing at the same time. Despite the intro solo being a 12-bar form, the song ends up being an 8-bar blues as sung (with a few extra beats), and it is essentially the same song as "Some Day You're Going To Be Sorry", which Fuller had earlier recorded in a solo version. Here is "Mistreater, You're Going To Be Sorry":
https://youtu.be/Y_ao0Y1bzr8
INTRO SOLO
I told you, baby, time and times again, I wouldn't be your enemy, I'd rather be your friend
REFRAIN: But some day, you're gonna be sorry, you mistreat me
I took you breakfast, carried it to your bed, even taken my comb, mama, and combed your head
REFRAIN: But some day, you're going to be sorry, you mistreat me
You left me this mornin', standin' in the door, if you stand to leave me, stand to see you go
REFRAIN: But some day, you're going to be sorry, you mistreat me (Spoken: Yeah)
SOLO
Today have been, long lonesome day, ever since my woman, been gone away
REFRAIN: But some day, you're going to be sorry, you mistreat me
All best,
Johnm
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Hi all,
Blind Boy Fuller recorded "Bye Bye Baby Blues" at the same session as "Mistreater, You're Going To Be Sorry" and was once again joined by Sonny Terry. Fuller again accompanied himself out of E position in standard tuning for the number. I'm having a hard time hearing and making sense of the second verse and would sure appreciate corroboration/correction there or anywhere else you think I have the lyrics wrong. The song turns out to be Fuller's version of "Red River Blues". Here is "Bye Bye Baby Blues":
https://youtu.be/m5TJr8hmSsI
INTRO SOLO
Which a-way, which a-way, do that blood Red River run?
Run from my window, to that rising sun
Now that dumper, said loader, please send me six foot of clay
'Cause that blood Red River, mama, is risin' six foot a day
Go down, to the camp, and tell my brother, Bill
That woman he's lovin' is, sure gonna get him killed (Spoken: Yeah!)
SOLO
Now, the reason why, these here men, they sure don't draw no more
Ride from that long table, back to that commissary store
Now I love, to hear, that M & O whistle blow
I'm in a world of trouble, God knows, and I got to go (Spoken: Yeah, yeah!)
SOLO
Now I got, two women, and I don't know one apart
There's one in my bosom, the other one in my heart
Edited 1/14 to pick up corrections from Blues Vintage and Johnm and waxwing
All best,
Johnm
-
Weird title for this song,
Now that dumper, said loader, please send me six foot of clean clay
'Cause that blood Red River, mama, is risin', [today, 'fore day?] six foot a day
The That woman he's lovin' is, sure gonna get him killed
back to the that commissary store
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Thanks very much for the help, Blues Vintage. Your fixes in verse two are right on, and I will make those changes. I think "that" in verse three is correct and will leave that as is. "That" commissary store is good and I'll put that in, too. I will also change, in the preceding line of that verse to "THEY sure don't draw no more." Thanks!
-
Sounds to me like he speaks "yeah" two times before the final solo. The first is kinda lackluster and only the second would deserve an exclamation point.
Wax
-
Right you are, waxwing, I've made the change. Thanks!
-
Hi all,
The last song that Blind Boy Fuller recorded with Sonny Terry on December 15, 1937 was "Looking For My Woman No. 2". I've obviously been listening to a lot of Blind Boy Fuller, but this take is so spectacular, particularly in Fuller's playing (in A position, standard tuning), that it completely caught me by surprise. He is so ultra on top of his game here, this might be my favorite piece of his in A, and I never thought I'd find one to rival "Worn-Out Engine". His time here is so lively, it is just die-happy stuff. Sonny Terry fits in perfectly, too. As far as I'm concerned, Blind Boy Fuller was the king of the up-tempo eight-bar blues. Here is "Looking For My Woman No. 2":
https://youtu.be/YRLgPUMx9II
INTRO SOLO
I love, a woman, live on corner, Broad and Main
She's a married woman but I ain't gwine call her name
I love her, and she knows it, I just can't help myself
Get the woman I'm lovin'. Lord, I don't need no one else
Hey-ey----ey-ey, mmm-mm-hmm
Mmm-mm-hmm, Lord, Lordy-Lord
And if I, start walkin', and my feet get soakin' wet
If I don't find my woman, Lord, I won't stop walkin' yet
Yeah-eah-ay, Mmm-mmm-hmm
Lordy-Lordy, Lordy-Lordy-Lord
Then I start, write a letter, b'lieve I'll go home myself
'Cause a letter's so slow, 'fraid a telegram may get left (Spoken: Yeah!)
SOLO
Just as sure, as the birds, range in that sky above
Life ain't worth livin' if you ain't with the one you love
I got, two women, and they both lives up that road
One dos my washin' and ironin' the other one pays my room and board
I love, to hear, that M & O whistle blow
I'm in a world of trouble, Lord knows, and I got to go (Spoken: Yeah!)
Mmm-mm-mmm, mmm-mmm-hmm
Mmm-mm-hmm, Lord Lordy-Lord
Mama, I'm goin' up the country, baby, but I can't carry you
It's nothin' up there a woman like you can do
Hey-ey-ey, mm-mm-hmm
Mm-mm-hmm, Lord Lordy-Lord
CODA
All best,
Johnm
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Possibly a more familiar (for fans of Ari) version of this guitar arrangement is Untrue Blues. (Transcribed in this topic HERE (https://weeniecampbell.com/yabbse/index.php?topic=408.msg48749#msg48749) by Pan in 20090 Recorded the same year backed by Red on wb, Fuller is nowhere near the blistering speed of Woman No2, but has two very fun solos which are not played here, possibly because he was allowing Terry to take the fore in the solos. Either way, it's great.
Wax
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Hi all,
For "Get Your Yas Yas Out", recorded in Columbia, South Carolina on October 29, 1938, Blind Boy Fuller was joined by Bull City Red on washboard as he accompanied himself out of C position in standard tuning, playing his favorite 18-bar raggy progression. Fuller came up with such a gabby opening line for this song that he chose to shorten it as he went along, particularly getting caught in the middle of the last line of the first verse. The duo takes this piece at such a tremendous clip it's no wonder he had a tough time fitting in all the lyrics. Here is "Get Your Yas Yas Out":
https://youtu.be/GWp-x1RfNgQ
INTRO SOLO
Now you got to leave my house this mornin', don't, I'll throw your yas yas out of doors
Now you got to leave my house this mornin', don't, I'll throw your yas yas out of doors
Here you come, raisin' hell, know what you been doin' by the way you smell
Now you got to leave my house this mornin', don't, your ass out of doors, I mean, your yas yas out of doors (Spoken: Yeah!)
Now you got to leave my house this mornin', don't, I'll throw your yas yas out of doors
You got to leave my house this mornin', don't, I'll throw your yas yas out of doors
Here you come, raisin' sand, know what you been doin' by the way you stand
Now you got to leave my house this mornin', don't, I'll throw your yas yas out of, I mean, your yas yas out of doors (Spoken: Play it now for me!)
SOLO
Now you got to leave my house this mornin', your yas yas out of doors
Now you got to leave my house this mornin', don't, I'll throw your yas yas out of doors
Liquor you're drinkin', went right to your head, had to take a bath 'fore you went to bed
Now you got to leave my house this mornin', throw your yas yas out of doors, I mean, yas yas out of doors (Spoken: Play, now!)
SCAT BRIDGE
Now you got to leave my house this mornin', throw your yas yas out of doors (Spoken: Yeah!)
Now you got to leave my house this mornin', throw your yas yas out of doors
Oh zee-zah, bee-dum bow, bahten-bahten-bahten da-doo zas
Now you got to leave my house this mornin', throw your yas yas out of doors, I mean, yas yas out of doors
CODA
Edited 1/15 to pick up corrections from Blues Vintage
All best,
Johnm
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Hi all,
For his recording of "Rag, Mama, Rag Take 1" Blind Boy Fuller was joined by Gary Davis on seconding guitar and Bull City Red on washboard. The trio recorded two takes of the song at a session in New York City on July 25, 1935, with Fuller accompanying himself out of C position in standard tuning and Davis working out of F position in standard tuning. Both takes are excellent, and surprisingly close to each other, really, but for some reason I find the first take more exciting. Davis makes a late entry coming in on the thirteenth bar of the intro solo. The song has a simple VI-II-V-I progression, with two bars of each chord played and then the entire progression repeated twice, but it is no less exciting or entertaining for that. Here is "Rag, Mama, Rag Take 1":
https://youtu.be/12oOmRGqqEo
INTRO SOLO
Says I'm goin' uptown, hat in my hand, lookin' for the woman ain't got no man
Just as well be lookin' for a needle in the sand, lookin' for a woman ain't got no man, ah
Rag, rag
Rag, said do that rag
Oh rag, oh rag
Rag, said do that rag
Said I wouldn't've thought my gal would treat me so, love another man stayed in my back door
Mind, mama, what you sow--you got to reap just what you sow, ah
Rag, (Spoken: Rag now), rag, baby
Rag, mama, said do that rag
Oh rag, (Spoken: Do it a long time)
Rag, said do that rag
Now if you get you one woman, better get you two, one for your buddy, other one for you
Got me a wife and a sweetheart too, wife don't love me, my sweetheart do, ah
Rag, (Spoken: Rag, baby), rag
Rag, mama, says do that rag
Oh rag, rag
Rag, baby, said do that rag
SOLO
Yeah, SCAT VERSE, ah
Rag, oh rag, baby
Rag, mama, said do that rag
Oh rag, oh rag, baby
Rag, mama, said do that rag (Spoken: Now rag, baby)
STOP-TIME SOLO
Oh rag, oh rag
Rag, mama, said do that rag
Said my gal hollered, "Murder!", I ain't raised my hand, pistol in my pocket, blackjack in my hand
Took my gal und' the willow tree, oughta hear her hollerin', "Don't murder me!", ah
Rag, ssh, oh rag (Spoken: Rag now, baby)
Rag, said do that rag, oh
Rag, oh rag, baby
Rag, then, said do that rag
CODA (Spoken: Rag now, gal)
All best,
Johnm
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Slip it, you drink it, went right to your head, had to take a powder 'fore you went to bed
I hear something like this, not sure.
Liquor you're drinkin', went right to your head, had to take a bath 'fore you went to bed
-
I agree with both of your suggestions, Blues Vintage, and will make those changes. Thanks!
-
Hi all,
Blind Boy Fuller recorded "Woman You Better Wake Up", backed by Sonny Terry on harmonica, at a session Memphis on July 12, 1939. Fuller accompanied himself out for A position for the song. The guitar and harmonica are notably not in tune with each other on this track. Here is "Woman You Better Wake Up":
https://youtu.be/KSb12-_kAZQ
INTRO SOLO
I said sleepy-headed mama, don't you sleep so sound
I said sleepy-head mama, don't you sleep so sound
Says you know what you promised me, Great God, before you lied down
Says you go to sleep in the night, wake up, the dawn of day
Say, you go to sleep at night, wake up, the dawn of day
Says, you better wake up now, mama, just before you sleep your rights away
Yes, she's low and she's squatty, Great God, and she's so long
I say ay-ay, I said she's so long
Says, don't you blame your man, if things go wrong at home (Spoken: Play it for me now, boy)
SOLO
Boys, if you lose your money, please don't you lose your mind
Boys, if you lose your money, please don't you lose your mind
Said if you lose your woman, Great God, don't fool with mine
All best,
Johnm
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Hi all,
I was surprised to get this far into Blind Boy Fuller's repertoire and realize that we've never transcribed "Step It Up And Go", probably Fuller's most covered song, at the site. He recorded it on March 5, 1940 in New York City, accompanying himself out of G position in standard tuning and backed by Bull City Red on washboard. Credit where it's due--this is an incredibly catchy tune, and it's fun and relatively uncomplicated to play. I'd appreciate help with the first half of the tagline of the refrain. Here is "Step It Up And Go":
https://youtu.be/r2KbjMUfOEs
INTRO SOLO
Had a little girl, she was little and low, used to love me, but she don't no more, you got to
REFRAIN: Step it up and go, yeah and go
Well you can't stay and pat it, I declare you got to step it up and go
Got a little girl, she stays upstairs, tried to make a living by putting on airs, she's got to
REFRAIN: Step it up and go, yeah, yeah
Well, you can't stay and pat it, I swear you got to step it up and go (Spoken: Play it for me now!)
SOLO (Spoken: Yes, yes, yes! Aw, pshaw!)
Front door's shut, the back one too, blind pulled down, what you gwine-a do? You gwine to
REFRAIN: Step it up and go, yeah and go
Well you can't stay and pat it, I declare you got to step it up and go
SOLO (Spoken: Yeah!)
Now I got a little gal, 'se name was Ball, give her little bit and she took it all, you got to
REFRAIN: Step it up and go, uhh yeah
Well you can't stay and pat it, I declare you got to step it up and go
Me and my baby walkin' down the streets, tellin' everybody but the Chief Police, you got to
REFRAIN: Step it up and go, mmm yeah
Well you can't stay and pat it, I swear you got to step it up and go (Spoken: Play it again now!)
SOLO (Spoken: Yeah!)
See my woman, tell her "Hurry home.", ain't had no lovin' since she been gone, got to
REFRAIN: Step it up and go, yeah-yeah
Well you can't stay and pat it, I swear you got to step it up and go
If I sing this verse ain't gwonna sing no more, heared my gal calling' me and I got to go, you got to
REFRAIN: Step it up and go, yeah-yeah
Well you can't stay and pat it, I swear you got to step it up and go
SOLO (Spoken: Yeah!)
Edited 1/16 to pick up corrections from MarkC, waxwing, Blues Vintage
All best,
Johnm
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I'm going to have to try that one, John. This is a lot more fun than You've Got Something There, the similar tune he does in C.
-
I’m hearing:
We’ll you can’t stay and Pat it out
Declare you gotta step it up and go
Sounds to me like he alternates between:
Declare you gotta step it up and go
With:
Swear you gotta step it up and go
Maybe “pout” instead of “pat”?
-
Thanks for the suggestions, MarkC. I'm pretty sure he says "pat", but what is odd is that he has two syllables before "I declare", and what he enunciates sounds like"pattle", rhyming with "cattle". I don't believe he pronounces the "w" in "well", but I think his meaning is "Well I declare you got to step it up and go". A more accurate rendition of the sound of the whole line would be
Well, you can't stand pat, 'll I declare you got to step it up and go
See if that sounds like what he's singing. And I'll check for verses where he says "swear" rather than "declare", because I sure missed that if he did that.
EDITED TO ADD: Good call on "swear", Mark. He sang that in the last three verses and I have made the changes, thanks!
All best,
Johnm
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I think you might have it John. I think the way he pronounces “stand” was throwing me off.
-
A more accurate rendition of the sound of the whole line would be
Well, you can't stand pat, 'll I declare you got to step it up and go
Looking at my notes, that's exactly how I transcribed it about 20 years ago, Johnm.
Typo: a dropped t from the "got to" in the next to last verse, first line.
Wax
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I hear this throughout the song,
Well you can’t stay and pat it I declare/swear you got to step it up and go
2.3 I declare swear you got to step it up and go
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Re-listening, I think you got it, Blues Vintage, I'll make that change and the" swear" in the second verse. And thanks for the typo catch, waxwing. And that front end of the tagline is pretty much what MarkC had suggested, too. Good hearing, you guys.
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Hi all,
Blind Boy Fuller recorded "Jesus Is A Holy Man" accompanying himself out of C position in standard tuning in what seems to be a very Rev. Davis-influenced accompaniment, and with the vocal backing of both Bull City Red and Sonny Terry and Red playing washboard. The performance was recorded on June 19, 1940, not that long before Fuller was to pass away. Here is "Jesus Is A Holy Man", with Red and Sonny's vocal responses shown parenthetically:
https://youtu.be/W1eJoLjo07s
INTRO SOLO
Ananias (Ananias), Ananias (Ananias), tell me what kind of man Jesus is
Ananias (Amen/Ananias), Ananias (Ananias), oh what kind of man this Jesus is
Oh Ananias (Ananias), oh Ananias (Ananias), tell me what kind of man Jesus is
Ananias (Ananias), Ananias (Ananias), oh, what kind of man Jesus is
He spoke to the wind (spoke to the wind), and the wind obeyed (and the wind obeyed), tell me what kind of man Jesus is
He spoke to the wind (spoke to the wind), wind obeyed (wind obeyed), oh, what kind of man Jesus is
He's a holy man (he's a holy man), a holy man (holy man), tell me what kind of man Jesus is
Holy man (holy man), holy man (He's a holy man), oh, what kind of man Jesus is
Oh Ananias (Ananias), Ananias (Ananias), tell me what kind of man Jesus is
Ananias (Ananias), Ananias (Ananias), hey, what kind of man Jesus is
He spoke to the sea (Hear me!), sea obeyed (sea obeyed), tell me what kind of man Jesus is
He spoke to the sea (spoke to the sea) the sea obeyed (and the sea obeyed), oh, what kind of man this Jesus is
Oh Ananias (Ananias), oh Ananias (Ananias), tell me what kind of man Jesus is
Ananias (Ananias), Ananias (Ananias), hey, what kind of man this Jesus is
He spoke to the fire (spoke to the fire), and the fire obeyed (oh, fire obeyed), tell me what kind of man Jesus is
He spoke to the fire (fire), and the fire obeyed (fire obeyed) oh what kind of man this Jesus is
Edited 1/17 to pick up corrections from waxwing
All best,
Johnm
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I know how hard it is to keep these kind of repetitive shouts straight, Johnm. (I'm thinking of Fishin' Blues where you got the a'goin's and a'fishin's spot on). anyway I noticed one reversal:
2.1 Oh Ananias (Ananias), OH Ananias (Oh Ananias), tell me what kind of man Jesus is
Aside from that they are all correct, I think. There is also a spoken (or shouted) "Amen" after the first "Ananias" in 1.2:
1.2 Ananias (AMEN)(Ananias), Ananias (Ananias), oh what kind of man this Jesus is
You are just tearing through these BBF songs! Thanks!
Wax
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Thanks for the help, wax, I have made those changes. Thanks!
-
Hi all,
For "Good Feeling Blues", recorded March 7, 1940 in New York City, Blind Boy Fuller accompanied himself out of E position in standard tuning and was joined by Sonny Terry on harmonica and Bull City Red on washboard. Here is "Good Feeling Blues":
https://youtu.be/IeS8qr0AG_Q
INTRO SOLO
You got a little woman, she won't treat you right, sweet in the day, you whup at night
REFRAIN: She got to love me with a feelin', well, love me with a feelin'
She ain't love me with a feelin', gonna let me a new mama move in
Then I called her this mornin' 'bout half past one, "Wake up, baby, lovin' has just begun."
REFRAIN: You got to love me with a feelin', well, love me with a feelin' (Spoken: Yeah!)
She ain't love me with a feelin', gonna let me a new mama move in (Spoken: Play it for me, now!)
SOLO
Then I know my little woman, gon' change my mind, when she walks she reels and rock behind
REFRAIN: You've got to love me with a feelin', well, love me with a feelin'
She ain't love me with a feelin', gonna let me a new mama move in
Says I told my baby, 'bout half past two, "Wake up, mama, lovin' ain't near through."
REFRAIN: You got to love me with a feelin', well, love me with a feelin' (Spoken: Yes, you is!)
Got to love me with a feelin', gonna let me a new mama move in
SOLO
Says my woman, she quit me, keep me worried and blue, "Take me in your arms and love me like you used to do."
REFRAIN: You got to love me with a feelin', well, love me with a feelin'
Y'ain't love me with a feelin', gonna let me a new mama move in
Then I called her this morning, 'bout half past ten, "Wake up, mama, lovin' is just begin."
REFRAIN: You got to love me with a feelin', you got to love me with a feelin'
Y'ain't love me with a feelin', gonna let me a new mama move in
CODA
All best,
John
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Hi all,
Blind Boy Fuller recorded "I Want Some of Your Pie" at a session in Memphis on July 12, 1939, accompanying himself out of E position in standard tuning and backed by Sonny Terry on harmonica and Bull City Red on washboard. Fuller's accompaniment would be re-used, in large part, for "Good Feeling Blues", recorded the next year. Here is "I Want Some of Your Pie":
https://youtu.be/ogeEeji_z0s
INTRO SOLO
Says I'm not jokin', ain't gwonna tell you no lie, I wants a piece of your custard pie
REFRAIN: You got to give me some of it, you got to give me some of it
You got to give me some of it, 'fore you give it all away
I'm not braggin' but it's understood, everything I do, I try to do it good
REFRAIN: You got to give me some of it (Spoken: Yeah!), you got to give me some of it
You got to give me some of it, 'fore you give it all away
Now your custard pie looks good and nice, when you cut it please save me a slice
REFRAIN: You got to give me some of it (Spoken: Yes, you is), you got to give me some of it
You got to give me some of it, 'fore you give it all away (Spoken: Play it now! Play it for Uncle Bud.)
SOLO
Says I don't care, for them right 'cross that street, you cut that pie, please save me a piece
REFRAIN: You got to give me some of it, you got to give me some of it
You got to give me some of it, 'fore you give it all away (Spoken: Play it for me.)
SOLO (Spoken: Yes! Yes!)
Now if it's good for a man, eighty-three, you know good and well it's good enough for me
REFRAIN: You got to give me some of it, yeah, give me some of it
You got to give me some of it, 'fore you give it all away
SOLO
Edited 1/18 to pick up correction from Blues Vintage
All best,
Johnm
-
4.1 Says I don't care,
if ever I for them right cross that street, you cut that pie, please save me a piece
-
I knew that wasn't right and you nailed it, Blues Vintage. Thanks!
-
Hi all,
For "I'm Going To Move (To The Edge Of Town)", Fuller accompanied himself out of E position and was backed by Sonny Terry. The take was recorded on December 16, 1937, in New York City, and DG&R has Fuller and Terry as the only musicians on the song. I'm hearing a second guitar backing Fuller out of G position in standard tuning and believe it was Floyd Council, who was in the studio the day prior and had seconded Fuller for a couple of songs then. See if you can hear Council. I believe this song was first recorded by Big Bill Broonzy as "I'm Gonna Move to the Outskirts of Town". Here is "I'm Going To Move":
https://youtu.be/IlpL9p0F544
I'm gonna take my baby, gwonna move out on the edge of town
Yes, I'm gonna take my baby, gonna move on out your town
'Cause I don't want nobody, always hangin' around
Now, the reason why now, baby, I don't want you to stay here, I don't need no iceman, I'm gon' get me a Frigidaire
That's what I'm gwonna do, mama, when I move on out your town
Says and I don't want nobody, always hangin' around
Then I'm gon' heat with gas, mama, and not with coal, I ain't gon' have no coal boy stoppin', and holl'in', "Coal!"
That's why, mama, gwon' move on out this town
'Cause I don't want nobody, always hangin' around
Then I'm gwonna bring my grocery, baby, myself every day, that's gon' keep that grocery boy, out'n your way
That's what I'm gonna do, when I move on out your town
'Cause I don't want no grocery boy, always hangin' around
Says, I may be funny, mama, funny as I can be, if we raise any babies, I want them all to look like me
That's why, gwonna move on out your town
'Cause I don't want nobody, always hangin' around
Edited 1/18 to pick up corrections from Blues Vintage
All best,
Johnm
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2.2 That's what I'm gwonna do,
woman mama, when I move on out your town
2.3 'Cause Says and I don't want nobody, always hangin' around
3.1 Then I'm gon' use the gas Then I'm gon' heat with gas, mama, and not with coal, I ain't gon' have no coal boy stoppin', and holl'in', "Coal!
5.1 Says, I may be funny, mama, funny as I can be, if we raise any babies, I want one that looks like me I want them all to look like me
Could be that he starts verse 3 and 4 with "sayin" instead of "then" but I find it very hard to hear.
The end of 4.1 is very hard to hear too.
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Thanks for the help, Blues Vintage. I agree with all of your suggestions and made the changes.
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Hi all,
Blind Boy Fuller recorded "Jivin' Big Bill Blues" at his July 12, 1939 session in Memphis, accompanying himself out of E position in standard tuning and backed by Sonny Terry on harmonica. I'm hard put to think of another blues song of that era in which one musician spoke of another in the way Fuller addresses comments to Big Bill in these lyrics. Here is "Jivin' Big Bill Blues":
https://youtu.be/_wobEpQsK08
Been your dog, ever since I entered your door, leavin' you this mornin', woman, I ain't gonna be your, dog no more, I said
REFRAIN: Lord have mercy, what am I to do?
Says I love my woman, yeah, you keep me so worried and blue
Now she leave me all night long, I cannot help myself, if she don't do better I'm gwine find me, someone else, I said
REFRAIN: Lord have mercy, what am I to do?
Says I love my baby, yeah, she keep me so worried and blue
Says I went down in that old town, that you call Tennessee, Big Bill's women went crazy, over me, I said
REFRAIN: Lord have mercy, Big Bill what you goin' to do?
Says I love my baby, yeah, that make you so worried and blue
Now look-a-here, woman, buy you a lock and key, that's the only way, boy, you gonna keep your little, woman from me, I said
REFRAIN: Lord have mercy, what am I to do?
Says I love my woman, yeah, she keep me so worried and blue (Spoken: Ah play it f' me a long time now!)
SOLO (Spoken: Yeah! Yeah!)
Now I'm gwinea ask you now, Big Bill, what you got on your mind, I done took your woman and I, know it grieves your mind, I said
REFRAIN: Lord have mercy, Big Bill, what you gwine to do?
Says I done took your woman, I done put that old thing on you
CODA
Edited 1/20 to pick up correction from David Kaatz
All best,
Johnm
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Hi all,
Blind Boy Fuller, accompanying himself in E position, standard tuning with Sonny Terry on harmonica and Bull City Red on washboard recorded "Bus Rider Blues" at a session in New York City on June 19, 1940. The song is a re-working of "Flying Airplane Blues", and shares the very same melody, structure and phrasing, but with a different set of lyrics. . Here is "Bus Rider Blues":
https://youtu.be/e4dgfjDsQCI
INTRO SOLO
Gwonna catch that old Greyhound, gwonna catch that old Greyhound, gwinea ride from town, gwinea ride from town to town
Then I'm gwonna find my little woman, don't think she can be, don't think she can be found
Now Mr. Redcap Porter (Spoken: Yeah!), Mr. Redcap Porter, won't you help me with my heavy, won't you help me with my heavy load?
Says now, my woman, she done and quit me, she's further on down the, she's further on down the road
Then I know my little woman (Spoken: Yeah!), then I know my little woman, she bound to love, she bound to love me some
Then she throws her arms around poor me, like the circle 'round the, like the circle 'round the sun
SOLO
It's the day before Christmas, it's the day before Christmas, lemme bring your present, lemme bring your present tonight
Then I will be your Santa Claus, says even if my whiskers, says even if my whiskers ain't white
CODA
All best,
Johnm
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John,
Just a typo, I think, in the last verse of Big Bill Blues, you wrote "don't took your woman", but it is clearly "done took" as you have it in the last line.
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Thanks for the catch, Dave, I have made the change.
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Hi all,
Blind Boy Fuller recorded "Bye Bye Baby" at a session in New York City on June 19, 1940, backed by Sonny Terry on harmonica. Fuller accompanied himself out of E position in standard tuning for the song, which is not a re-recording of his "Bye Bye Baby Blues", which he had recorded earlier, but rather an altogether different song. Fuller really channels Buddy Moss in what he plays over his IV chord in this song. Here is "Bye Bye Baby":
https://youtu.be/exHetz5Fdl8
Here I is now, baby, I'm on your hands again
I said here I is now, baby, I'm on your hands again
Hey-hey, you must remember, woman, I once have been your friend
Said one mornin', baby, when that clock be strikin' four
I said one mornin', when that clock be strikin' four (Spoken: What' gon' happen, boy?)
Hey, make me down a pallet, Great God, and let me in your door
Said I lied down last night laughin', woke up this mornin' screamin' and cryin'
Said I lied down last night laughin', woke up this mornin' screamin' and cryin'
Then I know it must be something goin' wrong, baby, with my worried mind (Spoken: Play it for me now, boy! Play it a long time!)
SOLO
I said bye bye, baby, got to leave you now behind
I said bye bye, baby, got to leave you now behind
Hey, you done cause me to quit you, Great God, and it sure does grieve my mind
Said bye bye, baby, got to leave you by yourself
Bye bye, baby, leave you by yourself
Says, you done cause me to quit you, I got to get me someone else
Edited 1/21 to pick up corrections from Blues Vintage
All best,
Johnm
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1.3 Yeah Hey hey, you must remember, one woman, I once have been your friend
3.3 Then I know it must be something goin' on wrong
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Thanks for the suggestions, Blues Vintage. I have made those changes.
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Hi all,
For "You've Got Something There", Blind Boy Fuller was joined by Bull City Red on washboard and possibly Sonny Jones on second guitar, with both Fuller and the second guitarist working out of C position in standard tuning. The song was recorded at the Memphis session on July 12, 1939, and is basically a re-write of "Diddie Wa Diddie". Here is "You've Got Something There":
https://youtu.be/Tx_KX5vxRRU
WASHBOARD INTRO PLUS INTRO SOLO
My gal went uptown, thought she was looking well, she fell down, her mouth flew open like a country bell
REFRAIN: She got something there, she got something there
Now, I keep on tellin' you, I know she got something there (Spoken: Play it a long time now!)
SOLO (Spoken: I know she got something there. Yeah!)
Now if you go out, stay all night, look in there, we're gwinea fuss and fight
REFRAIN: You got something there (Spoken: Yeah!), you got something there
Now, I keep on singin' about, I know she got something there (Spoken: Yes! Yes!)
SOLO
She's built up a little and I say around, she can look up long as you can look down
REFRAIN: She got something there (Spoken: Yeah!), she got something there
Now, don't you hear me tellin' you, I know she got something there (Spoken: Yes, she got something there)
SOLO (Spoken: Lord, this world is a turnip patch! Evahbody picking' salad!)
Get out now, boys, let me shut the door, I got to truck just before I go
REFRAIN: She got something there, she got something there
Now, I keep on tellin' you, I know she got something there
Gwinea tell you boys, it's 'cause you're my pal, It's a mighty bad sign to advertise your gal
REFRAIN: She got something there, she got something there (Spoken: Yes!)
Now, don't you hear me singin' about, I know she got something there (Spoken: Yes, she got something there!)
SOLO (Spoken: Yeah!)
CODA
All best,
Johnm
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Hi all,
Blind Boy Fuller was joined by Sonny Terry and Bull City Red on backing vocals for "Must Have Been My Jesus", recorded on June 19, 1940 in New York City. The hymn is related to one commonly known as "Somebody Touched Me", which ends its refrain with the line "It must have been the hand of my Lord". This version is more like praise music, with the guitar essentially playing an accelerating musical holding pattern in C position, standard tuning. Response vocal lines are shown parenthetically. I love the looseness of this performance. I wonder if Fuller wanted to record so many religious songs at his later sessions because of premonitions of his imminent death. There's no way of knowing now, I suppose, whose idea it was to do that. Here is "Must Have Been My Jesus":
https://youtu.be/5fmtK0kIiNw
Oh Lord, (somebody touched me)
Ohhh Lord, (Ohh somebody touched me)
Well, Lord, (Ohh somebody touched me)
Ohh Lord, (Ohh somebody touched me)
It touched me with the spirit (Lord, somebody touched me)
Touched me with the spirit now (Well, somebody touched me)
Touched me with the spirit (Whoa, somebody touched me)
Touched me with the spirit, babe (Whoa, somebody touched me)
Whoa, Lord (Somebody touched me)
Ohh Lord, (Somebody touched me)
Whoa Lord (Somebody touched me)
Whoa Lord (Somebody touched me)
It must've been King Jesus (Somebody touched me)
Must've been King Jesus (Somebody touched me)
Must've been King Jesus (Somebody touched me)
Must've been King Jesus (Ohh, somebody touched me)
Whoa Lord (Somebody touched me)
Hey, Lord (Somebody touched me)
Whoa Lord (Oh somebody touched me)
Whoa-oh-ho Lord (Oh, somebody touched me)
Touched me with the spirit (Yes, somebody touched me)
Touched me with the spirit, yeah (Yeah, somebody touched me)
Touched me with the spirit (Ohh, somebody touched me)
Touched me with the spirit (Well, somebody touched me)
Yes, Lord (Oh, somebody touched me)
Yes, Lord (Whoa, somebody touched me)
Yeah, Lord (Oh somebody touched me)
Well, Lord (Oh, somebody touched me)
Touched me so I can sing right (Somebody touched me)
Touched me so I can sing now (Whoa, somebody touched me)
Touched me so I can sing right (Whoa, somebody touched me)
Touched me so I can sing now (Whoa, somebody touched me)
Yes, Lord (Somebody touched me)
Yea, Lord (Oh, somebody touched me)
Whoa, Lord (Oh, Somebody touched me)
Yeah, Lord (Oh, somebody touched me)
Touched me so I can see my neighbor right (Somebody touched me)
Touched me so I can see my neighbor right (Whoa, somebody touched me)
Touched me so I can see my neighbor right (Somebody touched me)
Touched me so I can see my neighbor right (Whoa, somebody touched me)
All best,
Johnm
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Hi all,
Blind Boy Fuller, once again joined by Bull City Red on washboard and backing vocals and Sonny Terry on backing vocals, recorded "No Stranger Now" at the same session at which the trio recorded "Must Have Been My Jesus". "No Stranger Now" was recorded with a number of different titles by different musicians--Blind Joe Taggart called it "I Ain't No Sinner Now", and it has also been recorded as "Crying Holy Unto the Lord". Fuller was once again accompanying the song in C position in standard tuning, which he really appeared to favor for religious songs. His rhythmic energy here is wonderful, and the group sounds like it is having a great time--ecstatic would not be an inappropriate adjective to describe this rendition. Here is "No Stranger Now":
https://youtu.be/PnqWyO8tNJw
Sinner run, and hide your face (and hide your face)
Sinner run (and hide your face) and hide your face (and hide your face)
Sinner, run to the rock and hide your face, and the rock cried
Out, "No hiding place."
Oh Lord, I ain't, ain't been a stranger now (stranger now)
Lord, I ain't (stranger now) no stranger now (stranger now)
Says I've been introduced to the Father and the Son, Good Lord I
Ain't (I ain't) no stranger now (Spoken: Yeah, sing it to 'em!)
Cryin' holy (to the Lord) unto the Lord (holy to the Lord)
Cryin' holy to the Lord
Says if I could, surely would, stand on that
Rock (rock, rock) where Moses stood
Oh Lord, I ain't (stranger now), no stranger now (Amen/now)
Lord, I ain't (stranger now) no stranger now (no stranger now)
Says I've been introduced to the Father and the Son, Good Lord I
Ain't (I ain't) no stranger now (Spoken: Play it for me now!)
(Sonny Terry singing lead) Lord I ain't (Amen) no stranger now (no stranger now/hallelujah!)
Lord I ain't (stranger now) no stranger now (stranger now/Amen)
Lord, if I could, surely would, stand on the
Rock (on the rock) where Moses stood
Now sinner run (and hide your face), and hide your face (and hide your face)
Oh, run (and hide your face) and hide your face ( hide your face)
Sinner, run to the rock and hide your face, and the rock cried
Out (God gave), "No hiding place."
And then I ain't (stranger now), no stranger now (Amen/now)
Lord, I ain't (stranger now) no stranger now (no stranger now)
Says I've been introduced to the Father and the Son, oh Lord I
Ain't (Lord, ain't) no stranger now (Spoken: Play it for me now!)
Oh cryin' holy (Hoooo) unto the Lord (Lord)
Cryin' holy (Lord) unto the Lord (Amen)
Says if I could, surely would, stand on that
Rock (on the rock) where Moses stood
Oh sinner run (and hide your face), and hide your face (and hide your face)
Sinner run (hide your face) and hide your face (Amen)
Sinner, run to the rock and hide your face, and the rock cried
Out (Lord gave), "No hiding place."
Oh cryin' holy (Hoooo) unto the Lord (Lord)
Oh cryin' holy (Lord) unto the Lord
Says if I could, surely would, stand on that
Rock (on the rock) where Moses stood
RHYTHM CODA
Edited 1/24 to pick up corrections from banjochris
Edited 1/25 to pick up correction from Blues Vintage
All best,
Johnm
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I think 1.4 is probably "NO hiding place" – I think aurally you could make a case for either throughout but that's the standard lyric there and I would think that's what they would be singing. It's a great performance.
I wonder if this is the first time Sonny was recorded singing in his natural voice and not his falsetto – I think there's a good chance of that!
Chris
-
I agree with you on it being "no hiding place", Chris, and actually know that to be the lyric as it is usually sung. I get so hung up on listening sometimes that I forget what I already know to be the case. I will make the change. Sonny made some really good LPs in the '60s under his own name on Prestige Bluesville. I have or had one called "Sonny Is King" on which the guitarist he's paired up with is Lightnin' Hopkins, and it is really great. Sonny was a great vocal foil for Brownie McGhee, too, because Brownie was so slick-sounding and Sonny was so Country and usually sang sharp.
-
2.4 (Spoken: Yeah, sing it!)
I hear that spoken part (Spoken: Hey, sing it to 'em!)
-
Thanks for the suggestion, Blues Vintage. I agree with the "to 'em" on the end but still think it's "yeah" at the front end. I will make the change.
-
Hi all,
Blind Boy Fuller recorded "New Oh Red!", accompanying himself out of C position in standard tuning, and joined by Floyd Council on second guitar in F position in standard tuning and Bull City Red on washboard. The piece was recorded at a session in New York City on February 10, 1937. Here is "New Oh Red!":
https://youtu.be/kJ8mK_zVcWU
INTRO SOLO
Oh Red, wish she was dead
Now Red, wish she was dead
Sick and tired, tellin' you to fold your hand (Spoken: Yeah!)
SOLO
Oh Red, you's to blame
Now Red, you's to blame
The way you treat me, gotta feel ashamed (Spoken: Yeah!)
SOLO (Spoken, Red: You talkin' 'bout me?)
Oh Red, I'm gwine uptown (Spoken, Red: Why?)
Now Red (Spoken, Red: Yeah!), I'm gwine uptown
Th' way you treat me, like I was your hound (Spoken: Yeah!)
SOLO (Spoken, Red: Beat it out! Do it a long time!)
Oh Red, I'm gwine away (Spoken, Red: I don't give a shit)
Now Red, I'm gwine away
The way you treat me, baby, all my days (Spoken: Yes)
SOLO
Oh Red, that won't do
Aw Red, that won't do (Spoken, Red: Yeah!)
The way you treat me, keeps me worried and blue (Spoken: Yeah!)
SOLO
Oh Red, she's in jail
Now Red (Spoken, Red: Yeah!), she's in jail
She's in jail, tellin' the doggone tale
CODA
Edited 1/25 to pick up corrections from Blues Vintage, waxwing and Johnm
All best,
Johnm
-
Can't hardly keep up with this Fuller binge.
3rd verse
Th' way you treat me, like I was your hound (Spoken: Yeah!) Like I was a hound
SOLO (Spoken, Red: Get out! Do it a long time!) Beat it out
-
"Your hound" is correct, so I'm not changing that. "I'll change the spoken comment to "Beat it out". Thanks.
-
Hi all,
Blind Boy Fuller recorded "Twelve Gates To The City", accompanied by Sonny Terry and Bull City Red, at a session in New York City on March 7, 1940, backing himself out of A position in standard tuning. It is interesting the extent to which Fuller's accompaniment diverges from that of Rev. Davis playing the same tune--they're surprisingly different, and given Davis's own assessment of the extent to which Fuller learned from him, you would expect the accompaniments to be more similar. I don't think Fuller's accompaniment suffers by comparison at all. Here is "Twelve Gates to The City":
https://youtu.be/J9nxinXEwX8
Oh yeah, what a beautiful city, hey, what a beautiful city, God
Knows, what a beauti-- (guitar finishes line)
Twelve gates in the city, hallelu, amen
Oh Lord, what a beautiful city, hey, what a beautiful city, God
Knows, what a beautiful city,
Twelve gates in the city, hallelu, amen
Hey Lord, what a beautiful city, hey (guitar and harmonica finish line), God
Knows, what a beautiful city
Twelve gates in the city, hallelu
Yeah, there's three gates in the east, three gates in the west
Three gates in the south, three gates in the north, which it makes
Twelve gates in the city, hallelu, amen
Oh Lord, what a beautiful city, Hey, what a beautiful city, God
Knows, what a beautiful city
Twelve gates in the city, hallelu, amen
Hey, Lord, what a beautiful city, hey, what a beautiful city, God
Knows, what a beautiful city
Twelve gates in the city, hallelu, amen
Hey Lord, on my way to the city, hey, (guitar finishes line), God
Knows, on my way to the city
Twelve gates in the city, hallelu, amen
Yeah, you look for me in the east, look for me in the west
Look for me in the south, you can look for me in the north
I'll be somewhere in the city, hallelu, amen
Whoa Lord, what a beautiful city, hey, what a beautiful city, God
Knows, what a beautiful city
Twelve gates in the city, hallelu, amen
Oh Lord, what a beautiful city, hey (guitar and harmonica finish line), God
Knows, what a beautiful city
Twelve gates in the city, hallelu, amen, oooo
All best,
Johnm
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Hi Johnm,
In "New Oh Red!", in spite of the fact that Bull City Red is playing washboard, I think the Red of the song is a woman, as you have her in v6. I think it should be "wish SHE was dead" in v1.
Wax
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I re-listened, wax, and I agree, so I've made the change. I also corrected Red's spoken comment during the second solo. Thanks.
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Hi all,
Blind Boy Fuller was joined by Bull City Red on washboard and possibly Sonny Jones on guitar for "Red's Got The Piccolo Blues", a re-working of "New Oh Red!" with a different and more raggy 16-bar chord progression. Both guitarists are working out of C position in standard tuning, and Fuller and Red generate some frenetic rhythm. The Red in this version is definitely Bull City Red. Red's vocal responses are kind of tough to hear, especially the last one. Here is "Red's Got The Piccolo Blues":
https://youtu.be/py-TPo1s8_o
INTRO SOLO
Oh Red, wish you was dead
Oh Red, I wish you sure was dead
Oh Red, sick in the bed
Ain't got nobody, hold his worried head (Spoken: Play it now!)
INTERLUDE (Spoken: Yeah!)
(Scatting concludes interlude)
Oh Red (Spoken, Red: What you want?), thought you was dead (Spoken, Red: No, I ain't dead)
Got nobody, hold your worried head
Oh Red (Spoken, Red: What you want with Red?), pawned his shoes (Spoken, Red: Yeah, I pawned 'em)
Just to play, I mean them piccolo blues
Oh Red (Spoken, Red: I got to go), wish your was dead
Got nobody hold your worried, I mean your doggone head (Spoken: Play it now!)
SOLO (Spoken: Long time. Play it 'til it gets good to Mr. Fuller! Yeah!)
Oh Red (Spoken, Red: What you want with Red?), ought to heared him moan
When he lost his last dollar, I mean, away from home
Oh Red (Spoken, Red: Yes, yes) ought to been dead
Oh Red, sick in the, I mean, that bed
SCAT INTERLUDE (Spoken: Aw, pshaw!)
Where is Red? Wished he was dead
Oh Red ain't got nobody to hold his head (Spoken: Play it now!)
SOLO (Spoken: Oh, pshaw!)
Talkin' 'bout Red, thought you was dead (Spoken, Red: No, I ain't dead)
Got nobody to, hold your doggone head
Oh Red, I wish you was dead (Spoken, Red: North Carolina is one of my dearest spots)
Oh Red, sick in the bed (Spoken: Yeah!)
SOLO (Spoken: Play it a long time!)
RHYTHM CODA
Edited 1/26 to pick up correction from waxwing
Edited 1/27 to pick up corrections from Blues Vintage
All best,
Johnm
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Hi Johnm,
You're right, those spoken lines by Red are tough. Sounds like you have most of them, as far as I can hear. On the long one in the solo I think I hear an alliteration on the 'g' sound giving a "get good" so I would suggest the spoken line is:
SOLO (Spoken: Long time. Play it 'til it get good, Mr. Fuller! Yeah!)
He does seem to have some sort of barely audible vocalization before "Mr Fuller," but I think that may be either stumbling over the 'd' at the end of good, or just an inadvertent vocalization. It might be Red speaking that portion of the line. Hard to tell them apart.
I think the spoken line about North Carolina is how you have it.
Wax
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I agree with "'til it gets good" for the spoken comment, wax, and have made the change. Thanks!
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Almost sounds like gypsy jazz. Some suggestions,
1.1 Oh Red, wish he you was dead
1.2 Oh Red, I wish he you sure was dead
Very clear on the second "you" not sure on the first one.
I think he sings "you" instead of "he" in other parts as well.
2.1 No, I ain't yet) dead
Spoken; Play it 'til it gets good to, Mr. Fuller
4.4 Oh Red, sick in the, I mean, that bed
I don't hear the North Carolina line but I don't have a clue what it could be.
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Thanks for the suggestions, Blues Vintage, and I will incorporate all or almost all of them. Thanks!
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Hi all,
Blind Boy Fuller recorded "You Can't Hide From The Lord" at a session in New York City on March 7, 1940. As was most often the case in the religious songs he recorded, Fuller chose to accompany the song out of C position in standard tuning. He is joined by Sonny Terry, most prominently, on vocals and Bull City Red is credited with singing too, though he is hard to hear. One of the back-up singers claps throughout the rendition, too. Rather than being a call-and-response number, this one is sung in a very freely phrased "unison" (simultaneous, but not placing things identically rhythmically). The song just repeats the same verse/refrain over and over, and I'd appreciate help with the last line of it. Here is "You Can't Hide From The Lord":
https://youtu.be/m7P8Kh8u3hM
You can't hide, ain't no use tryin'
You can't hide, 'cause you don't know how
God got your number, know where you live, and
Death got a warrant for you
Hey, you can't hide, ain't no use of tryin'
You can't hide, 'cause you don't know how
God's got your number, know where you live, and
Death got a warrant for you
Brother, you can't hide, ain't no use of tryin'
You can't hide, 'cause you don't know how
God's got your number, know where you live
Death got a warrant for you
Hey, you can't hide, ain't no use of tryin'
You can't hide, 'cause you don't know how
God got your number, know where you live, and
Death got a warrant for you
Hey, you can't hide, no use/need of tryin'
You can't hide, 'cause you don't know how
God's got your number, know where you live, and
Death got a warrant for you
Brother, you can't hide, ain't no use of tryin'
You can't hide, 'cause you don't know how
God got your number, know where you live
Death got a warrant for you
Preacher, you can't hide, ain't no use in tryin'
You can't hide, 'cause you don't know how
God's got your number, know where you live
Death got a warrant for you
Yeah, you can't hide, no use tryin'
You can't hide, 'cause you don't know how
God's got your number, know where you live
Death got a warrant for you
Hey, you can't hide, no need of tryin'
You can't hide, 'cause you don't know how
God's got your number, know where you live, and
Death got a warrant for you
Peter, you can't hide, no need of tryin'
You can't hide, 'cause you don't know how
God's got your number, know where you live, and
Death got a warrant for you
Edited 1/31 to pick up changes from banjochris
All best,
Johnm
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Hi all,
Blind Boy Fuller recorded "Shake It Baby" at a session on March 6, 1940 in New York City, backed by Bull City Red on washboard. Fuller played the song in C position in standard tuning, and it is essentially a raggy instrumental with incidental scat phrases and a lyric refrain. Fuller sounds so alive and energetic and vibrant here--it's almost impossible to believe he'd be dead within a year of the date. I think the lyrics here are definitely an afterthought. Here is "Shake It Baby":
https://youtu.be/aP95pQIIQ1I
SCATTED BRIDGE
INSTRUMENTAL REFRAIN (Spoken: Yeah! Play it for me now!)
Shake it, babe 'f it's all night long, shake it, babe, 'f it's all night long
Shake it, babe, 'f it's all night long, hey-ey, shake it for me (Spoken: Yeah!)
(Scatted bridge)
INSTRUMENTAL REFRAIN (Spoken: Yeah! Yeah!)
(Scatted bridge)
INSTRUMENTAL REFRAIN
Shake it, babe, 'f it's all night long, shake it, babe, 'f it's all night long,
Shake it, babe, 'f it's all night long, hey-ey, shake it for me (Spoken: Shake it now!)
(Washboard bridge) (Spoken: Yeah! Yeah! Play it along time now, Yeah!)
INSTRUMENTAL REFRAIN
Baby ask m' for a watch and a ring, "You can get it, start to shake that thing."
Hey-ey, shake it all night long (Spoken: Yeah!)
(Bridge) (Spoken: Shake it for Fuller now! Yeah! Play it for me now)
(Out A part)
(Bridge)
INSTRUMENTAL REFRAIN
RHYTHM CODA
All best,
Johnm
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John, I think that last line in "You Can't Hide" could be
Death got a warrant for you.
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Thanks so much for the help, Chris, you are certainly right, and I will make the change. With that song corrected, all of Blind Boy Fuller's songs on which he sang, apart from songs with multiple takes where only one take has been transcribed, have now been done and entered in Weeniepedia. "Jitterbug Rag" has no vocal but has the hilariously described "unknown kazoo", which is so obviously Fuller himself. Likewise, "Precious Lord" was put out as a Fuller title, but Bull City Red did the singing, so I think it should more properly be considered a Bull City Red title. That makes 122 Fuller titles transcribed and put up in Weeniepedia. That's an incredible number of titles for the relatively brief duration of his recording career. He was pretty much literally ridden until he dropped. I hope that all that recording did not contribute to his early demise. Particular thanks to you, Blues Vintage, waxwing and everyone else who helped so much in getting this recent run of transcriptions as accurate as they are. Thanks to you all!
All best,
Johnm
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Amazing job, John and all who contributed. He was a terrific player.
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Many congratulations on a great achievement go to everybody who contributed, and particularly to chief lyric wrangler JohnM
I checked back to post #1, it was made in 2004 by our friend Dab Bro', aka Thumbstyle, 18 years ago. Seems like only yesterday.
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Hy guys I made an account and logged in to say thank you to the people in this thread.
I'm a folk singer from Ireland and I have been looking for lyrics for some of these songs ever since I heard them several years ago.
Excellent work and thank you, I shall be performing some of these are our weekly sessions.
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Glad to hear it.
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This book just came out,
Ragtime Blues Guitar of Blind Boy Fuller
https://www.guitarvideos.com/stefan-grossmans-guitar-workshop-online-store#!/Ragtime-Blues-Guitar-of-Blind-Boy-Fuller/p/488167020/category=0 (https://www.guitarvideos.com/stefan-grossmans-guitar-workshop-online-store#!/Ragtime-Blues-Guitar-of-Blind-Boy-Fuller/p/488167020/category=0)
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Seems like Stefan Grossman or a editor of the book above consulted Weeniepedia 'cause every song is a spot on match with the transcriptions listed there.
Great to know the people at Weenie Campbell (John Miller especially) contributed heavily to this publication.
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Well that's good to know because he used to get those lyrics wrong without fail in his past publications concerning Fuller. Good for Weenie Campbell making a difference in the blues world!
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Damn straight.
Now if Grossman would only update his peculiar TAB lay-out the world would be even more happier.