Hi all, Emry Arthur recorded an especially fine version of "Man of Constant Sorrow"; his may have been the first version of the song to be recorded. He accompanied himself on the guitar out of G position in standard tuning, and was joined by a banjo player who was unnamed on the re-issue I have (nor have I been able to find the name in Tony Russell's book). Emry accompanied himself with a boom-chang back-up, most often two boom-changs per measure. Sometimes, though, he'd hit "one down and three up" or boom-chang-chang-chang in a measure. This variable back-up pattern combined with a vocal phrasing that utilized "dwells" that make the meter long in places results in an interesting and distinctive sound. For Emry's first half of his first verse it worked out like so--I've indicated single bass notes ("booms") with a "b" and treble strums ("changs") with a "c", and show where the words and chord changes (capital letters) fall relative to the guitar accompaniment.
D I--------------- G am a man of C constant sorrow I have seen | b c c c b c | b c b c | b c b c | b c b c | b c b c b c | D trou--------------------ble G all my days | b c c c | b c b c | b c b c | b c b c |
Emry Arthur holds to this unusually disjunct phrasing through the remainder of his rendition. Like most things of this sort, as you listen to it a couple of times it becomes familiar and more "normal" than it seems at first. I think it would be hard to reproduce on the fly or by memory without having worked out some of what was going on in the phrasing, though. So it is, in any event, that Emry Arthur ended up with a 9-bar form for each half verse like so: | | | | | | | | | | | | | 3/2 D G |2/2 |2/2 C |2/2 |3/2 | | | | | | | | | |2/2 D |2/2 G |2/2 |2/2 |
On subsequent passes through the form, Emry Arthur doesn't utilize the "three down, one up" pattern as much as in his first half-verse. Also in one of the later verses, he resolves to the D chord for the last boom-chang at the end of the first line. In his singing, Emry Arthur anticipates the Classic Country pronunciation of "never", "nelver".
I am a man of constant sorrow I have seen trouble all my dears I bid farewell to old Kentucky The place where I was borned and raised
Oh, for six long years I've been in trouble My pleasure here on Earth is done For, in this world I have to ramble I have no friends to help me now
Oh, fare you well, my own true lover I fear I'll nelver see you again For I am bound to ride the Northern Railroad Perhaps I'll die upon the train
Oh, you can bury me in some deep valley For many years, there I may lay And while you're dreaming, while you're slumbering While I am sleeping in the clay
Oh, it's fare you well, to my native country The place where I have loved so well For I have had all kinds of trouble In this vain world no tongue can tell
But friends, although I may be a stranger My face you may nelver see no more But there's one promise that's been given, Where we can meet on that beautiful shore
All best, Johnm
« Last Edit: October 17, 2016, 10:21:10 PM by Johnm »
He recorded it in 1928 for Vocalion and again in 1931 for Paramount. His brother Henry Arthur played banjo on the first version, but on the Paramount version the banjo is listed as unknown in Country Music Records. Perhaps in addition to travelling to Chicago to record with Emry, Henry travelled to Wisconsin?
According to Tony Russell's Country Music Originals, Arthur also worked at Paramount's Port Washington factory.
It notes that Arthur lost a finger as a boy in a hunting accident, though it's hard to tell which by the photo. Possibly ring finger, left hand. Or half an index finger, right hand.
Lastly, it says that Dick Burnett claims to have written the song in 1912 and taught it to Arthur.
Thanks for information on Henry Arthur, Andrew. I just missed that in Tony Russell's book. If Dick Burnett indeed wrote the song, good on him, for it is a great song. If not, shame on him for claiming it. I think that covers all the bases. Incidentally, Emry Arthur recorded another song, "The Broken Wedding", that shared the same melody as this version of "Man of Constant Sorrow". All best, Johnm
« Last Edit: January 06, 2014, 06:26:19 PM by Johnm »
I only caught the earlier version on my second look through. I blame tiny print. These discographies should come with magnifying sheets.
I notice that Emry Arthur recorded a song called The Little Black Train Is Coming. I haven't heard it but would be curious to hear how it compares to the Dock Boggs recording.
Thanks for that link, Alexei. It does look like his middle finger is missing just its tip. For folks who are interested in other songs by Emry Arthur, "In The Heart of the City That Has No Heart", "Reuben, oh Reuben" and "She Lied To Me" have been transcribed elsewhere on the site, and can be found via the tags index. He was one of those early Country singers, like Kelly Harrell, that I really like, and like Harrell, had a lot of variety in the songs he recorded--Pop, religious, folk ballads, blues. All best, Johnm
Hi all, Emry Arthur recorded "The Broken Wedding" around September, 1929, using the same melody he had used for "Man of Constant Sorrow" a year-and-a-half earlier. He sang it so well. Going from a boom-chang-chang-chang accompaniment to a boom-chang-boom-chang one is all but gone from present-day Old-Time and Bluegrass rhythm guitar back-up, but it sure is characteristic of the back-up style employed on many of this early era of Old-Time recordings. I can't find a copy of this performance to post, but if you want to get some sense of how it scans, hold the first word of the first and third lines of each verse very long, pause for an instant in the middle of the line, and you'll have a pretty good sense of how it goes.
My heart is always filled with sorrow Just weeping as the days go by For when I think of my true lover I just hang down my head and cry
I was engaged once to be married I had in view a happy home But my parents, they broke up my wedding That's why I started out to roam
They said someday I would be sorry For she would turn her back on me Then, I'd wish to God that I was single But nevermore would I be free
Oh, since we are no longer sweethearts This world it seems so sad and blue For, all I do is sit and wonder What's left on earth for me to do
Oh, the nights they all seem dark and dreary And all the days seem long and blue For, it's hard to lose your own true lover When your love is good and true.
Hi all, Forum member Stuart informed me that the JSP set "Appalachian Stomp-Down" includes "The Broken Wedding". In looking at the track list, it also has at least one of Emry Arthur's versions of "Man of Constant Sorrow", "In The Heart of The City That Has No Heart", and a generous number of other songs by Arthur, including "That Little Black Train Is A-Coming". The set appears to still be in print. All best, Johnm
I'll have to look at my pictures of Emry Arthur and see if any of them show his missing finger. Emry and his first wife Evelyn Florence Hayes were my great grandparents. They married 21 Dec 1920 in Indianapolis IN and had two daughters Mildred and Laura Arthur.
Hello Emry Arthur, Welcome to Weenie Campbell. I and many other people here have very much enjoyed your great-grandfather's recordings and the music he made on them. All best, John Miller
Appalachian Stomp-Down is not now in print, altho' there's someone on Amazon who'll sell you a new copy for $275.90 and someone else has a used copy for $73.99. Ebay shows a couple of copies for $50. The collector reissue label BACM (British Academy of Country Music) has 10 tracks of Emry Arthur (and 12 by Dock Boggs) on BACM CD 274. No Man of Constant Sorrow, Little Black Train or Broken Wedding tho'.
Hi all, Emry Arthur accompanied himself out of G position in standard tuning for his recording of "Ramblin' Hobo Blues. I keep thinking Emry Arthur is going to launch into some yodeling, since his melody here is the same one that Jimmie Rodgers used for his blue yodels. Here is Emry Arthur's recording of the song:
I've always been a rambler, and never would settle down I've always been a rambler, and never would settle down Just drinkin' and a-gamblin', hoboin' from town to town
My pockets are all empty, I never get enough to eat My pockets are all empty, I never get enough to eat My clothes are torn and ragged, no shoes for my weary feet
I'm riding this old freight train, speeding on down the line I'm riding this old freight train, i'm speeding on down the line Just thinkin' of my troubles, and that loving gal of mine
My woman done me dirty, when she told me I was through My woman done me dirty, when she told me I was through That's why I started to rambling, and why I'm always feeling blue
I'm just a ramblin' hobo, I ramble all alone I'm just a ramblin' hobo, I ramble all alone Ain't got no one to live me, no place to call my home
When my ramblin' days are over, and my gamblin' days are through When my ramblin' days are over, and my gamblin' days are through If you'll tell me that you love me, I'll be coming back to you
The link LastFirstFace posted (http://oldtimeparty.wordpress.com/2012/01/14/man-of-constant-sorrow-southern-marvel-4/ explains some of the background on the Dick Burnett 'Man of Constant Sorrow' connection but it leaves out how he was associated with the song in the first place, that being his inclusion of the song in a songbook he published in 1913. I thought it was worth adding that factoid here as it's pretty interesting to me that, prior to the advent of recording, some old time musicians (including Blind Alfred Reed & Burnett) made extra money by selling song sheets or song books which in a way were the real first old time 'records'. Charles Wolfe reprints a couple of Burnett's original 'ballets' in his Tennessee Strings book which has now got me wondering where one can find more images of such artifacts.
Anyway, from Wikipedia: "For the most part [Burnett] had individual song lyrics printed on cards he called "ballets", but occasionally he compiled songbooks such as his 1913 compilation of six songs. Some of these were from other singers, dealing with disasters such as the sinking of the Titanic and the wreck of the FFV but two were notably personal: the autobiographical Song of the Orphan Boy, which was later recorded but not released, and the semi-autobiographical Farewell Song, with its opening line 'I am a man of constant sorrow'."
Dock Boggs had some lyrics printed up as well, and you can see some of them in the liner notes to his Folkways albums (the original three albums, not the combined two-CD set). The liner notes are downloadable for free from the Folkways website, and also the liner notes to the Folkways album of his 12 78 recordings has an excellent and fairly lengthy bio of him as well. Chris
Hi all, Emry Arthur recorded "Ethan Lang" at a session on August 30, 1928 in Chicago, backing himself out of E position in standard tuning on guitar and playing harmonica off of a rack. Here is his performance of the song:
HARMONICA SOLO
My name is Ethan Lang, Ethan Lang My name is Ethan Lang, Ethan Lang My name is Ethan Lang, I'm the leader of the gang And they say that I must hang, dang their eyes
I killed a man, they said, so they said I killed a man, they said, so they said I killed a man, they said, when I hit him on the head And I left him there for dead, dang his eyes
The judge said I must pay, I must pay The judge said I must pay, I must pay The judge said I must pay, for the life I took away Now I'm facing Judgement Day, dang your eyes
They put me in the jail, in the jail They put me in the jail, in the jail They put me in the jail, fed me from an iron pail With no one to go my bail, dang their eyes
The sheriff brought the rope, brought the rope The sheriff brought the rope, brought the rope The sheriff brought the rope, and he sprung a ghastly joke When he said, "I hope you choke", dang his eyes
The jailer, he came too, he came too The jailer, he came too, he came too The jailer, he came too, and he brought his nasty crew For their bloody work to do, dang their eyes
The preacher, he did come, he did come The preacher, he did come, he did come The preacher, he did come, and he looked so awful glum When he talked of Kingdom Come, dang his eyes
Oh, my sweetheart will be there, will be there Oh, my sweetheart will be there, will be there Oh, my sweetheart will be there, she's the only one who'll care When I'm swinging in the air, dang your eyes
Now I bid my last farewell, last farewell Now I bid my last farewell, last farewell Now I bid my last farewell, and this story you can tell How I cursed you as I fell, dang your eyes
Hi all, Emry Arthur's recording of "Short Life of Trouble" dates from a session in Grafton, Wisconsin in April or May of 1931. He's joined on it by an unidentified banjo player, who may possibly have been playing a banjo-guitar rather than a five-string banjo, but who was in any event playing out of F position. The greater portion of the rendition is given over to banjo solos. This song was recorded earlier by G. B. Grason and Henry Whitter. Here Emry Arthur's rendition, and what a beautiful song this is:
BANJO SOLO
Short life of trouble, a few more days to part Short life of trouble, poor girl, for a boy with a broken heart
BANJO SOLO X 2
Some of these days, little woman, and it won't be very long You'll hang your head in sorrow, little girl, for I will be long gone
BANJO SOLO X 2
Short life of trouble, a few more days to part Short life of trouble, poor girl, for a boy with a broken heart
BANJO SOLO X 2
Short life of trouble, a few more days to part Short life of trouble, poor girl, for a boy with a broken heart
All best, Johnm
« Last Edit: October 28, 2016, 06:51:01 AM by Johnm »
Hi all, Emry Arthur recorded "The Bootlegger's Lullaby" at a session in Chicago on January 17, 1935, accompanying himself with a simple boom-chang-chang waltz back-up in G position, standard tuning. The song has the same melody as the Carter Family song "Texas Girl". The song is not available on youtube, but can be found on the JSP set, "Appalachian Stomp Down".
My home is in the mountains, I was raised up in the hills The only work I ever done was run a moonshine still I always made good whiskey and I sold it by the pail Until a sheriff caught me and he locked me up in jail
The sheriff came and got me, just at the break of day He said he had been watchin' me, and now I had to pay He tore my still to pieces, poured my whiskey on the ground And put the handcuffs on me, until we got to town
He took me to the courthouse, we walked right by the jail I didn't see no one at all, no one to go my bail But when the court did open and I heared them call my case I knew just what would happen, but I looked him in the face
The judge said, "Are you guilty?", to blind tiger man I told him I made whiskey, the best in the land He said, "Stand up and listen to what I'm going to say. I'm going to lock up up in jail for six months and one day."
The sheriff took me to the jail and locked me in my cell But the joke, it was on him, for I didn't tell The day that he arrested me, and took me to town He didn't know I had ten barrels, buried in the ground
All best, Johnm
« Last Edit: July 26, 2017, 10:42:23 AM by Johnm »
Hi all, Emmy Arthur recorded "Empty Pocket Blues" at a session in Chicago on August 30, 1928, accompanying himself out of G position in standard tuning. The performance can be found on the new JSP "Clarence Ashley" set, along with a host of other great performances. Arthur's time-keeping is perfectly straight-up-and-down, and is what I would call beneficially plain; his no-frills accompaniment provides a perfect backdrop for his singing. I'll see if this one is on youtube, but I don't think it is.
Oh, blues on my mind, baby, blues all around my bed Oh, the blues on my mind,, blues all around my bed For I dreamed last night, the one I love was dead
I'm going down to the railroad, lay my head down on the track I'm going down to the railroad, lay my head down on the track But a-wehn I think about my woman, just watch me pull it back
I'm just a good-hearted boy, dropped into your town I'm just a good-hearted boy, dropped into your town While a bunch of your good people, they're trying to throw me down
When I've a-got plenty money, I've got friends all around When I've got plenty money, I've got friends all around But a-when my pocketbook is empty, not a friend can be found
Now, when you see two women, running a-hand in hand Now, when you see two women, running a-hand in hand Go down and bet your bottom dollar, one's got the other one's man
I'm gonna bury my woman, six foot down under the ground I'm gonna bury my woman, six foot under the ground And I'll bet my last dollar, she'll have her face turned down
Oh, it's you'll be sorry, you'll be sorry some day Oh, it's you'll be sorry, you'll be sorry some day Oh, it's you'll be sorry, that you done me this-a-way
Hi all, I was excited to find that Emry Arthur has an epic two-part version of "Frankie" re-issued on the JSP "Clarence Ashley" set, entitled "Frankie Baker-Part 1" and "Frankie Baker-Part 2". He recorded the versions in Chicago on June 18, 1929, and accompanied himself out of G position in standard tuning for the songs. He has a lot of details in his lyrics to these versions that I have encountered in no other versions of Frankie. Here are his lyrics to "Frankie Baker-Part 1" and "Frankie Baker-Part 2":
"Frankie Baker-Part 1"
Frankie was a good woman, like everybody knows She gave one hundred dollars, for Albert, a suit of clothes For he's her man, her gamblin' man
That suit was in the pawn shop, before the day went by And he went and spent that money, on a girl named Alice Frye He done her wrong, and he didn't come home
Frankie went to the barroom, she called for a glass of beer She asked the barroom tender, "Has Albert Jones been here? He is my man, my gamblin' man."
"Don't you ask me no questions, I'll tell you no lies." Says, "A man left here about an hour ago with a girl named Alice Frye. It was your man, your gamblin' man."
Frankie set down at the table, she ordered a glass of gin She told the barroom tender, "I'm a-gonna get drunk again. Lord, I want my man, my gamblin' man."
Frankie looked out the window, then she hung her head down low Says, "A-give me out that .44, that's the Albert Jones I know. He done me wrong, and he didn't come home."
Frankie left the barroom, she didn't leave there for fun Underneath that silk kimono, she carried that .44 gun She was looking' for her man, her gamblin' man
Frankie went down the street with a .44 in her hand Says, "Stand back, you ladies, I'm a-lookin' for my man. For he's my man, Lord, Lord, and he done me wrong."
Frankie went down the alley, she heard a bulldog bark She looked and seen poor Albert, slippin' away in the dark "There goes my man, and he done me wrong."
Poor Albert seen her coming, he started out to run She says, "Come back to the one you love, or I'll shoot you with this gun." She shot poor Albert, right to the ground, Lord, Lord
"Frankie Baker-Part 2"
Frankie heard the police coming, she heard the patrol bell ring But before she left poor Albert, she took his diamond ring She left her man, Lord, Lord, her gamblin' man
"Turn me over, Doctor, turn me over slow. Turn me over on my right side, my left side hurts me so. I'm shot in the side, with a .44."
"Bring on your rubber-tired hearses, bring on your rubber-tired hack Take my man to the graveyard, but bring his wristwatch back. He was my man, Lord, Lord, but he done me wrong.
Thirteen men in mourning, thirteen men in black Went out to the graveyard, and only twelve come back They left her man, her gamblin' man
Frankie went to the graveyard, all dressed up in black She fell down over Albert Jones, says, "I wish I had you back, But you done me wrong, when you wouldn't come home."
Frankie went to the parlor, set down by the 'electric fan She advised her three sisters, not to marry no gamblin' man "They'll do you wrong, every time, and they won't come home."
Frankie looked up the street, as far as she could see The band was on the corner, playing "Nearer My God To Thee" She says, "Oh Lord, Lord, Lord, what have I done?"
Frankie looked down the street, as far as she could see She seen four white horses, says, "They're comin' after me, 'Cause I killed my man, but he done me wrong."
Frankie went to the depot, she got on the fast mail train She was wearing Albert's wristwatch and a great big diamond ring She stole them both from her gamblin' man
Now, if you love a girl like Frankie, love her and treat her right You can go out in the morning, but come back home at night Then she'll do no harm, but you must come home, Lord, Lord
That's a great idea, John D., I will do just that! I had forgotten that "Frankie and Johnny" was one of the Songs of the Month. I already put both parts up on the Song Family page in Weeniepedia, where we currently have 19 versions of Frankie transcribed. All best, Johnm
Hi all, Emry Arthur once again accompanied himself out of G position in standard tuning for his recording of "Train Whistle Blues", recorded on August 30, 1928. The song sounds related to "K. C. Moan" or John Jackson's "Steamboat Whistle Blues", but is a 12-bar blues (more or less) rather than a 16-bar blues, like those songs. Arthur's song has a really old feel about it, with many verses employing an AAA structure, like some of Henry Thomas's songs, like "Bull Doze Blues".
INTRO
I heard that old train when she blowed Oh, I heard that old train when she blowed Oh, she blowed like she never blowed before
She blowed like my sweetheart was on board Oh, she blowed like my sweetheart was on board Oh, she blowed like my sweetheart was on board
That same train that went down that line Oh, that same train that went down that line It carried away that sweetheart of mine
I followed her to the station door Oh, I followed her to the station door I says, "Baby, I won't see you any more."
I fell on my knees and I prayed Oh, I fell on my knees and I prayed That she would come back some old day
That same train's a-gonna carry me away Oh, that same train's a-gonna carry me away Oh, that same train's a-gonna carry me away
I'll stand in my own cabin door Oh, I'll stand in my own cabin door I'll stand in my own cabin door
Go make me a pallet on the floor, Oh, make me a pallet on the floor So I can sleep, to wake no more
And it's when I'm dead, you can ship me back to Ma Oh, it's when I'm dead, you can ship me back to Ma Oh, it's when I'm dead, you can ship me back to Ma
Hi all, Emry Arthur was joined by Della Hatfield for the vocal duet, "Sunshine And Shadows", recorded in October or November of 1929. Emry once again backed himself out of G position in standard tuning, but he was tuned a full minor third low, so he sounded in E. It is such a distinctive sound, being tuned so low of concert pitch. I think this is one of my favorite Old-Time duets I've heard. The pair sing beautifully together, and the way they inflect their held notes is so expressive. Della Hatfield uses a lot of glottal fry as she comes off her notes, edging into falsetto in a way that you often hear in Appalachian ballad singing. This is a wonderful, soulful rendition. I'll show Della Hatfield's extra responses in parentheses. I don't believe this rendition is up on youtube, but it is worth seeking out if you enjoy great Old-Time singing. It can be found on the recent JSP "Clarence Ashley" set.
Sunshine (sunshine), oh blessed sunshine, don't let the dark shadows fall Sweetheart (sweetheart), darling sweetheart, I'll always love you best of all
Darkness (darkness), oh lonely darkness, along my weary pathway fell 'Til you brought ('til you brought) the cheery sunshine, that you knew (that you knew) I love so well
This life has been dark and dreary (dark and dreary), and my friends have been so few I am still hoping and praying, to spend my last (to spend my last) days with you
CHORUS: Will you (will you) always be true, dear, live just for me, that's all? I'll forever (I'll forever) bring you sunshine, and never let (and never let) the shadows fall
Let your dai-(then let your dai)ly actions tell me, of a heart that must be true There will come (there'll come) a time, my darling, when I prove (when I prove) my love for you
Should I ne-(should I ne)ver more see you, remember every word I said My soul will be true forever, when my heart (when my heart) is still and dead
CHORUS: Will you (will you) always be true, dear, live just for me, that's all? I'll forever (I'll forever) bring you sunshine, and never let (and never let) the shadows fall
All best, Johnm
« Last Edit: September 09, 2017, 03:28:40 PM by Johnm »
Hi all, Emmy Arthur recorded "Six Months In Jail Ain't Long" at a session in Chicago on January 17, 1935, accompanying himself out of G position in standard tuning. It's a very straight rendition, in both the singing and the accompaniment, of a kind that's pretty much altogether absent from present-day Country Music. His performance of the song is not up on Youtube, but it is included in the JSP set, "Clarence Ashley--Country Music Pioneer", which has over a full disc out of the four-disc set devoted to Emry Arthur songs. The song is a waltz.
INTRO
I went out the other night to have a good time I got myself in trouble, and now I'm serving time They took me down to the old courthouse and put me on the stand "Just six months in the county jail, I'll give to this young man."
REFRAIN: Six months, six months, six months ain't long Six months ain't long, little girl Six months ain't long for me to be gone Six months in jail ain't long
They took me down to the county jail, the jailer turned the key He said, "My boy, in six long months from this place you will be free." He turned around and walked away, he had no more to say Just tell my girl that I'll see her in six months from today
REFRAIN: Six months, six months, six months ain't long Six months ain't long, little girl Six months ain't long for me to be gone Six months in jail ain't long
Now I don't like to be in jail, for it is a dirty place The judge, I know I can't forget, when he looked me in the face He said, "Stand up for sentence, boy." That's when my face grew pale He said, "I'll give you six long months down in our county jail."
REFRAIN: Six months, six months, six months ain't long Six months ain't long, little girl Six months ain't long for me to be gone Six months in jail ain't long
Hi all, Emry Arthur recorded "Going Around The World" at a session in Indianapolis on June 25, 1928, accompanying himself out of F position in standard tuning and playing harmonica off of a rack. The song shares its melody and structure with "The Crawdad Song" ("You get a line, and I'll get a pole, honey, etc.) throughout the song, Arthur employs a "one down--three up" or "boom-chang-chang-chang" back-up style. Here is the song.
HARMONICA SOLO
I'm going around this world, baby mine I'm goin' around this world, baby mine I'm goin' around this world with a banjo-pickin' girl I'm goin' around this world, baby mine
I'm goin' 'cross the ocean, baby mine I'm goin' 'cross the ocean, baby mine I'm goin' across the ocean, if I don't change my notion I'm goin' around this world, baby mine
I'm goin' across the sea, baby mine I'm a-goin' across the sea, baby mine I'm goin' across the sea, won't you come and go with me? I'm goin' around this world, baby mine
HARMONICA SOLO
I'm going to Chattanoogy, baby mine I'm going to Chattanoogy, baby mine I'm going to Chattanoogy, get a ticket there for Cuby I'm goin' around this world, baby mine
I'm workin' by the day, baby mine I'm workin' by the day, baby mine I'm workin' by the day, to get money to pay your way So we can go around this world, baby mine
I'll tell you what I'll do, baby mine I'll tell you what I'll do, baby mine I'll tell you what I'll do, I sure will stick to you And we'll go around this world, baby mine
HARMONICA SOLO
I'm gonna write a letter, baby mine I'm gonna write a letter, baby mine I'm a-gonna write a letter, I'll tell 'em that you're better We're goin' around this world, baby mine
Hi all, Emry Arthur recorded "Nobody's Business" at a recording session in Indianapolis on June 25, 1928, backing himself out of E position in standard tuning and playing harmonica on a rack. As with "Going Around The World", Emry Arthur used a "boom-chang-chang-chang" accompaniment. Here is the song, and it seems likely that it may have been the source of John Hurt's rhyming Pensacola and Coca-Cola in his own version of the song:
INTRO
REFRAIN: It's nobody's business, nobody's business Nobody's business but my own
If cigarettes run me crazy, if morphine kills my baby It's nobody's business but my own
REFRAIN: It's nobody's business, nobody's business Nobody's business but my own
If I get drunk and boozy, and I go see my Suzy, It's nobody's business but my own
REFRAIN: It's nobody's business, nobody's business Nobody's business but my own
SOLO
If I get drunk and dizzy, and I go see my Lizzie It's nobody's business but my own
REFRAIN: It's nobody's business, nobody's business Nobody's business but my own
When I get on clover, I'll do that same thing over It's nobody's business but my own
REFRAIN: It's nobody's business, a-nobody's business Nobody's business but my own
SOLO
When I went to see her, they thought I'd come to steal her It's nobody's business but my own
REFRAIN: It's nobody's business, a-nobody's business Nobody's business but my own
I'm goin' down to Pensacola, get drunk on Coca-Cola It's nobody's business but my own
REFRAIN: It's nobody's business, nobody's business Nobody's business but my own
Well I'd like to add two things to this long, varied interesting thread. The banjo on the first topic, Man of Constant Sorrow is two finger picked and the player was quite comfortable with what was happening. Later in this thread more songs are discussed and "Going Around The World", which is also called "Banjo Picking Girl" which has a similar yet different melody with eluding to the IV chord in the first refrain .
Hi all, Emmy Arthur recorded "Don't Get Married" at a session in Chicago on January 17, 1935 that ended up being his last day in the studio. This one is begging for an "answer song" sung by a woman, a fine old Country Music tradition. He accompanied himself out of G position in standard tuning for the song, and here it is:
Come listen to my story, it's for both old and young When you get married and settle down your troubles have begun The kind of wife that you desire, I'm sure you'll never find They're never glad, but they're always mad, and they're yelling all the time
Don't get married, don't get married, this advice you'd better take For it's, "Give me, give me, give me.", they'll spend every cent you make
You'll work all week and draw your pay and come home feeling fine And then your wife will take the dough, she won't leave you a dime She'll buy herself a new silk dress and two or three pair of shoes And you'll sit back just like a sap and always have the blues
Oh, don't get married, don't get married, this advice you'd better take For it's, "Buy me this and buy me that", they'll spend all you make
A woman will deceive you and never treat you right They'll tell you that they love you, but they'll stay out every night They'll go off to the movies and take some other man They'll take your dough so you can't go, you'll do the best you can
Oh, don't get married, don't get married, this advice you'd better take For it's, "Gimme, gimme, gimme.", they'll spend every cent you make
You may think I am crazy for singing you this song But you will all agree with me before you're married long You'll have to work hard every day and stay home every night If you step out, there ain't no doubt, your wife will start a fight
Oh, don't get married, don't get married, this advice you'd better take For it's "Buy me this and buy me that.", they'll spend all you make
Hi all, Emry Arthur recorded "Wandering Gypsy Girl" at a session in Indianapolis on June 20, 1928, accompanying himself out of C position in standard tuning, playing a one down-three up picking pattern, boom-chang-chang-chang, for the most part. Charlie Poole also recorded this song, with a slightly different melody and set of lyrics. I really like the idea of this being a Pop record. Here is "Wandering Gypsy Girl":
INTRO
My father was a captain of a gypsy tribe, you know My mother, she gave me some counting to do With a knapsack on my shoulder, I'll bid you all farewell I'll take a trip to London, some fortunes to tell Some fortunes to tell, some fortunes to tell I'll take a trip to London, some fortunes to tell
As I went a-walking, all down the London streets A handsome young lawyer was the first I chanced to meet Was the first I chanced to meet, was the first I chanced to meet A handsome young lawyer was the first I chanced to meet
He viewed my pretty little brown cheeks, was the ones he loved so well Says, "You, a little gypsy girl, will you my fortune tell? Will you my fortune tell, will you my fortune tell? You are a little gypsy girl, will a-you my fortune tell?"
"Oh yes, sir, oh please, sir, hold out to me your hand. You have a many fine fortunes in a far-off distant land. In a far-off distant land, in a far-off distant land, You have a many fine fortunes in a far-off distant land."
"You've courted many fair ladies, but you've laid them all aside. And I'm a little gypsy girl, I'm the one to be your bride. I'm the one to be your bride, I'm the one to be your bride, I'm a little gypsy girl, I'm the one to be your bride."
He took me, he led me to his house on yonder's shore While servants stood waiting, to open wide the door To open wide the door, to open wide the door While servants stood waiting to open wide the door
The bells, they did ring and the music, it did play It was a celebration of a gypsy's wedding day Of a gypsy's wedding day, of a gypsy's wedding day It was a celebration of a gypsy's wedding day
Oh, oncet I was a gypsy girl, but now I'm a rich man's bride With servants to wait on me while in my carriage ride While in my carriage ride, while in my carriage ride With servants to wait on me while in my carriage ride