Topic: Miller's Breakdown

[Johnm]

Hi all,
It's been a little while since we've had any Hill Country tunes in this thread, so I thought I'd check for some more songs by Charles Caldwell, who has been featured here a couple of times previously. I found two by him that seemed both great performances and good ones for this thread. The first is called "Movin' Out Movin' In", and here it is:



INTRO SOLO

Who that ohhh, is movin' in?
You move out again
It won't be no more, no more room in my house for you

INTERLUDE

Movin' out and movin' in
Next time you move out, baby,
It won't be no more room in my house for you

INTERLUDE AND SOLO

Won't be no more, no more room in my house for you

INTERLUDE

Won't be no more room, in my, in my, in my house for you

SOLO

Keep movin' out and movin' in
You leave one more time, won't be no more room in my house for you

INTERLUDE

The questions on "Movin' Out Movin' In" are:
   * What playing position/tuning did Charles Caldwell use to play the song?
   * Where did Charles Caldwell fret the signature lick that opens his rendition?
   * Where did he fret the repeated notes he played at :27--:28?

The second song by Charles Caldwell is "Down The Road Of Love", and here it is:



INTRO

I got a road of love to go
Just can't go by myself
I got a road of love to go
Just can't go by mysel
If you can't go with Slim
I guess I'm gon' have to take somebody else

INTERLUDE

I got a road of love to go
Just can't go by myself
If you just can't go, baby,
I guess I'm gon' have to take somebody else

INTERLUDE

I got a road of love to go
Just can't go by myself
If you just can't go, darlin',
Guess I'm gon' have to take somebody else
If you just can't go
Guess I'm gon' have to take somebody else

The questions on "Down The Road Of Love" are:
   * What playing position/tuning did Charles Caldwell use to play the song?
   * Where did Charles Caldwell fret the lick with which he answers the opening vocal line in verse one?
   * Where did Charles Caldwell fret the lick from 1:03--1:09 with which he answers the end of the first verse?

Please use only your ears and your guitars to arrive at your answers, and please don't post any responses before 8:00 AM your time on Thursday, April 8. thanks for your participation and I hope you enjoy the songs.

All best,
Johnm 

[Dadfad]

The questions on "Movin' Out Movin' In" are:
 * What playing position/tuning did Charles Caldwell use to play the song?
 * Where did Charles Caldwell fret the signature lick that opens his rendition?
 * Where did he fret the repeated notes he played at :27--:28?

I would say he probably used standard-tuning, Key of A, First-Position A-chord 002220, but as the "long A" form 0002225. The opening lick was kind of the common "Hooker-Hopkins-esque" lick around that long-A position, slightly added to with additions on the second-string between 002255 and 002233 (emphasizing the one and two strings). And of course playing the rhythm on the open 5-string with his thumb as he played the licks. The actual lick probably being:

----(0)--------------
----/5---3--1-------
----------------2----
---------------------
---------------------
---------------------

For his lick at :27 to :28 I think he used the one and two strings farther up the neck around the Second-Position A  (577655), going between xxxx55 and xxx78 (bending slightly).

Hope I got it right. I'm in my office and don't have a guitar handy.

(B/t/w... My real name is also John M!)

[David Kaatz]

Charles Caldwell Movin' Out Movin' In
Key of A minor standard tuning
Opening phrase is:
Play 2nd string slide up to fifth fret, third string seventh fret, third string fifth fret, 4th string seventh fret.
The repeated notes at :27 are fifth fret, 1st and 2nd strings, and open 3rd string.

Down the Road of Love
is in standard tuning, key of E minor.
He answers the vocal phrase with a lick starting on open 6th string, 6th string third fret, 5th string second fret, open 4th and 3rd strings together, then landing on 4th string second fret with open 3rd, 2nd, and 1st strings together.
The phrase at 1:03 is:
2nd string fifth fret the first time with the open 1st string, then two quick notes on the same fret, the last one pull off to third fret, then 4th string fifth fret, 3rd string fourth fret, 2nd string third fret. Repeat.

Cool tunes from someone I had never heard.

[Prof Scratchy]

I agree with David for the second one, but I wondered whether the first one might actually be in Spanish, with the 1 chord being played with the index finger on the first fret of the second string to achieve the minor feel?

[banjochris]

I agree with David for the second one, but I wondered whether the first one might actually be in Spanish, with the 1 chord being played with the index finger on the first fret of the second string to achieve the minor feel?

Scratchy – I will admit I haven't sat with this one, but the thing that would make me vote against Spanish on this one would be the V and IV chords he plays occasionally, which sound like regular C7 shapes slid up the neck to me.
Chris

[Prof Scratchy]

I was thinking they were barre chords, Chris - but I don’t have the best of ears...

[Forgetful Jones]

Movin' Out, Movin' In is in A, Standard tuning.
The main riff could be played by sliding from 7th to 9th fret on 3rd string, then play 7th fret on 3rd string, 5th fret 3rd string, 7th fret 4th string. Caldwell keeps the open 5th string bass going.
This could also be played with the equivalent notes on the 2nd & 3rd strings. I always speculated that he (and Junior Kimbrough) would move their riffs around depending on what other bits they happen to throw in at the time.
At :27 I think he's playing the 5th fret of the 1st & 2nd strings and then descends from 8th to 7th to 5th fret on the 1st string

Down the Road of Love is in E, Standard tuning- I think for much of the song he mutes the 5th & 3rd strings.
The riff after the first vocal line may be played by first partially muting the E chord then playing Open 5th string, 2nd fret of 5th string, Open 4th string, 2nd fret of 4th string
At 1:03 I think he plays: 2nd fret of 4th string, then play & pull off 2nd fret to the open 4th string, then 3rd fret of 6th string, 2nd fret of 5th string, open 4th string... like throwing a G chord in there.

This is a great album. I was really into what Fat Possum was doing at this time. I was excited when this was released and then instantly saddened by the fact that he had died not long before its release.

[blueshome]

Having got round to listening to this with a guitar I agree with Mr Jones A and E.
I bought cd when came out and it is one that stays in the car to get played.

[Prof Scratchy]

No, Phil...I got it wrong again....

[Johnm]

Hi all,
It's been a little while since there has been a new response on the two Charles Caldwell puzzlers, so I'll post the answers.

For "Movin' Out Movin" In":
   * His playing position was A position in standard tuning
   * He could have played the signature lick at the beginning of the song in a number of places. I believe he began it with a slide to the fifth fret of the second string on the + of beat three, followed by a triplet on beat four in which he went from the third fret of the second string to the first fret, finishing off at the second fret of the third string, while keeping a broken triplet monotonic bass going on the open fifth string. This is what Dadfad had in his response. The lick could also have been played as Dave described it.
   * The repeated notes at :27--:28 are the fifth frets of the first two strings and the open third string, as Dave described them.

For "Down The Road of Love"
   * His playing position was E position in standard tuning
   * His vocal response lick starts by hitting the second fret of the fourth string while strumming the first three strings in an E chord at the base of the neck in a + 1 + 2 rhythm, entering on the + of beat four, with the + of beat four and beat 1 tied. On the + of beat two he hits the open sixth string, and on 3 + he goes from the second fret of the fifth string to the open fourth string while droning on the open third string in the treble. The lick then repeats several times.
   * The later lick he starts by playing the second fret of the fourth string, hammering into it twice and pulling off to the open fourth string after the second hammer, then going from the third fret of the sixth string to the second fret of the fifth string and finishing up at the open fourth string.

I hope folks enjoyed the songs, and thanks to those who participated. I'll look for some more tunes to post.

All best,
Johnm

[Johnm]

Hi all,
It's been a little while since we've had some new puzzlers, and I've found a couple of good ones, I think, so here goes. The first puzzler is from the transplanted Texas blues singer and guitarist, Thomas Shaw, who lived most of his life in the San Diego, California area. The song is his "Working Man Blues", and here it is:



INTRO

A workin' man, mama, ain't nothin' but a woman's slave
Workin' man, ain't nothin' but a woman's slave
Only trouble you ever have, partner, just try to keep 'em plain

I work hard every day, mama, I work from birth of day to sun
I work hard every day, mama, and I go from sun to sun
I've got to the place, I can't tell, when the day's work is done

INTERLUDE (humming)
I got to the place, mama, where I can't tell when the day's work is done

When the blues come to Texas, come right through my world
When the blues reach Texas, come right through my world
Ever since that mornin', you know, Texas ain't been no good

Hey, bite like a boa constrictor, rattlesnake don't do it that hard
Bite like a boa constrictor, mama, rattlesnake don't do it this hard
Well I knew he was dangerous when he crawled up in my yard

I bite like a boa constrictor, rattlesnake can't bite that hard
Bite like a boa constrictor, rattlesnake don't do it that hard
Well, I knew he was dangerous when he, crawled up in my yard

Now when I move from the country, I move 'em 'round your world
When I left the country, left from 'round your world
Well a rattlesnake in front of me, don't mean me no good

INTERLUDE (humming)

The questions on Thomas Shaw's "Working Man Blues" are:
   * What playing position/tuning did he use to play the song?
   * Where did he fret what he played over the IV chord in his verse one accompaniment?
   * Where did he fret the interlude from 1:18--1:24?

The second puzzler is from Florida musician Emmett Murray, and it is his rendition of "Dig Myself A Hole". Here it is:



INTRO

This world is gettin' a mess, you see it every day, when war break out, there's gonna be hell to pay
REFRAIN: I"m gon' dig myself a hole, move my baby 'way down under ground
I'm gon' dig myself a hole, move my baby 'way down under ground
And when we come out, won't be no rush around

I'm gon' put in air condition, just to keep us cool, carry good old whiskey and a whole lot of food
REFRAIN: I"m gon' dig myself a hole, move my baby 'way down under ground
I'm gon' dig myself a hole, move my baby 'way down under ground
And when we come out, won't be no war around

There's goin' to be trouble, you ought to understand, see how them old Russians are takin' Afghanistan
REFRAIN: I"m gon' dig myself a hole, move my baby 'way down under ground
Yeah, I'm gon' dig myself a hole, move my baby 'way down under ground
And when we come out, there won't be no war around

When them things get to fightin', dropping' all them bombs, then me and my baby, we won't have to run
REFRAIN: I"m gon' dig myself a hole, move my baby 'way down under ground
I'm gon' dig myself a hole, move my baby 'way down under ground
And when we come out, won't be no war around

The questions on Emmett Murray's "Dig Myself A Hole" are:
   * What playing position/tuning did he use to play the song?
   * Where did he fret his IV and V chords in his verse one accompaniment?
   * Where did he fret his I chord, in the main, for the first four bars of his verse two accompaniment?

Please use only your ears and your guitars to arrive at your answers, and please don't post any answers before 8:00 AM your time on Tuesday, May 11. Answer as many questions as you're comfortable answering--one or all of them, or anything between those two extremes. Thanks for your participation and I hope that you enjoy the songs.
All best,
Johnm

[Johnm]

Hi all,
Any takers for the Tom Shaw and Emmett Murray puzzlers? Come one, come all! Answer as many questions as you wish--all of them or just one.
All best,
Johnm

[frailer24]

Tom Shaw:
Dropped D
Played his fill out of an F position at the 3rd
Interlude is a partial C fretted 3 5 5 x x 0 sliding up 2 frets to a D7 fretted 8 5 5 x x 0.
Emmett Murray, all I can figure out is E position, tuned around C. Seems to be using a C7 shape for his I chord a lot.

[Old Man Ned]

I'm struggling with both Thomas Shaw's "Working Man Blues" and Emmett Murray's "Dig Myself A Hole". "Working Man Blues" I'm thinking E standard, but I'm not confident in that answer. I'm hearing him tuned about a half step low.

The Emmett Murray track I love. Tuned very low, I'm thinking E too. Had hoped for a bit more inspiration over the last couple of days but it seems to have deserted me.

All the Best,
Ned

[Prof Scratchy]

Haven’t managed to tune down to the pitch of these tracks, but will say E standard for both of them. The Thomas Shaw tune quotes from Blind Lemon’s playing in E for the instrumental break. I was lucky enough to play with Thomas Shaw in 1972 in Germany. He was a lovely guy who insisted on having a group photo taken with the audience during the break!