WeenieCampbell.com
Country Blues => Country Blues Lyrics => Topic started by: Johnm on February 03, 2012, 09:47:19 PM
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Hi all,
I've had occasion recently to listen to John Lee Hooker's original recording of "Boogie Chillen" a great deal and have become somewhat obsessed with it. It is a terrific rendition both vocally and instrumentally. John Lee accompanied himself out of Spanish tuning at B, and the groove he sets up and maintains is one of the coolest ever. In a certain sort of way he's not doing all that much, but when you can play time that well, you don't have to do very much to be completely satisfying, musically.
Vocally, the song is primarily a recitation with incidental singing. I think that John Lee Hooker, much like Lightnin' Hopkins, a close contemporary of his in age, was prodigally gifted, vocally. He sounds more musical talking than all but the best singers do singing. If you've never heard this, I strongly encourage you to seek it out. And make no mistake--John Lee Hooker may have been playing an electric guitar, but this is Country Blues all the way. It is trance music, and very pared back harmonically, for John Lee goes to a IV7 chord just a couple of times and avoids the V7 chord altogether. It is just a treat.
https://youtu.be/G4pp02_GN9A
(Sung) Well, my Mama, she didn't allow me just to stay out all night long, oh Lord
Well, my Mama didn't allow me just to stay out all night long
I didn't care if she didn't allow--I would boogie-woogie anyhow
(Spoken) When I first come to town, people, I was walkin' down Hastings Street. I heard everybody talking about the Henry's Swing Club. I said, "I got to drop into there tonight." And when I got there--
(Sung) I say, yes, people, yes, they were really havin' a ball.
(Spoken) Yes, I know. Boogie, chillen!
SOLO
(Spoken) One night, I was layin' down. I hear Mama and Papa talkin'. I hear Papa tell Mama "to let that boy boogie. 'Cause it's in him, and it got to come out."
(Sung) Well, I felt so good, and I went on boogie woogiein' just the same.
(Spoken) Yes!
Edited 2/4 to pick up correction from Bunker Hill
All best,
Johnm
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Small observation John, the club on Hastings Street was Henry's.
Hooker had four attempts at this for Bernie Besman on November 3, 1948, all lyrically different. The first was released on Modern 20-627 (reached no. 1 Billboard's R&B chart February 1949) and a second on Modern 893. The other two takes didn't see light of day until 1970s.
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He sounds more musical talking than all but the best singers do singing.
Ain't that the truth!
I went looking for a discography so i could figure out which album to dig out and found this (searchable by song or label):
http://www.johnleehooker.info/title_list.php?q=boogie+chill (http://www.johnleehooker.info/title_list.php?q=boogie+chill)
and this:
http://www.angelfire.com/mn/coasters/jlhpage3.html#bodysoul (http://www.angelfire.com/mn/coasters/jlhpage3.html#bodysoul)
It also led me on to the acoustic 1949 Gene Dietch recordings (http://weeniecampbell.com/yabbse/index.php?topic=2505.msg18945#msg18945) which i hadn't even heard of.
EDIT correcting spelling on Gene Deitch's surname
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Just to add to the list of internet discographies there's this one devoted solely to vinyl JLH that also incorporates a full JLH bibliography donated by compiler Robert Ford.
http://www.jlhvinyl.com/ (http://www.jlhvinyl.com/)
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Thanks for the lyric fix, Bunker Hill. I will make the change.
All best,
Johnm
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Still listening to this!
I was about to suggest minor corrections but i think i must have a different take than the one you transcribed, John. There are subtle differences all the way through ... and no "Yes!" at the end.
i'll attempt an attachment ...
[attachment deleted by admin]
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What follows is the session as given in The Blues Discography 1942-1970 (Fancourt & McGrath). Lord knows what the layout is gonna look like when posted!
V/g. Detroit, c. September 1948
B 7003 Sally May [or Mae] (There?s a day Mod 20-627
comin? baby)
Sally Mae [alt tk] Mod 5, Crown CLP 5157, Kent LP 5025
B 7004 War is over (Goodbye California) Sp SPS 2127
See, see baby [alt tk] Greene Bottle GBS 3130
B 7005 She was in Chicago United Artists UAS 5512
Crazy ?bout that woman [alt tk] Greene Bottle GBS 3130
B 7006 Boogie chillen [or children] Mod 20-627, 5, Kent 332
Henry?s Swing Club [alt tk] Sp SPS 2127
Johnny Lee?s original boogie [alt tk] United Artists 3-127
(MM 1926) New boogie chillen Grand 109, Mod 893
(Grand 109 is a 78 rpm out of Philadelphia using a re-edited take of B 7006, with added echo.
It was likely withdrawn and reissued by Modern. The reverse, although credited to Hooker, is
by SYLVESTER COTTON.). A shortened version of B 7003 also appears on Kent LP 527/
5027/United LP 7748.
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Johnm, have you heard the all-acoustic recordings he made for Gene Deitch in 1949?
If not I guarantee they will knock your socks off. The full story of how they turned up and got released in Europe is here: http://www.genedeitch.com/ (http://www.genedeitch.com/)
They are now available again after a legal wrangle was resolved. The 'US-legal' edition is this one: http://www.amazon.com/Jack-Diamonds-John-Lee-Hooker/dp/B0001Z36EG/ref=sr_1_1?ie=UTF8&qid=1328375655&sr=8-1 (http://www.amazon.com/Jack-Diamonds-John-Lee-Hooker/dp/B0001Z36EG/ref=sr_1_1?ie=UTF8&qid=1328375655&sr=8-1)
It's interesting to compare that version of Boogie Chillen' with the acoustic material. He uses the same technique and it works great on both acoustic and electric. Incredible groove and dynamics.
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... and the cautionary footnote which accompanies them
(Above titles informally recorded by Gene Deitch, the second with an audience. These sides
were previously thought as 1949. A date of 16 August 1951 may apply to one session.)
Do you have any more background on this Bunker? Why did they revisit the Gene Deitch recording date of 1949?
[Rivers: oh frick, I hit modify instead of quote. Apologies Alan, could you please post that again and we'll go from there]
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Hi all,
I can see that I'm an innocent when it comes to being up to speed on John Lee Hooker's discography--whew! I think it's amazing that when there was a musician who could sensibly stake a claim to being the coolest ever, Lightnin' Hopkins, there would have been someone else, John Lee Hooker, who could also reasonably be considered just as cool or cooler. There's no one remotely like either of these musicians out there now, and to think of the two of them living, recording and performing at the same time--what abundance!
All best,
Johnm
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He even does Lightnin better than Lightnin himself could most of the time
John Lee Hooker - Black Man Blues (http://www.youtube.com/watch?v=dK-und42vhk#)
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http://www.amazon.com/John-Lee-Hooker-About-Definitive/dp/B0001XAMH2 (http://www.amazon.com/John-Lee-Hooker-About-Definitive/dp/B0001XAMH2)
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He even does Lightnin better than Lightnin himself could most of the time
I'm not sure he's doing anybody but John Lee there. JLH was a solid piece of work from his early days and never had to imitate anyone. Lightnin' and Hooker were simply drawing water from the same well, IMHO. Great piece, enjoyed it a lot.
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Hello everybody,
I'm a young John Lee Hooker fan from Italy. I'm trying to transcribe an interesting Hooker's song, which I found on the cd Jack O'Diamonds, 1949 recordings , Rajon Music Group CDR0713, published (2004). The song's title is "Waterboy": if you have problems finding it, there is a decent quality version on Youtube.
Now, here are the lyrics of the song, or at least, what I was able to understand of it. The main theme looks like a strange mix of references to the Levee Camps and to the State Farms: he clearly talks about working on the levee, and about detention periods. The main theme is about the "captain" whom restrains him from drinking, and he has to make a runaway or die [edit: or about the role of the "waterboy", bringing water around]. Anyway, some words just keep slipping my grasp. Here is what I got. Any hint or suggestion is greatly appreciated!
https://youtu.be/wd--JuTtCMk
Captain, captain, captain,
send the water 'round, send the water 'round.
Don't get no water, I got to go, I got to go.
Captain, captain, pour a drink o' water, | [alt:](asked captain for a drink of water)
oh, oh boy, you want to fight?
"you don't get no water", oh boy, " 'till the sun goes down",
the sun goes down..
Captain, oh, send the water 'round.
yes I'm working, working, on the levee, send the water 'round.
Woh, captain, don't send no water, I got to go, oh boy,
I got to go.
yes, some got lifetime, oh boy, but I got ninety-nine.
wooh, some got lifetime here, this old prisoner,
I got ninety-nine
"don't get no water", oh captain, (life?) won't be long
Captain, waterboy, pour some water, oh boy, send the bucket down, oh,
send the bucket down.
these lifetime (prisoners?), oh boy, got to (best go?) here
yes, the many an ol' skinner, oh boy, oh boy, but the longest line.
I'm a hard rollin' skinner, oh boy, on this ol' country farm
yes, some got a lifetime,
some got six month boy oh yes, but I got, I got ninety nine
I got ninety nine. Oh boy,
on ol' country farm, oh boy, this ol' country farm, oh boy, oh boy, ol' country farm
Edited with cru423's suggestions.
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I hear it a bit different, the line numbers next to corrections ;)
send the water round 2,8,9
don?t send no water 10
asked the captain for a drink of water 4
this ol? prisoner 13
send the bucket down 16,17
many an ol? skinner 19
I?m a hard-rollin skinner on this ol? county farm 20
on this ol? county farm...24
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Wonderful corrections, thanks! I edited my original message to change it accordingly.
That's making more sense now, and the focus of the whole text turns toward the figure of the "waterboy" sent around to bring water. That's clearly more in line with the song title, and hints at a reasonable childhood working experience by Hooker, in the context, as a waterboy.
I accepted all the corrections but the one at line 4, of which I'm not completely sure about:
Captain, captain, pour a drink of water
or
Asked captain for a drink of water
On the first word the "s" of "asked" cannot be heard, although I have slowed down the record and, as a fact, neither "captain" is perfectly recognizable. Between "pour" and "for" the difference is so small that, I guess, we could adapt the one which makes more sense. Cru423's reading could be right if we suppose that Hooker left out the "s" as a minor spelling error, quite understandable at that speed of speech.
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Hello everybody,
I'm trying to discern the lyrics of a John Lee Hooker song, titled "33 blues". I found it on the cd "the 1949 recordings". For reference:
cd: http://www.allmusic.com/album/unknown-john-lee-hooker-1949-recordings-mw0000065992 (http://www.allmusic.com/album/unknown-john-lee-hooker-1949-recordings-mw0000065992)
youtube video of the song with decent audio, though I suggest to grab the cd, it's a beautiful compilation: https://www.youtube.com/watch?v=Y_SYRE8ypz8 (https://www.youtube.com/watch?v=Y_SYRE8ypz8)
The record itself is quite interesting, having been recorded live. But the irony of the text, which clearly functions very well on the audience in the record, is completely lost to me as I cannot undestand some critical passages that may hold the meaning of the whole text. I'll try to share what I can understand, let me now if you can help to fill in any spot :D
I got the 33 blues, just as blue as I can be
I got the 33 blues, just as blue as I can be
[..] (soon?) [..] people, I'm goin', [..] break down soon
It started (at?) this night [..], come up to the top,
this (thing?) right there, God knows, God knows, all night long (something soon?) [..]
God knows, I can't last long.
I got the 33 blues, people, just as blue as I can be.
People is so fine, [..]
but God know, these people, God knows, they, they chillin' me
I got the 33 blues, God knows I can't last long.
(something soon gonna?) [..], God knows I can't last long.
I was talking with [name] yesterday morning, now hear what I told him:
now hear, now [name], listen, soon or [..] (if?) you don't move this soon I got to go.
I got the 33 blues, God knows I won't be here long.
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Here's what I get, not saying definitive, just a suggestion may get the ball rolling, best of luck!
I got the 33 blues, just as blue as I can be
I got the 33 blues, just as blue as I can be
Something soon gonna happen people break down soon, I'm gonna have a break down soon
It started (at?) this night gonna, come up to the top,
this (thing?) right there, God knows, God knows, all night long something soon got to (going to?) happen
God knows, I can't last long.
I got the 33 blues, people, just as blue as I can be.
People is so fine, and the food is so nice [..]
but God know, these people, God knows, they, they killin' me
I got the 33 blues, God knows I can't last long.
something soon gonna happen, God knows I can't last long.
I was talking with Marshall yesterday morning, now here's what I told him:
looky here, now Marshall, listen, something soon gonna happen if you don't move this soon I got to go.
I got the 33 blues, God knows I won't be here long.
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I get the impression 33 might be a place - a night club perhaps.
I have these suggestions:
1.3 Something soon gonna happen NOW people I'm GONN' ... have a break down soon
2.1 HE STARTED DOWN TO THE SNACK BAR, come up to the top
2.2 HE STAYED right there, God knows God knows all night long something soon GOT TO happen
3.1 People IT'S so fine, and the food is so nice HE LIT BRIGHT AND PRETTY
4.1 I was talkin' TO Marshall ...
4.2 If you don't move THESE soon
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Hi all,
There were three different threads on John Lee Hooker song lyrics, so I merged them to create this single-source thread for his lyrics from here on out.
All best,
Johnm
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Hi all,
John Lee Hooker recorded "Ground Hog Blues" in a solo version in Spanish tuning in 1951. You can hear the recording over in Harry's Song of the Month thread on "Ground Hog Blues". He phrased so freely, it really was wonderful, and that third verse is a killer.
https://youtu.be/ovQfMcvBAj4
INTRO SOLO
It's a low-down dog, a dirty ground hog been, been rootin' 'round my back door
And if I catch him rootin' now, man, Lawd, he won't root there no more
Yes, he stand and he watch me, every morning when I leave home
Yes, he stand and he watch me, every morning when I leave home
Then when I leave home in the mornin', yes, he hangs around all day long
Get me some toad frog's hips, I'm gonna, gonna put it all together, I'm gonna,
Gonna mix it up together, I'm gonna, gonna whup it all up and good, I'm gonna, gonna kill that old dirty ground hog
I betcha my bottom dollar then man, he, he won't root there no more
SOLO (Spoken: No, he ain't gonna root no more there!)
I said, good bye, baby, I, Lawd, I'm leavin' you now
I said, good bye, baby, Lawd, I'm leavin' you now
I done did want I wanted and killed that old dirty ground hog (Spoken: Yes, he's through!)
All best,
Johnm
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Hi all,
I have been listening a lot recently to the JSP set, "Detroit Blues", and boy, is it terrific. I came across this recording from John Lee Hooker from the early '50s, "My Baby Don't Love Me", and was just floored. It made me feel like his ensemble sides, as great as they are on occasion, don't really get at who he was, musically, in the way his solo sides do. The tone of his guitar here is amazing, like ripping sheet metal (in a good way!), but no more amazing than what he plays. Wow! Play it loud!
https://youtu.be/r8woybS2sKI
INTRO
My baby don't love me, my baby don't love me no more
My baby, my babe, my baby don't love me no more
I know the reason why, she in love with Mr. So-And-So
I'm tellin' you, babe, babe, I've got to let you go
Whoa, baby, baby, I got to let you go
You ain't no good, baby, found out, baby, for myself
All over, baby, all over in your neighborhood
You go around town talkin', baby, tellin' everybody I am no good
But I'm tellin' you, little girl, and that won't be the case no more
All best,
Johnm
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Boy Howdy! Was that one ever a killer! Try and find some of the recordings he did as Texas Slim for King records in 1949. Several of those sides including Slim's Stomp are very intense and border on psychedelic.
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Thanks for the tip, Lightnin'!
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Seek on You Tube and ye shall find ...
https://www.youtube.com/watch?v=_b1L_kTyHwI
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Wow. Aside from the playing itself, the tone of the guitar is really cool. I don't really know anything about electric guitars, but that's a great sound.
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I think Bernard Besman his producer in Detroit is responsible for a lot of the sound. He experimented much in his small studio in Detroit on Hastings Street. He would record John Lee Hooker in his native environment and then lease the recordings out to various labels. With the use of echo and simple studio tricks he was able to get a large atmospheric sound out of just John Lee, his guitar and his foot. https://www.allmusic.com/artist/bernard-besman-mn0000059212/biography
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I'd want to know the pickup, amp, speaker(s), mic(s). Upper harmonic distortion, love it. Especially at the end. Whew! Must have been a great microphone to capture that world record harmonic.
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Hi all,
John Lee Hooker recorded "Real, Real Gone" at the same session at which he recorded "My Baby Don't Love Me", in Miami in July of 1953. Thankfully, his guitar was recorded the very same way and had the same tone. One thing that I think is remarkable about these cuts, too, is that John Lee Hooker's voice was recorded perfectly, too; he was able to sing intimately, but also drive his voice when he wanted to do that. Here is "Real, Real Gone":
https://youtu.be/wyED4uzJYdk
INTRO
When I first met you, baby, baby, you was real, real, real gone
When I first met you, darlin', baby, you was real, real gone
You didn't go no place, baby, but the church and the Sunday School
Oh, darlin', church and the Sunday School
You done got up here now, darlin', you're runnin' around, every notoriety joint in town
I'm goin' back down South, darlin', back down South in Sunnyland
I'm goin' back down south, darlin', back down South in Sunnyland
I'm goin' to my wife and my family, darlin', oh Lord, I'm goin' back down to stay
All best,
Johnm
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dig this:
https://www.youtube.com/watch?v=9hp6SYeU6MA
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I'd want to know the pickup, amp, speaker(s), mic(s) ... Whew! Must have been a great microphone to capture that world record harmonic.
The answer to your mic question might be on this page:
https://www.pinterest.com/pin/5629568265283914/
Also, a friend I used to work with when I was doing radio told me about this vid:
https://www.youtube.com/watch?v=_Q-scxybnp0
It starts out great, but after a while it's mostly talking heads ... you really have to be into the topic to make it through the 35 minutes.
Lindy
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Hi all,
Here is John Lee Hooker from the American Folk Blues Festival doing "Hobo Blues", in Spanish tuning:
https://youtu.be/1kQlRQRGdfQ
INTRO
When I first started to hoboing, hobo, boy
I took a freight train to be my friend, oh Lord
Mmmm-mmm-mmm-mmm-mmm-mmm-mmm
You know I hoboed, hoboed, hoboed
Hoboed a long, long ways from home, oh yeah
Mmmm-mmm-mmm-mmm-mmm-mmm-mmm
(Spoken: Yes, I did! Long time ago)
I left home that morning
My mother followed me to down to the freight train yard
Mmmm-mmm-mmm-mmm-mmm-mmm-mmm
She said, "My son is goin'. Take care of my child. Lord knows he's travelin'.
You know, he travelin' out there, you know he travelin', you know he travelin' again."
Mmmm-mmm-mmm-mmm-mmm-mmm-mmm
Next time I start in to hobo
I'm gonna have my baby by my side
And then, you know, my night, it won't be so alone
And my day won't be so blue
All best,
Johnm
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Hi all,
I was excited to discover John Lee Hooker's "Six Little Puppies And Twelve Shaggy Hounds", from his 1949 "Jack of Diamonds" acoustic album recently. Like 'Rabbit In The Log", from the same album and which was featured in Miller's Breakdown recently, this song was played by John Lee Hooker in Spanish tuning, capoed up and sounding in C. I was excited to hear its similarity, instrumentally, to Furry Lewis's original recording of "I Will Turn Your Money Green". The fretting hand's moves, the phrasing, and the way it gets into the IV and V chords are essentially the same as in Furry's recording, though Furry's tempo is much more upbeat. I love the way that John Lee sounds like he is sort of feeling his way on his first instrumental pass--it almost sounds like he is trying to remind himself or piece together how the song goes. The rhythm and groove don't really fall fully into place until he starts singing. And the fact that he varies his form quite a lot over the course of his rendition, choosing not to go to the V chord in several of his verses, contributes to the improvisatory feel of his performance. Here is his rendition of "Six Little Puppies And Twelve Shaggy Hounds":
https://youtu.be/YB4y38uJ-qA
INTRO SOLO
I got me six little old puppies, and some twelve little shaggy hounds
And twelve little shaggy hound
It takes all them dogs to run my baby down
(Guitar finishes verse)
Yes, I’m going ‘way back, babe, ‘way back where I belong
Well, ‘way down South, babe, in the old sunny, in the old sunny land
Where the tall corn grows and man lives every day
I said baby, baby, you know you ain't doin' me right
I’m gonna catch me a great big, sixteen coaches, sixteen coaches long
It's all right, I’m gonna ride ’til I get sane in mind
SOLO
Don’t your clothes look lonesome, hangin’ on the line?
Don’t your clothes look lonesome, hangin’ on the line?
Don’t her clothes look lonesome, hangin’ on the line?
Yes, but she done quit me, goin’ on down the line
Get me six little old puppies and twelve little shaggy hounds
And twelve little shaggy hounds
I’m gonna take them dogs and run my baby down
When your good gal quits you, man, please, don’t you cry
After your good gal quits you, man, now please, don’t cry
You can come on down, come on down, baby, help you run her down
Yes, I get my little puppies and my little old shaggy hounds
Don’t your house look lonesome when your biscuit roller’s gone?
Don’t your house look lonesome when your biscuit roller’s gone?
Yes, your little old shanty, it, little old shanty, just, it ain’t never clean
I’m gonna get me a train that’s sixteen coaches long
Yes, I’m gonna get me a train that’s sixteen coaches long
I said me and my little old dogs, they gonna find my baby somewhere
Edited 1/8 to pick up correction from Old Man Ned
Edited 1/10 to pick up corrections from Blues Vintage
All best,
Johnm
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Hi John,
In the 3rd verse, to me, the first line sounds like "I said baby, baby, you know you aint doin’ me right".
All the Best,
Ned
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Thanks for the catch, Ned. You are certainly right, I don't know what I was thinking. I'll make the change. Thanks!
All best,
Johnm
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Great song, some suggestions,
3.3 Yes, I’m gonna ride, It's alright, I’m gonna ride ’til I get satisfied
Not sure on "satisfied", sounds something like "sane in mind" if that's proper english.
6.3 You can come on down, come on down, to baby help you run her dow
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Thanks for the suggestions, Blues Vintage. I agree with all of them, including "sane in mind", and will make the changes. Thanks!
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The number that Hooker's "Six Little Puppies" really reminds me of is Ishman Bracey's "Suitcase Full of Blues." Also that opening verse being associated with "Saturday Blues" makes me wonder if Hooker was thinking of Bracey with this one.
Chris
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Hi all,
Here is John Lee Hooker's version of "Rollin' And Tumblin'", titled "I Rolled And Turned And Cried The Whole Night Long", from his album "Burnin' Hell". It's is another non-slide version of the song, similar to R. L. Burnside's or Rosa Lee Hill's versions, though unlike theirs, Hooker's was played in Spanish tuning. Despite the title of the song on the record, John Lee sang "tumbled" rather than "turned" throughout his rendition, and also sang "try" or "tried" rather than "cried". His is the only version of the song I've heard done that way. His rendition has a wonderful loose, semi-improvised feel to it.
https://youtu.be/2XLgNfEZUKc
INTRO
Well I rolled and I tumbled, babe, and I try the whole night long
Well I rolled and I tumbled and I try the whole night long
When I rolled this mornin', I, didn't know right from wrong
Ah-ah-ahhhhhhhhhhh, man, tryin' the whole night long, (humming with signature lick)
And I rolled this mornin', found my baby gone
And I lost my babe and I, almost lost my mind (Spoken: Oh yeah!)
And I lost my baby and I almost lost my mind (humming with signature lick and bass interlude)
When I lost my baby, almost lost my mind
I just rolled and I tumbled and I just can't sleep at night
SOLO
Aaah---I-----ahhh----I------ahh--I never be the same
Never be, never be the same, no more (humming with the signature lick)
I never be the same no more, never be the same no more, never be the same no more, never be the same no more
I woke up this mornin', I found my baby gone, I just rolled and I tumbled, tried the whole night long
GUITAR RIFFING
Edited 2/25 to pick up correction from Blues Vintage
All best,
Johnm
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1.3
And When I rolled this mornin', I, didn't know right from wrong
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Thanks for the catch, Blues Vintage, I have made the change.
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Hi all,
John Lee Hooker recorded "Two White Horses" for his "Jack of Diamonds" album, accompanying himself out of Spanish tuning, capoed way up. The song is his version of "See that My Grave Is Kept Clean". He was certainly a wonderful singer, and I suppose there is nothing earth-shaking here, but he sure sounds good. Here is "Two White Horses":
https://youtu.be/XXd0zxf9OO8
Two white horses in a line
Yeah there's two white horses in a line
Yes, gonna take me to my buryin' ground
Gonna take me to my buryin' ground
Yes, now and dig me a grave with a silver spade
Dig my grave with a silver spade
Yes, and let me down with a golden chain
Dig my grave with a silver spade
SOLO
Yes, it's a mighty long lane, ain't got no end
Yes, it's a mighty long lane, ain't got no end
Yes, it's a mighty bad wind, don't never change
It's a long, long lane, ain't got no end
You can dig my grave with a silver spade
You can dig my grave with a silver spade, and
Let me down with a golden chain
Yes, there's two white horses in a line
Yes, there's two white horses in a line
Yes, gon' take me to my buryin' ground
Then dig my grave with a silver spade
And lay my old guitar down by my head
And lay my old guitar down by my head
Yes, and they, Lord, gonna cry, oh Lord,
Says all you can say, I'm dead and gone
Yes, there's two white horses in a line
Yes, there's two white horses in a line
They's gonna take me to my buryin' ground
My last, long lane ain't got no end
CODA
Edited 10/28 to pick up corrections from Blues Vintage
All best,
Johnm
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Probably a typo in 1.1 and 4.2
It sounds like "on a line" in 1.1 although he sings "in a line" in 1.2.
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Thanks for the help, Blues Vintage. I have made the changes.
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Hi all,
John Lee Hooker recorded "Rabbit In A Log" for his "Jack o' Diamonds" album, accompanying himself in Spanish tuning, capoed around the fifth fret, assuming he was tuned to G. The song is a kind of Pre-Blues or Folk number that had a widespread circulation--versions were recorded by other artists, Lonzie Thomas and J. W. Warren among them. I like every version of this song I've ever heard and John Lee's version is especially pretty. I'm missing single words in a couple of places and would appreciate help with them. Here is "Rabbit In A Log":
https://youtu.be/vZAA3jizHA4
Rabbit, rabbit, rabbit on the log
Possum up the tree
Rabbit told the possum,
"Shake those 'simmons down.
Shake those 'simmons down."
INTERLUDE
Rabbit on the, rabbit on, rabbit on the log
I ain't, got no rabbit dog,
Got no rabbit dog
Rabbit told the possum,
"Shake those 'simmons down."
INTERLUDE SOLO
Way down, way down, way down, way down
In old [ ]
Rabbit told the possum, to
"Shake those 'simmons down,
Shake those 'simmons down."
Possum told the rabbit,
Possum told the rabbit,
"You watch the dog and,
I'll shake the 'simmons down.
You watch the dog and,
I shake the 'simmons down."
INTERLUDE SOLO
Way back, way back, way back,
Headed to my shanty, way back
Way back, way back, way back, way back,
Rabbit, rabbit on the log
Rabbit on the log, I ain't
Got no rabbit dog
Got no rabbit dog
Rabbit told the possum,
"Shake those 'simmons down,
Shake those 'simmons down."
INTERLUDE (Spoken: Yeah, it's the dog.)
Ooo, ooo, ooo
Ooo, ooo, ooo
Ooo, ooo, ooo
"Shake those 'simmons down."
Ooo, ooo, ooo
"Shake those 'simmons down."
Possum told the rabbit,
"You watch out the dog,
You watch out the dog, and I'll
Shake those 'simmons down, oh."
Ooo, ooo, ooo
Ooo, ooo, ooo
Me, me and my dog
We gonna go and run
Go out in the woods
Ooo, ooo, ooo
"Shake them 'simmons down."
INTERLUDE
Headed way back, way back, way back
To my shanty, way back, way back, way back
Hounds on my track, chickens on my back
Headed way back, to my shanty, way back
INTERLUDE
Shake those 'simmons, shake 'em down
Rabbit told the possum,
"Shake those 'simmons, shake 'em down."
Possum told the rabbit, possum told the rabbit,
"You watch for the dog, I'll shake the 'simmons down.
I shake the 'simmons, shake them down."
INTERLUDE WITH HUMMING
Headed way back, to my shanty
Head way back
Moon is a-risin', moon is a-risin'
Possum in the log, possum's in the log
Headed way back, way, way back
CODA
Edited to pick up correction from jpeters609
All best,
Johnm
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John,
I can't quite make out the word in your first bracket, but for the second one I hear:
"We gonna go and run"
-Jeff
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Thanks for the help, Jeff. I re-listened and you're right on the money so I've made the change. Thanks.
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My best guess would be "in old bottom".
The line after the first interlude needs correction I believe;
Rabbit on the, rabbit on, rabbit on the log
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Hi Blues Vintage,
I'm fine with the first line after the interlude. He says "on the" and "on" under his breath but he does sing them.
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Hi all,
John Lee Hooker did a wonderful version of "Catfish Blues" on his "Jack o' Diamonds" album, accompanying himself out of E position in standard tuning. He achieves a wonderful effect by quite often having the guitar drop out altogether underneath his singing, which really accentuates the call-and-response aspect of the song. What a wonderful voice he had! I'm not at all certain I have the last two lines of the last verse correct--he's singing very quietly there. Here is his "Catfish Blues":
https://youtu.be/VfOEvjLAO0U
INTRO SOLO
Yes I wished I, was a catfish
Swimmin' way down in the ol', deep blue sea (Spoken: Yes, yes, yes)
I'd have all these good-lookin' women, oh Lord, boy,
Fishing after me, fishing after me,
Oh Lord, sure enough, boy
INTERLUDE
There's one thing, baby, you know it ain't right
You cook cornbread for your husband
Biscuits for your man, biscuits for your man
Biscuits for your, biscuits for --
INTERLUDE
Yes, I'm goin', yes, I'm goin', babe
Lord, and cryin' won't, make me stay (Spoken: yes, yes, yes)
Yes, the more you cry, little woman, oh Lord
Further you drive, further you drive
Oh, drive me, drive me
Drive me, drive me away
Drive me away
Yes, I went to my, baby's house
Yes, I sat down on her step
She said, "Come on in, come on in, now, Johnny, oh yes my
Husband just now left, just now left
Oh Lord, oh, just now left
Oh, just now, oh, just now
Oh, just now
CODA
Edited 12/11 to pick up corrections from banjochris
All best,
Johnm
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John, I think in the first of those last two lines after Oh Lord, he sings Oh just now left and I think he's repeating "Oh just now" or "Oh just now left" following that. He is fading out quite a bit there!
Chris
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Thanks for the help, Chris. Upon re-listening, I could hear what you suggested and have made those changes.
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Hi all,
John Lee Hooker recorded "Bumble Bee Blues" with an ensemble and it appears on an anthology called "Essential Detroit Blues". John Lee accompanied himself out of E position in standard tuning for the performance and his guitar has a wonderful "ripping sheet metal" sort of tone. I analyzed John Lee's vocal phrasing of this performance in the thread "Vocal Phrasing: The Long and the Short of it", at https://weeniecampbell.com/yabbse/index.php?topic=951.msg90203#msg90203 for any of you who are interested. I don't know who his band members were, and would appreciate that information if any of you know it Here is "Bumble Bee Blues":
https://youtu.be/NHZ4jL48ZTk
INTRO
Bumble bee, bumble bee, bumble bee . . . bumble bee, please come back to me
Bumble bee, bumble bee, bumble bee . . . bumble bee, please come back to me
Bring me my granulated sugar, bumble bee, and try to ease my baby to me
She stung me this morning, I been lookin' for her all day long
Yes, she stung me this morning, yes, yes, I been lookin' for her all day long
Get me to the place, one time, hate to see my bumble bee leave home
My bumble bee got a stinger, just as long as her right arm
Yes, my bumble bee got a stinger, just as long as her right arm
Every time she sting me, hate to see my bumble bee leave home (Spoken: Now rock the blues away!)
PIANO SOLO
Yes, buzz me, buzz me, buzz me, 'til I don't want no more, buzz me, buzz me, bumble bee now, rock me all night long, I said
Buzz me, buzz me all night long
I said buzz me, buzz me, I don't want no more
CODA
All best,
Johnm
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According to Leadbitter and Slaven; on Bumble Bee Blues (1951) John Lee Hooker is accompanied by Boogie Woogie Red - piano and Curtis Foster - drums. Here is a photo of Boogie Woogie Red that I took during the first Country Blues Festival U.N.C. Chapel Hill, N.C. back in 1973.
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Thanks for the information, Lightnin'. That's pretty cool that you got to see Boogie Woogie Red--also cool that you have that picture and can still lay your hands on it after all these years!
All best,
John
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Hi all,
John Lee Hooker was joined by Eddie Kirkland on guitar, Bogie Woogie Red on piano and Tom Whitehead on drums for "Love Money Can't Buy", recorded on June 25, 1953 in Detroit. The song has a very intense vocal from John Lee Hooker, even by his standards. I'm missing a word in the last verse and would very much appreciate help getting that. Here is "Love Money Can't Buy":
https://youtu.be/sMoBeAI91qI
INTRO
Love, love, love money can't buy
Love, oh love, love money can't buy
I tried it seven long years, she made a fool out of me
I take my friend in, I bought him fine clothes, next thing I know, you goin' 'round with my wife
Oh love, love money can't buy
I tried it seven long years, she made a fool out of me (Spoken: Yeah, boy!)
GUITAR SOLO
I learned my lesson, long, long time ago, I done found out, boys, that, Lord, it just won't do
Oh love, love money can't buy
I tried it seven long years, she made a fool out of me
GRIND TO A HALT
Edited 4/24 to pick up corrections from Blues Vintage
All best,
Johnm
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The missing word in the last verse could be Lord
2.1 I bought him fine clothes
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Lord it just won't
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Thanks very much for the help, Blues Vintage, I will make both of those corrections. That is a great, intense track, isn't it?
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Sure is.
I must admit I don't like John Lee's one chord boogies. Too repetitive after a while for me.
He's got more compilation records than Bob Dylan probably, I do really like his live record with Muddy's Band "Live at Cafe Au Go Go".