He [Ted Bogan] was playing with picks that you put on your fingers and I didn't like that as an accompaniment, so I made him throw them away and I told him I would play the lead and he would play the accompaniment - Carl Martin on hooking up with Ted Bogan (Blues & Rhythm #218 Stompin' In Knox County)
I've always liked Good Boy Blues by Arthur Pettis. I've always liked the way the accompanyment varies from verse to verse and I think it would be a great base for other interpretations, But some of the lyrics have me stumped. I'd appreciate the help, and any information you might have on Arthur Pettis.
GOOD BOY BLUES Arthur Pettis 1930
(1) Instrumental introduction verse
(2) When youse a good fellow, the law will leave you 'lone (x2) When youse a bad fellow, the jail will be your home.
(3) Canned heat (? )? keep you??? Canned heat? keep you ?? Jailhouse doors open and you got a ramblin' mind.
(4) You sad and you wonderin', you lookin' through your mind (x2) You don't want no more canned heat( ), when the judge gives you your time
(5) Wake up every morning, when everything? ? Wake up every morning, when everything? ? one you love, the booze will soon leave you
(6) Talkin' all night long, walkin' from place to place Walkin' all night long, walkin' from place to place I was wonderin' and walkin' to see my baby's face
(7) Instrumental break
Best of luck and thanks, Alex
« Last Edit: April 19, 2005, 09:37:19 AM by Johnm »
Thanks a lot, I'd appreciate it. I copied the song onto my computer in Real Player format, but i cant figure out how to get it to .mp3. I need to take Computer Music 101.
It is tough to find a free mp3 converter - but I think Winamp can convert from a Windows .WAV file to MP3 - you might check out Winamp. I've got this Yazoo release on Cassette whcih is a bit more difficult for me to convert to mp3 - so hopefully Frank can find his CD.
Here is my take on the tune, a few question marks - but I think it gets you a little further along.
When youse a good fellow They'll all will leave you alone (x2) When youse a bad fellow the jail will be your home
Canned heat and a good boy Keep you with that [flowerin mind](?) (x2) Jail house open Then you got a ramblin' mind
You sit and you worry You're lookin through your mind (x2) You don't want no more canned heat When the judge give you your time
Wake up every mornin' When everything look blue (low, 2nd time) (x2) You see the one you love The blues will soon leave you
Walkin all night long Walkin from place to place (x2) I was runnin' and walkin' To see my baby's face
I've been workin' on this song, on and off, for a while now. Tough one, even when you've got some tab. Stefan G. tabs the intro, a verse "sketch" and one break in his Legends of Country Blues Guitar (Mel Bay). He also transcribes the lyrics, but with some glaring problems. He must have had a pretty rough copy. You guys are already passed what he's got right. I've got a few possible solutions to some of the tough spots:
When youse a good fellow The Law will leave you 'lone (x2)(I like this better) When youse a bad fellow the jail will be your home
Canned heat ain't no good boy Keep you with a fly away mind (x2) (or maybe 'flowery') Jail house?doors open Then you got a ramblin' mind
You' sad and you're? wonderin' (first time sounds like 'won'rin') You' lookin' through your mind (x2) You don't want no mo' canned heat When the judge give you your time
Wake up every mornin' When everything looks blue (x2) (sounds like 'blow' second time) But see the one you love The blues will soon leave you
Walkin' all night long Walkin' from place to place (x2) I was wonderin' and walkin' (but runnin' makes more sense, maybe) To see my baby's face
Does anyone else get the image of pacing in a cell from that last verse? Gives me chills. Why I kinda like 'wonderin' over 'runnin'. Arthur's pronunciation really has a hard A sound, always with a long 'A' for the article and his 'The' sounds like a short 'They'. His shortened 'ing' endings sound like 'an'. After I've worked up Mississippi Blues (William Brown) which I'm deep into at the moment, I'm gonna give this one another crack. Thanks for posting it, Alex. All for now. John C.
« Last Edit: April 19, 2005, 09:38:55 AM by Johnm »
Logged
"People who say it cannot be done should not interrupt those who are doing it." George Bernard Shaw
“Just because you're paranoid doesn't mean they aren't after you.” Joseph Heller, Catch-22
Does anyone else get the image of pacing in a cell from that last verse? Gives me chills. Why I kinda like 'wonderin' over 'runnin'.
Actually, I always heard that as "wanderin'".? Listening to the tune again, I'm pretty sure that that's what he's saying.
I love the way AP uses bass riffs - reminds me of Big Bill Broonzy in some respects.? His "That Won't Do" definitely makes me think of Big Bill's "Long Tall Mama".
« Last Edit: April 19, 2005, 09:39:45 AM by Johnm »
Wake up every mornin' When everything look blue (x2) (sounds like 'blow' second time)
This sounds right, but I'd change "look" to "looks"
I listened to "flowerin" at least ten times and tried to force it to "Fire in" or "fly away" (both of which make more sense), but I can't. It sounds like "flowerin' to me.
I get the same chill listening to he last verse. Such a hopeless feeling created by the words and the triplet accompanyment.
Just in order to summarize (for now!), I've "stolen" waxwing's lyrics, and with minor modification, made it the version-for-now.
GOOD BOY BLUES Arthur Pettis 1930
(1) Instrumental introduction
(2) When youse a good fellow, The Law will leave you 'lone (x2) When youse a bad fellow, the jail will be your home.
(3) Canned heat ain't no good, boy, keep you with a (flowery) mind (x2) Jail house doors open, then you got a ramblin' mind.
(4) You sad and you're?wonderin' (first time sounds like 'won'rin'), You lookin' through your mind (x2) You don't want no mo' canned heat, when the judge gives you your time.
(5) Wake up every mornin', when everything looks blue (x2) (sounds like 'blow' second time) But see the one you love, the blues will soon leave you.
(6) Walkin' all night long, walkin' from place to place (x2) I was wonderin' and walkin', to see my baby's face.
(7) Instrumental verse
In the last line, I'm not sure between wanderin' and wonderin'.
As many of you have said flowery doesn't make much sense.
Thanks, Alex
« Last Edit: April 19, 2005, 09:40:36 AM by Johnm »
Hi Alex, Looks good--as you said, that "flowery" is weird. I listened to it again a few times, and on the repeat of that line it sounds like he could be saying, "cloudy". The first time sounds more like "flowery" or "flower in mind", which really makes no more sense. It's a puzzler. All best, John
I think flowery (or fly away) is fine. It makes a kind of sense in that canned heat is particularly debilitating and addictive, and robs a man of his will power. If you wanted to stay out of jail, you needed to have your wits about you. I could sing that. Good work all. All for now, John C.
Logged
"People who say it cannot be done should not interrupt those who are doing it." George Bernard Shaw
“Just because you're paranoid doesn't mean they aren't after you.” Joseph Heller, Catch-22
For what it's worth I was listening to the song and thinking about the 'flowery' bit as I scrolled down the posts and had just reached the same conculsion as Waxwing when I came to his post.
I like this one, with the full sounding thunks of the monotonic bass and the little double time breaks. But as usual Arthur's diction has me stumped in spots.
Two Time Blues Arthur Pettis 1930
Key of A Capo II
(1) (instrumental line) A two-timin' woman, on one's mind. takes some poor girl's man
(2) When the blues is you, you don't know what would do Ahhh, You don't know what would do. Go back to the one you love now, the blues will soon leave you.
(3) You tryin' t' act right (blues?) will not let you Ahhh, blues will not let you. Heart full of sorrow now, (blues?) ridden you.
(4) Two timin' woman, keep you on that killin' floor. Ahhhh, keep you on that killin' floor. How can you love always
(5) When your love won't talk to you, don't be feelin' sad. Ahhh, don't be feelin' sad. get you a new girl or one you once have had.
(6) instrumental break
(7) Well, well, well, well. I ain't gonna stay hear long Ahhh, I can't stay here long. (instrumental line)
Coda
Arthur had such a romantic view.
Thanks, Alex
Note: edited to include comments below
[attachment deleted by admin]
« Last Edit: February 10, 2005, 03:07:05 PM by pyrochlore »
I got a few of the blanks you left.? I have a little advantage in that I grew up talking to people who talked like that.? Maybe I can get a few more
Two Time Blues Arthur Pettis 1930
(1) (instrumental line) A two timin' woman, on no one's mind. ? takes some poor girl's man
(2) When the blues is tellin' you, you don't know what would do Ahhh, You don't know what would do. Go back to the one you love now, the blues will soon leave you.
(3) You tryin' t' act right? ? (blues?) will not let you Ahhh, blues will not let you. Heart full of sorrow now,? those blues ridden you.
(4) Two timin' woman, keep you on that killin' floor. Ahhhh, keep you on that killin' floor. How can you love? always? ?
(5) When your love won't talk to you, don't be feelin' sad. Ahhh, don't be feelin' sad. Gotta get you a new girl or one you once have had.
(6) instrumental break
(7) Well, well, well, well. I ain't gonna stay here long Ahhh, I can't stay here long. (instrumental line)
Coda
« Last Edit: April 20, 2005, 02:28:11 PM by Johnm »
I've had some fun figuring this one out. As I hear it it is in the Key of A, capoed up two frets (B). The chords are:
A - A - A/A7 - A/A7
D - F - A - A
E - D - A - A
The last two bars of the first line are often played double time.
Pettis uses a monotonic bass throughout except for bass runs and some double (stumble) bass pickups (open E and open A strings). The monotonic bass in the double time sections takes some concentration, at least for me.
In the second line the D to F progression?(IV to bVI) chord progression is almost unique(?) to blues in A. (others I can think of which use this are Come Back Baby and Funny Papa Smith's Howlin' Wolf Blues). I originally thought that this was a diminished chord but I changed my mind. How does this progression work?
The ending coda, a bouncey bass run in A on the 5th and 4th strings is pretty neat.
Comments? Corrections (please)? Additions?
Alex
« Last Edit: April 20, 2005, 02:30:00 PM by Johnm »
Hi Alex, I think your analysis of the IV chord, D resolving to the flat VI chord, F, is right on the money.? The way it works is this, I think?If you telescope the IV chord into a IV7 chord, D7, you end up with the following notes: D-F#-A-C.? If you were then to change the IV7 chord to a IVminor7 chord, Dminor7, you would end up with the following notes:? D-F-A-C.? If you look at the top three notes of the IVminor7 chord, they end up spelling the flatVI chord, F, F-A-C.? So it is, that when you go from a D chord to an F chord in the key of A, the effect is very much like going IVmajor to IVminor.? You can really hear this sound if you voice a D7 with the second fret of the sixth string, F#, in the bass, and then resolve it down to the first fret of the sixth string, F, while continuing to hold the second fret of the third string and the first fret of the second string.?What do you wind up with?? An F chord.? You could accentuate this effect if you doubled the second fret of the sixth string at the fourth fret of the fourth string, and then resolved it down to the third fret of the fourth string when you take the second fret of the sixth string down to the first fret of the sixth string.? The positions would look like this (no first string played) ? D7:? 2-x-4-2-1-x to F:? 1-x-3-2-1-x.? It's a pretty groovy, piano-ish sort of resolution. All best, Johnm Edited to add:? I thought of another way of hearing the change.? D is the IV chord of? A, and F is the IV chord of C.? A minor is the relative minor of C major, and shares the same key signature.? So when you go to the D chord you are going to the normal IV chord in A major, but when you go to F, it is as though you are going to the key of A minor, because F is the IV of C, which A is the relative minor of.? To get a sense of how this would sound, try this scale over the D chord: A-B-C-D-E-F#-G-A, and this scale over the F chord:? A-B-C-D-E-F-G-A.? Note that the scale you're using over the D chord is not an A major scale--it has the "blue" (flatted) III and VII notes, C and G, where the major scale would have C# and G#.? This stuff is kind of abstruse, I guess, but it is fun, too. Johnm
« Last Edit: April 20, 2005, 02:33:13 PM by Johnm »
The bVI is not that uncommon in this context - viz Oscar Woods, every where!, and I've heard in the playing of Buddy Moss, Sylvester Weaver and a few others that I've been listening to lately. Perhaps we can dig a few more out. It seems to sound quite archaic to me.
Now that you mention it, I can think of two Key of G tunes that use the bVI chord (Eb). One is Rolled From Side to Side Blues by LH Jones and the other is Don't Sell It, Don't Give It Away by O. Woods (mentioned by you).
Alex
« Last Edit: February 24, 2005, 09:27:01 AM by pyrochlore »
You made a good point, Phil, (a couple of posts back) about the change from IV to flat VI not being all that uncommon.? I remembered that Mance Lipscomb used it in a tune of his in C, "So Different Blues", in which he goes from F to Aflat.? I reckon that it may be one of those things that, once noticed, starts turning up all over the place. All best, Johnm
« Last Edit: April 20, 2005, 02:34:59 PM by Johnm »
When I have trouble with lyrics, I take snipets from the music and slow them down while retaining the original pitch.? I've attached small files for the three primary problem areas (1st, 3rd and 4th stanzas, respectively).? After listening many times, here's what my ears hear [if I have several choices for a word, they're in parens separated by /s -- for example (one/two/three)]:
1) (instrumental line) A two-timin' woman,? Ahhh no ones (man/mind) Sure will love now now takes some poor girl's man
(2) When the blues is (tellin'/killin') you, you don't know what would do Ahhh, You don't know what would do. Go back to the one you love now, the blues will soon leave you.
(3) You tryin' t' act right your (mind/love) will not let you Ahhh, love will not let you. Heart full of sorrow now, blues are ridin' you.
(4) A two timin' woman, keep you on that killin' floor. Ahhhh, keep you on that killin' floor. How can you love?when she's always in that (road/room/row)
(5) When your love won't talk to you, don't be feelin' sad. Ahhh, don't be feelin' sad. Gonna get you a new girl or one you once have had.
(6) instrumental break
(7) Well, well, well, well. I ain't gonna can't stay hear long Ahhh, I can't stay here long. (instrumental line)
[attachment deleted by admin]
« Last Edit: April 20, 2005, 02:36:59 PM by Johnm »
Thanks for the good work Doug and Paul! I've incorporated the changes and broke the ties in the ammended version below (changes underlined.
Any more ideas? What do ya think?
Two Time Blues Arthur Pettis 1930
Key of A Capo II
(1) (instrumental line) A two-timin' woman, ahh, on no one's mind. Sure will love now, now takes some poor girl's man
(2) When the blues is? tellin' you, you don't know what would do Ahhh, You don't know what would do. Go back to the one you love now, the blues will soon leave you.
(3) You tryin' t' act right girl will not let you Ahhh, love will not let you. Heart full of sorrow now, blues are? ridin' you.
(4) A two timin' woman, keep you on that killin' floor. Ahhhh, keep you on that killin' floor. How can you love when she's? always in the road.
(5) When your love won't talk to you, don't be feelin' sad. Ahhh, don't be feelin' sad. Atta get you a new girl or one you once have had.
(6) instrumental break
(7) Well, well, well, well. I can't stay hear long Ahhh, I can't stay here long. (instrumental line)
Coda
The Atta in the fifth verse is (I think) his pronunciation of "oughta", short for "ought to"
There's a word after the first? "now" in the third line of the first verse I still can't get. I'm not sure the second "now" is right
« Last Edit: April 16, 2005, 12:02:04 PM by Pyrochlore »
(3) You tryin' t' act right girl will not let you Ahhh, love will not let you. Heart full of sorrow now, blues are?ridin' you.
I still not sure about "girl" in the first line.? I definitely hear two syllables between "right" and "will".? Replayed it a few more times, and have another interpretation that fits the pattern of the second line repeating the end of the first line.? Try this on for size:
(3) You tryin' t' act right woman will not let you Ahhh, woman will not let you. Heart full of sorrow now, blues are?ridin' you.
The Atta in the fifth verse is (I think) his pronunciation of "oughta", short for "ought to"
I can accept "Oughta", but personally I'd spell it that way, rather than "Atta" (which, to me, would sound like "at" rather than "bought", and I hear the latter sound.
There's a word after the first?"now" in the third line of the first verse I still can't get. I'm not sure the second "now" is right
I agree I'm not comfortable with both "now"s, but its the best interpretation I've been able to come up with so far.?Who knows, maybe next time I listen to it, I'll hear something else.
« Last Edit: April 20, 2005, 02:39:56 PM by Johnm »
Hi all, I realize it's a long time since this thread has been posted to, but I was listening to this one in the car today and I believe I've figured out the first verse. Pettis plays the first four bars instrumentally and enters on the IV chord, singing:
A two-timin' woman, don't want no one man She's always goin' down to take some poor girl's man
I reckon the first line means that it takes more than one man to satisfy her. He pronounces "to" in the tag line "tuh". All best, Johnm
« Last Edit: July 25, 2007, 11:41:58 AM by Johnm »
Wasn't around at the earlier part of this discussion! Here's how I hear it.
TWO TIME BLUES
Oh, a two timin' woman don't want no one man. She always runnin' around to take some poor girl's man.
When the blues is troublin' you, you don't know what would do. Ehh, you don't know what would do. Go back to the one you love now, and them blues will soon leave you.
You're tryin' to act right, blues will not let you. Ehh, blues will not let you. Heart full o' sorrow and the blues are all ridin' you.
Oh, a two timin' woman, keep you on that killin' floor. Ehh, keep you on that killin' floor. How can you love when she's always in the wrong?
When your lover won't talk to you, don't be feelin' sad. Ehh, don't be feelin' sad. Better get you a new girl or one you once have had.
Well, well, well, well, I can't stay here long. Ehh, I can't stay here long.
I just received Vol. 2 of the Complete Memphis Minnie and Kansas Joe from Document (with liner notes by some Alan Balfour guy).
What does this have to do with "Good Boy Blues"? Read on.
The second tune on the CD is "Good Girl Blues" Not only is the title evocative of "Good Boy Blues" but MM's accompaniment is very much the same as the Arthur Pettis version. Far too close to be coincidence.
"Good Girl Blues" was recorded June 5, 1930. I know Good Boy was recorded in 1930, but when? Is there any other info linking these two?
I'll post an .mp3 of "Good Girl Blues" later today.
Alex
« Last Edit: November 15, 2007, 12:11:14 PM by GhostRider »
c. 25 July 1930. (yup, just got my B&GR-4 a few days ago)
Interesting that both AP's session and MM's session were each their first in Chicago, both having previously recorded in Memphis. Likely they were familiar with each other's work well before these sessions so it would be pretty tough to speculate who got it from whom. It might seem that someone with as prolific an output as Minnie would have been more likely to have picked up a few along the way.-G-
Looking forward to hearing it, Alex.
All for now. John C.
Logged
"People who say it cannot be done should not interrupt those who are doing it." George Bernard Shaw
“Just because you're paranoid doesn't mean they aren't after you.” Joseph Heller, Catch-22
I been a good girl, go to church all my days (2X) But I'm gon' learn to gamble, so I can stay out late
Cryin' Dice oh dice, please don't fail on me (2X) If you don't seven eleven, don't you crap at (an?) three
Mmmmm,mmmmmm,mmmmmhhhmmmmm....
When your home get unhappy, just the best to pack up and lo(?) (2X) Ain't no use to try to live in confusement, you just like you was at two.
Oh Lord oh lo-, Lord what shall I do (2X) I done did everything, baby, to get along with you
Mmmmmm,mmmmmm,hhhmmmmmm....
A few tough spots, but "confusement" I love.
To me Arthur Petties' version seems more developed. The Minnie/Joe version fairly straight forward for two guitars, copping a few bits of AP's licks and staying in a slightly simpler harmonic range. The signature lick sounds familiar from a different source, but I can't place it. I guess it's a commonly played C lick. It's a good song. I like that whole lyric about, "When your home gets unhappy".
All for now. John C.
Logged
"People who say it cannot be done should not interrupt those who are doing it." George Bernard Shaw
“Just because you're paranoid doesn't mean they aren't after you.” Joseph Heller, Catch-22
I think that one line is "don't you crap and three" as in "don't throw craps or a three" and that other line sounds like "When your home get unhappy, tell the world to pack up and go" Chris
When youse a good fella The law will leave you alone (x2) When youse a bad fellow the jail will be your home
Canned heat ain't no good boy Keep you with the flare (pronounced flar) in mind (x2) (I think Flare may be a synonym for drunk,much as flamed is today, or anothername for sterno) Jail house dried up friend (or brown-ie? or brandy?) and you got a ramblin' mind
You set and you wonderin' You're lookin through your mind (x2) You don't want no more canned heat When the judge give you your time
Wake up every mornin' When everything looks blue (low, 2nd time) (x2) 'Cause see the one you love The blues will soon leave you
Walkin all night long Walkin from place to place (x2) I was runnin' (runderin'?) and walkin' To see my baby's face
« Last Edit: January 13, 2008, 10:14:26 AM by Mr.OMuck »
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My loathings are simple: stupidity, oppression, crime, cruelty, soft music. Vladimir Nabokov (1899 - 1977)
another even more faithful rendition of good boy is called "no good buddy" by either bill williams or big bill broonzy with bill williams. it's on documents too late, too late vol 10.
very interesting.
i thing for what it's worth that AP might have struck a hit with the song leading to it getting covered or he passed it on while he was in chicago....
Hi all, There are only two songs discussed in this merged Arthur Pettis lyrics thread, but I thought bringing him to folks attention might help generate more transcriptions. All best, Johnm
Hi all, Arthur Pettis accompanied himself out of C position in standard tuning for "That Won't Do". The song appears to show a very strong Bill Broonzy influence, or perhaps Big Bill was influenced by Pettis. In any event, the two players shared a lot of the same pet moves in C. Pettis sounds very much to have been a set piece player, and his musical results certainly justify his approach. His introductory solo is virtually identical to the solo he takes after second verse and chorus, and he sings his chorus exactly the same way every time. For his final solo, he goes up the neck and does some interesting stuff that is slightly reminiscent of Tom Dickson's sound on "Death Bell Blues".
SOLO
I was good to you, baby, you didn't understand That you were tippin' with another man REFRAIN: You know, that won't do, ah that won't do I'm here to tell you, you know, that won't do
I taken my money, put it in your hand You give my money to another man REFRAIN: You know, that won't do, ah that won't do I'm here to tell you, you know, that won't do
SOLO
You got a good man, better let him do You get another man, he will beat on you REFRAIN: You know, that won't do, ah that won't do I'm here to tell you, you know, that won't do
You women got a way I don't like Your husband out the front door, your kid man in the back REFRAIN: You know, that won't do, ah that won't do I'm here to tell you, you know, that won't do
SOLO
You got your money, boys, she lovin' to you She gets your money she is through with you REFRAIN: You know, that won't do, ah that won't do I'm here to tell you, you know, that won't do
All best, Johnm
« Last Edit: July 06, 2020, 06:55:04 AM by Johnm »
Hi all, I believe Arthur Pettis recorded "Revenue Man Blues" at his last session, backed by Jed Davenport on harmonica, and a pianist whose name I don't have access to right now. Pettis accompanies himself out of A in standard tuning, and is his normal very spiffy self, instrumentally, but the ensemble tuning on this take, and I believe this whole session, is really dire, in the "makes your hair hurt" category. It's weird, because Pettis starts out the song decently in tune, and in the course of the first solo pass ends up with his first string drastically sharp. This song was later picked up and covered by Charlie Patton (it's interesting how many of Patton's recordings were covers). I'm missing the front end of the tagline on the third verse, and am not at all sure of a portion of the tagline of the last verse, and would very much appreciate some help. The song can be found on the JSP set "When The Levee Breaks: Mississippi Blues".
Revenue man is raidin', boy, and you'd better watch out Revenue man is raidin', well, boys, you'd better watch out You don't stop when he tells you, you liable to get knocked down
Now when you're down in trouble, you're like the drowning [sic] man When you're down in trouble, you're like a drownding man Got no one to help you, give you a helpin' hand
When you was so happy, didn't think you would ever be blue When you was so happy, didn't think you would ever get blue I'll tell all that's singin' blues, "The blues is riding you."
Blues, what can I do with you? Blues, what can I do with you? I'm in hard luck and trouble, can't be no friend to you
Had the blues at midnight, come knockin' on your door I had blues at midnight, come knockin' on your door You cried "Blues, don't blow, don't you come here no more."
Edited 2/26 to pick up corrections from Johnm Edited 1/16 to pick up corrections from Johnm Edited 4/29/18 to pick up corrections from Johnm
All best, Johnm
« Last Edit: July 06, 2020, 06:55:49 AM by Johnm »
Hi all, One of Arthur Pettis' 1928 recordings was "Two Time Blues", on which he accompanied himself out of A position in standard tuning, capoed up a ways. He makes his vocal entrance in the first verse with the arrival of the IV chord. A pretty serious effort was made to transcribe this song in the past, but Pettis' way of swallowing his lyrics makes it very challenging. I thought to give it a shot again, and would very much appreciate help with any of the questionable or blank spots. Here is his rendition of "Two Time Blues":
A two-timing woman, don't want no one man She always run 'round, Lord, take some poor girl's man
When the blues is troublin' you, you don't know what 'twould do Ehh, you don't know what 'twould do Go back to the one you love, now and, the blues will soon leave you
You try and act right, girl will not let you Ehh, blues will not let you Heart full of sorrow now and, blues are ridin' you
A two-timing woman, keep you on that killin' floor Ehh, keep you on that killin' floor How can you love when she's, always in the road?
When your lover talk to you, don't be feelin' sad Ehh, don't be feelin' sad Gotta get you a new girl, a, one you once have had
SOLO
Well, well, well, well, I can't stay here long Ehh, I can't stay here long (Guitar finishes verse)
Edited 4/30 to pick up corrections from Gumbo
All best, Johnm
« Last Edit: April 30, 2018, 10:38:02 AM by Johnm »
Thanks very much for the help, Gumbo. I've incorporated all of your suggestions except for the last one, where it still sounds like "the road" to me. That's great hearing on your part, thanks! All best, Johnm
Hi all, Another track from Arthur Pettis into which a lot of effort was put here in getting a transcription is his "Good Boy Blues", also from 1928, for which he chose to accompany himself out of C position in standard tuning. Here is the song, and once I again, I would appreciate help with any parts which I'm missing or which I have wrong.
INTRO SOLO
When you's a good fellow, the law will leave you 'lone When you's a good fellow, the law will leave you 'lone When you's a bad fellow, the jail will be your home
Canned heat ain't no good, boy, keep you with that blurry mind Canned heat ain't no good, boy, keep you with a blurry mind Jailhouse doors open, then you got a ramblin' mind
You're sad and you worry, you lookin' through your mind You're sad and you wonderin', you lookin' through your mind You don't want no more canned heat, when the judge gives you your time
Wake up every mornin', when everything looks blue Wake up every mornin', when everything looks blue Go see the one you love, the blues will soon leave you
Walkin' all night long, walking from place to place Walkin' all night long, walking from place to place I was wanderin' and walkin', to see my baby's face
SOLO
All best, Johnm
« Last Edit: March 03, 2024, 07:45:24 AM by Johnm »