Topic: Scrapper Blackwell Lyrics

[resoplayer]

Hello,
I am quiet a new (french) member ,playing mostly on vintage "nationals".
Actually I am working on the Blackwell's stuff "trouble blues" &" D blues lyrics" (which are quiet the same material), and I need the lyrics...
If someone can help me...
Thanks,

[Johnm]

Hi Pascal,
Welcome to Weenie Campbell!  Here are lyrics for "Trouble Blues, Part 1" and "Trouble Blues, Part 2".  Places in the lyrics that I am not sure of are enclosed in bent brackets

.

   "Trouble Blues, Part 1"
   When trouble started, it stopped at my front door
   I've had more troubles than ever in my life before
   CHORUS:  I wonder why trouble keeps on worryin' me
   I'd just soon have my body, baby, buried in the sea

   I had trouble this mornin', mailman didn't leave no mail
   I can't see my baby, she's all locked up in jail
   CHORUS

   SOLO  Play it Mr. Daddy.  Lord, I'm so blue!

   When trouble starts, it lasted so long
   Look like everything happen, and everything goes wrong
   CHORUS

   Tell me, baby, what trouble have done to me
   Come and got my regular, then took my used-to-be
   CHORUS

   SOLO

   "Trouble Blues, Part 2"



   I can get money, but trouble won't let it stay
   Trouble gets on me and my money gets away
   CHORUS

   Trouble in the morning, noon and night
   Seem like I'm treated every way but right
   CHORUS

   SOLO:  Play it Mr. Scrapper, that's too tight!  Why, you ought to quit it!

   When trouble gets on me it never ends
   I get out of one thing, and back into something else again
   CHORUS

   Nobody knows the trouble I do see
   Nobody knows but the good Lord and me
   CHORUS:

   SOLO

All best,
Johnm

[resoplayer]

Thanks a lot Johnm,
If I can do something for you next time...(Edith Piaf or  any Maurice Chevalier, tino Rossi lyrics???
XXXX
Pascal

[Johnm]

Hi all,
I've been thinking about how relatively under-represented the work of Scrapper Blackwell is on the site, and thought to transcribe the lyrics to some of his songs and talk a bit about his music.  "Penal Farm Blues" was chosen to open the program of the old Yazoo album, "The Virtuoso Guitar of Scrapper Blackwell".  Scrapper played it out of E position in standard tuning, a playing position that in his years of recording with Leroy Carr he rarely used.  Despite that, he shows a mastery of the position, as well as an approach that I can't recall hearing earlier players use and a corresponding different sound.  Scrapper plays so richly behind his singing and had enough verses to sing that he chose not to play a solo.  He pronounces "penal" with a short "e" sound, to rhyme with fennel.  It should be noted, too, what a great singer he was--I can appreciate how difficult it must have been to be noticed as a singer when you hung out with Leroy, but Scrapper had a great vocal instrument and was a soulful singer, too.



Early one morning, on my way to the penal farm
Early one morning, on my way to the pental (sic) farm
Baby, all locked up, and ain't done nothin' wrong

Loaded in the dog wagon, and down the road we go
Loaded in the dog wagon, and down the road we go
Ah, baby, oh, baby, you don't know

Into the office and then to the bathhouse we go
Into the office and then to the bathhouse we go
Then with a light shower, baby, we change our clothes

All last night, baby, it seemed so long
All last night, oh baby, it seemed so long
All locked up, I ain't done nothin' wrong

I'll tell you people, the penal farm is a lonesome place
I'll tell you people, penal farm's a lonesome place
And no one's there, to smile up in your face

Oh, baby, baby, it won't be so long now
Oh, baby, baby, it won't be so long now
Before your daddy, he'll be coming home

Oh, baby, baby, won't you come after me?
Oh, baby, baby, won't you come after me?
My time is up and penal farm has set me free

All best,
Johnm

[dj]

Wow, that's a nice set of lyrics, John.  Recorded at the same June 1928 Vocalion session in Indianapolis as Leroy Carr's first recordings, it suggests that both Leroy and Scrapper were accomplished songwriters at the time of their first session. 

[Johnm]

Hi all,
Scrapper Blackwell accompanied himself out of A position in standard tuning for his version of "Blue Day Blues".  A and D were his favored playing positions, and "Blue Day Blues" is real instrumental tour de force, in which Scrapper allots roughly equal space to solos and vocals.  Listening to this rendition, it's not hard to see how much Robert Johnson was influenced by Scrapper's playing in A, though not enough, perhaps; Scrapper's playing out of A had so many more "ingredients" than did Robert's, and was much more varied and dynamic.  Scrapper was perhaps unique among Country Blues players in how hard he played while still playing with a perfectly clean and focused tone.  He might snap strings intentionally, but he was never buzzy or sloppy sounding.  His technique of striking sharply articulated brush strokes in the bass with his thumb has never been equalled, either.  What a player!  The vocal on "Blue Day Blues" is terrific, too.



INTRO

One day I sit thinkin', when the rain poured down outside
One day I sit thinkin', when the rain poured down outside
And the more I thought, the more I begin to cry

SOLO

Today has been a long old lonesome day
Today has been a long old lonesome day
And it looks like tomorrow's gonna be the same old way

SOLO

My day seems lonesome, and my nights, they are so long
My days seem lonesome, and my nights, they are so long
I'll be mighty glad when them old blue days are gone

OUTRO

All best,
Johnm

[Johnm]

Hi all,
Scrapper Blackwell backed himself out of A position in standard tuning for his recording of "Hard Time Blues".  He concentrates more on his lyrics than his soloing here, but as always, performs his accompaniment role so richly that the song in no way feels under-characterized instrumentally.  Scrapper had a really nifty tag that he played in the eleventh bar of a number of his blues in A position.  In the next to last measure, he would rock between an A chord:  0-0-2-2-2-X and an F/A chord:  X-0-3-2-1-X, before rocking back to A in the twelfth bar of the form.  This movement, which takes only an instant to happen, has an aural impact completely out of proportion with the economy of means required to play it. That movement to the flat VI chord happens in the very same way, but in the key of D, in Papa Charlie Jackson's solo for "Shake That Thing", where he rocks between D and B flat.
I don't mean to give Scrapper's vocals short shrift, either.  Here he has both strong lyrics and a really fine vocal.  Seek this one out if you're looking for a serious sort of blues to add to your repertoire.



INTRO

I'm goin' down to the river, just to see the water run
I'm goin' down to the river, just to see the water run
And to think about my troubles, and where all my money has gone

Times has got so hard that I can not find no job
Times has got so hard that I can not find no job
And every mornin', the rent man grabbin's on my doorknob

I'm gettin' so raggedy, I ain't got no decent clothes
I'm gettin' so raggedy, I ain't got no decent clothes
And I ain't got nobody, ain't got nowhere to go

Now I'm worried, and no tellin' what I'm going to do
Now I'm worried, and no tellin' what I'm going to do
My friends don't know me and I, can't get a dime or two

Soon as hard times struck me, my baby puts me off
Soon as hard times struck me, my baby puts me off
Now I guess you know, what these hard times is all about

All best,
Johnm

[Johnm]

Hi all,
Scrapper Blackwell recorded "Kokomo Blues" accompanying himself out of D position in standard tuning.  This was a very influential recording.  Probably the most striking aspect of Scrapper's sound on this song is the chord voicing he came up with to accompany the first two bars of the form, under his singing.  It was a D minor 7, but voiced with a flat V note in the bass like so:  4-0-0-5-6-5.  If you work up in that voicing, string by string, from the low E up to the high E, the strings voice as following in the chord: b5-5-Root-b7-b3-5.  The particular genius to this voicing was Scrapper's choice to voice the b5 and the 5 on adjacent strings, despite the fact that they are only a half-step apart from each other.  As Scrapper raked with his thumb across that fourth fret of the low E string against the open A string, he achieved a palpable "buzz" with that chord position, all the while raking the top three strings in the opposite direction.  It's one of those sounds that seems inevitable after the fact, but coming up with it in the first place is an altogether different proposition.  The melodic fills Scrapper plays in his response licks to his vocal are spectacular, too, and his vocal is mighty fine.
It's hard to say why Kokomo, Indiana should loom so large in blues lyrics, showing up in songs by Freddie Spruell and Fred McDowell in addition to Scrapper's number.  I suspect it is just because of the sound of the city's name, and the rhythm in the saying of it, rather than any particular quality of the city itself.



INTRO

Mmmm, baby, don't you want to go?
Mmmm, baby, don't you want to go?
Pack your little suitcase, papa's going to Kokomo

Mmmm, baby, where you been so long?
Mmmm, baby, where you been so long?
I can tell, mama, there's somethin' going on wrong

Mmmm, baby, you don't know, you don't know
Mmmm, baby, you don't know, you don't know
Papa's all ready, going back to Kokomo

And me and my baby had a falling out last night
And me and my baby had a falling out last night
Somehow and other, my babe won't treat me right

Mmmm, baby, what's the matter now?
Mmmm, baby, what's the matter now?
Trying to quit your daddy, baby, but you don't know how

And I'll sing this verse, baby, I can't sing no more
I'll sing this verse, baby, I can't sing no more
My train is ready and I'm going to Kokomo

OUTRO

All best,
Johnm

[Johnm]

Hi all,
Scrapper Blackwell accompanied himself out of A position in standard tuning for "Down South Blues", and it is very close, musically, to his "Blue Day Blues".  Like Papa Charlie Jackson, Scrapper liked to go to a Idim7 chord in the sixth bar of his blues played out of the A position.  Scrapper, in his solo work, at least, is proving to be a member of the "swung eighth note" camp.  Every one of the songs that have been transcribed thus far has an under-lying triple feel; no straight eighth notes from Scrapper!  His vocal here is soulful, as always.



INTRO

I'm just sittin' here, thinkin' of dear old sunny Tennessee
I'm just sittin' here thinkin', of dear old sunny Tennessee
And wondering if my baby is waiting there for me

SOLO

I'm going where the Monon crosses the L & N
I'm going where the Monon crosses the L & N
And catch me a freight train, and go back home again

SOLO

I'm going back South, where it's warm the whole year 'round
I'm going back South, where it's warm the whole year 'round
I'll be so glad when my train pulls up in town

OUTRO

All best,
Johnm

[Johnm]

Hi all,
Scrapper Blackwell accompanied himself out of D position in standard tuning for "Back Door Blues".  The song is a particular beauty, for which Scrapper employed an extended circle-of-fifths progression, and was first discussed on this site by Waxwing in the "Rag Blues and Circle of Fifths" thread, at http://weeniecampbell.com/yabbse/index.php?topic=712.0 .  The progression of the song works out like so:

   |    D    |    D    |    D   |    D    |

   |   G7    |   G7  | D  F#7  |    B7   |

   |    E7   |    A7  |    D       |   D     |

I am not at all sure of the bent bracketed phrase in the tagline to the final verse, and would appreciate corroboration/correction.



I left my baby, standin' in the back door, crying
I left my baby, standin' in the back door, crying
Begging and pleading, "Don't you leave this time."

Aw, the sun's gonna shine in my back door someday
Aw, the sun's gonna shine in my back door someday
I wish I had somebody to drive my blues away

Blues and trouble both running hand in hand
Blues and trouble both running hand in hand
And if you ain't never had the blues, you just can't understand

SOLO

You can always tell when your woman's got another man
You can always tell when your woman's got another man
She will take your bad treatment, and do the best she can

OUTRO

Edited to pick up correction from Front Page

All best,
Johnm

[Bill Roggensack]

John:
I believe the phrase is:
She will take your bad treatment and do the best she can..

Sent from my iPad using Tapatalk HD

[Johnm]

Thanks for the help, Bill.  I received the same fix off-line from another friend, and have made the fix.  Merry Christmas!
All best,
Johnm

[Johnm]

Hi all,
Scrapper Blackwell accompanied himself out of D position in standard tuning for his recording of "Rambling Blues".  If you've never heard his rendition before, you may be in for a surprise when you see the opening line of the first verse.  I first heard this on Chris Strachwitz's late lamented Blues Classics label, on "Country Blues Classics, Volume 2".  Scrapper's playing on this one is spectacular, even by his very elevated standards.  His intro employs descending diminished seventh chords in a way that is reminiscent of the playing of Lonnie Johnson and Blind Blake.  Much time is accorded to soloing here, and Scrapper's playing justifies that choice.  His first solo is notable for playing a bunch of major seventh notes in runs in the bass and for going to the F#7-B7-E7-A7-D progression that he used for "Back Door Blues".  He plays a fill at the end of the first line of the last verse where he worries that half-step in the bass between the fourth fret of the sixth string and the open fifth string in a particularly exciting way.  I'm not sure I have the tagline to the first verse correct, though he enunciated it clearly enough.  I think his meaning is "just to pass away the time".

 

INTRO

I woke up this mornin', with rambling on my mind
I woke up this mornin', with rambling on my mind
And I lit out to walkin', just to pass the ways in time

SOLO

I rambles all night long, and I'm rambling again today
I rambled all night long, and I'm rambling again today
All I need is someone to drive my blues away

SOLO

Come here, baby, and let me be your man
Come here, baby, and let me be your man
I may not suit you, but I'll do the best I can

All best,
Johnm

[Johnm]

Hi all,
Scrapper Blackwell recorded "Down And Out Blues" at a session in Chicago on August 15, 1928.  He backed himself out of D position in standard tuning for the song, utilizing an accompaniment he would end up playing for most of his songs in D over the years.  He doesn't accord much solo space to the guitar, concentrating instead on the lyrics.   



Nobody knows me when I'm down and out
Nobody knows me when I'm down and out
If I ask them for a favor, they don't know what it's all about

When I was down and in trouble, everybody forsakin' me
When I was down and in trouble, everybody forsakin' me
Nobody knows the troubles that I do see

When you down and out, you ain't got a friend in town
When you down and out, you ain't got a friend in town
And when I get money they begin to come around

Just as sure, baby, as one and one is two
Just as sure, baby, as one and one is two
Someday I'll have money and be up to date like you

The sun's gonna shine in my back door someday
The sun is gonna shine in my back door someday
I'm down and out now, but I won't be down always

OUTRO

Edited 3/29 to pick up correction from blueshome

All best,
Johnm

[blueshome]

Or "up to date"

[dj]

Yes, I think it's "up to date", as in wearing stylish clothes.

[Johnm]

Thanks very much for the tip, Phil, you're certainly right, "up to date" it is.
All best,
Johnm

[Johnm]

Hi all,
Scrapper Blackwell recorded "My Old Pal Blues" with the backing of Dot Rice on piano.  Scrapper accompanied his tribute to Leroy Carr out of D position in standard tuning, capoed up a ways.



I woke up this mornin', couldn't hardly get out of my bed
I woke up this mornin', couldn't hardly get out of my bed
When I got the news that Leroy Carr was dead

I runned to the window, and I throwed up the blind
I runned to the window, and I throwed up the blind
I stood there wonderin', and just couldn't keep from cryin'

The day of his funeral, I hated to see Leroy's face
The day of his funeral, I hated to see Leroy's face
Because I know there's no one could ever take his place

Then off to the funeral, then to the buryin' ground
Then off to the funeral, then to the buryin' ground
My heart was breakin', as they lowered him down

He's done singin', he's done playin', you'll never hear his voice no more
He's done singin', he's done playin', you'll never hear his voice no more
He was a real good pal, and I'll miss him everywhere I go

All best,
Johnm

[Johnm]

Hi all,
Scrapper Blackwell recorded "Alley Sally Blues", accompanying himself out of a position in standard tuning at Bb, and backed by pianist Dot Rice.  The sound the two musicians get is very similar to the duo sound Scrapper had with Leroy Carr.  Scrapper was so strong and consistent in his playing, and a really fine singer.  I think the fact that he worked with Leroy Carr made it easier for people not to give his singing enough attention.



Hey, hey, Sally, how do you feel this morn?
Hey, hey, Sally, how do you feel this morn?
I just come by to get me a little drink of corn

Sally, you's the best old friend I've ever seen
Sally, you's the best old friend I've ever seen
I like your corn liquor, but it treats me so mean

I'm goin' take a stroll up the alley, just to meet my friend
I am goin' take a stroll up the alley, just to meet my friend
I'll be full of Sally's corn liquor, partner, runnin' drunk again

I went down to Sally's, just to hear 'em sung the blues
I went down to Sally's, just to hear 'em sung the blues
I got so full of hard liquor, I didn't know what to do

I'm leavin' now, Sally, your cryin' won't make me stay
I'm leavin' now, Sally, your cryin' won't make me stay
I'll be back to play the blues for you someday

All best,
Johnm

[MTJ3]

Much ink has been and much more will likely be spilt over "Kokomo Blues" and its progeny and relatives.  A recorded antecedent and potential source for Blackwell's version is Madlyn Davis's "Kokola [sic] Blues," recorded in for Paramount in Chicago in November 1927 (a scant seven months before Blackwell's 16 June 1928 recording in Indianapolis).  Blackwell's song bears no melodic or structural similarity to Davis's, which is of an entirely different song family, except for Blackwell's adaption of Blackwell's refrain (without the lights) to his first verse.  Blackwell pronounces the name of the town "ko-kee-mo;" Davis's pronunciation is standard.

I believe I'll go and let you have your way.
You keep me worried both night and day.
And it's hey, hey, baby, don't you want to go
Back to that 'leven light city,
Back to sweet Kokomo?

I'm a stranger here just blowed in your town.
If I ask you for a favor please don't turn me down.
And it's hey, hey, papa, don't you want to go
Back to that 'leven light city,
Back to sweet Kokomo?

Now it ain't but the one thing worries my mind,
I've got to leave town and leave my baby behind.
And it's hey, hey, papa, don't you want to go
Back to that 'leven light city,
To sweet old Kokomo?

[Clarinet solo]

Now you treated me mean, you done it [if/in I/my am/I] [idn't 'at] wrong.
You say you leaving town, papa, and I'm glad you gone.
And it's hey, hey, baby, hey, don't you want to go
Back to that 'leven light city,
Back to sweet Kokomo?

I have been unable to locate any historical records concerning Davis.  I don't know where she was from or worked, and I have no idea how popular or influential her recording was (possibly not very, as she cut only four sides in two sessions before the "Kokola Blues" session, at which she recorded two sides, and was in the studio only once more after the "Kokola Blues" session recording four cuts with Tampa Red and Georgia Tom).  Interestingly no composer credit is given for "Kokola Blues;" Davis has composer credit on all of her other sides save the other one recorded at her "Kokola Blues" session and two of the four recorded with Tampa Red and Georgia Tom.  If that has any probative value supporting the proposition that she didn't pen the song, then that would seem to increase the likelihood that the formula in Davis's refrain and Blackwell's may have derived from a common source (rather than Blackwell being inspired by Davis or simply "tickled" by the lyric). 

The question as to why blues singers would sing about Kokomo and why it is referred to by Davis as an eleven light city stumped the Howard County Historical Society.  I have my suspicions, which include johnm's speculation.
 

[Johnm]

Hi all,
Scrapper Blackwell accompanied himself out of D position in standard tuning for his recording of "Mr. Scrapper's Blues."  The accompaniment is very close to a number of his solo blues played out of D position in the early part of his career.  Here is his performance (it may not be viewable for non-U.S. residents):



INTRO

I got up this mornin' with the blues rollin' across my mind
I got up this mornin' with the blues rollin' across my mind
They seem to keep me bothered, baby, and worried all the time

Once I loved a woman, but she didn't mean me no good
Once I loved a woman, but she didn't mean me no good
She gave me so much trouble that I had to move from her neighborhood

Oh baby, I ain't got nobody now
Oh baby, I ain't got nobody now
When I think about it, I don't need nobody nohow

Tell me, baby, what you want me to do
Tell me, baby, what you want me to do
I'm tryin' to make some money to send back home to you

Today has been a, a long old lonesome day
Today has been a, a long old lonesome day
I have left my baby but I sure can't stay away

Edited 3/15 to pick up correction from Waxwing

All best,
Johnm 

[Johnm]

Hi all,
Scrapper Blackwell played "Sneaking Blues" out of D position, too, though his intro took him farther afield harmonically; It's really hard to tell where he's going to end up until right at the very end of it.  Scrapper returns to the diminished seventh chords he starts the song with for his outro.  Here is his performance of "Sneaking Blues":



Blues is funny, up on you they will creep
Blues is funny, up on you they will creep
They will come on Monday, stay with you all the week

Did you ever get to thinkin', when there was no one around?
Did you ever get to thinkin', when they was no one around?
And it looked like everybody had really throwed you down

Sometime blues makes me happy, and again they make me cry
Sometime blues makes me happy, and again they make me cry
What makes me get that way, I can't tell the reason why

I do believe I was born with blues in my right hand
I do believe I was born with blues in my right hand
Why I stay blue so long, I just can't understand

If I've had the blues once, I've had 'em a thousand times
If I've had the blues once, I've had 'em the thousand times
And I can always feel them, liftin' on my mind

OUTRO

Edited 3/15 to pick up corrections from Waxwing

All best,
Johnm

[waxwing]

I think in Mr. Scrapper's Blues he is conceding in 2.3 that it is "HER neighborhood", Johnm. Otherwise spot on. Seems you inadvertently used the same link to Mr.Scrapper's Blues in the second post.

Always like hearing Scrapper, early or late.

Wax 

[waxwing]

Oops, and a typo ("THEM" not "the") in 5.3 of Sneaking Blues, after listening to my own copy. Also not sure I hear the "n't" on the end of "wasn't" in 2.1 and 2.2 Sounds more like he just elides the "was" into the "no" with a little emphasis on the "no". Listening at full speed, anyway. Having tried it several times, it seems impossible to elide from the "S" sound into the "N" sound without a little stop that may sound like the contraction, but I don't think it's his intent.

[Edited to elucidate the description of the sound a little more]

Wax

[Johnm]

Thanks for the catches, John C., I re-listened and agree with all of them and made the changes and fixed the link on "Sneaky Blues".  Thanks!
All best,
Johnm

[ScottN]

Be Da Da Dum



I'm gonna stop that kitten from playing in my hallway
They been waking me up every morning about the break of day
About that be de de de dum
Be da dull e de de da de dum
Be de dull e be da da da
Be de da de da de de de dum

Now that tom was on the woodshed sitting on the ground
Tom made a pass and the folks went a round and round
About that be de da de dum
Be da de da de da de dum
Be de dull e de da
Be de da de da de da de dum

Now the tom said to the kitten what you gonna do
Come here to me kitten I'm gonna murder you
Bout that be de da de dum
Be da dull a de da de dum
Now de de de
Be de de da de de de dum

Now these cats get crazy and act a fool
Now tell me people what am I going to do
Bout that be de de da de dum
Be de dull e de de da de dum
Be de dull e de de da dull a dum
Be de de de de de da dum

Now my baby put me out said I don't want you no more
And I wonder why my baby had to tell me so
Be da dat de de da de dum
Be de de da de da de dum
Be de de de de da dull a dum
Be de de da de de de dum

I can member way back when ma and pa
Let me tell you they [boxed] they [squalled]
Bout that be de da de dum
Be de de de da de de dull e dum
Be de de de de da dull um
Be de da de da da de dull dum

Now you take these young folks that goes to high school
They sometimes really do act the fool
About that be de da de dum
Be de dull e da de de de dum
De de de de be  de de de
Be da de da de de de dum

Now I wonder baby what more can I do
In this wide world to get along with you
Be da dat de de da de dum
Be da de de de da de dum
Be da da da de de dull e de
Be de de de de de de dum


Thanks,
            Scott

[ScottN]

From the Document Scrapper Blackwell 1959-60. There is a different version on Mr Scrapper's Blues with essentially the same lyrics and many incredible solos as well!

Little Boy Blues



Intro solo

Solo

Solo

...Boy Blue come blow your horn
Sheep's in the meadow and the cow's in the corn
Where's the little boy that takes care the sheep
Well he's under the haystack fast asleep
Well Little Boy Blue come blow your horn
Sheep's in the meadow and the cow's in the corn

Old Lady Hubbard went to the cupboard to get the poor dog a bone
When she got there well the cupboard was bare she had to leave that dog alone
Well Little Boy Blue come blow your horn
Sheep's in the meadow and the cow's in the corn

Well Mary had a little bitty lamb the fleece was white as snow
Everywhere that Mary went well the lamb was sure to go
Well Little Boy Blue come blow your horn
Sheep's in the meadow and the cow's in the corn

Solo

Solo

Solo

Solo


Thanks,
            Scott

[Johnm]

Hi Scott,
Thanks for the new Scrapper transcriptions.  I think in "Be Da Da Dum" line 7.2 is:
   They SOMETMES REALLY DO, act the fool
That one looks great apart from that.  Thanks!  Transcribing scat singing is kind of tiresome, isn't it!?
Does anyone know who the pianist on that track is?
All best,
Johnm

[ScottN]

Thanks John, I made the change. Also have to agree that scat singing is not my favorite to try and transcribe ;-)

Thanks again,
                    Scott

[Johnm]

Hi all,
Here is the video for the version of "Little Boy Blues" that Scott posted.



Those lyrics look good, Scott, thanks.  It occurs to me that, instrumentally, at least, this is the same piece as an instrumental Shirley Griffith played as "Shirley's Jump", I believe.

All best,
Johnm

[Johnm]

Hi all,
Scrapper Blackwell accompanied himself out of D position in standard tuning for his "Springtime Blues".  Even by his very high standards, this is spectacular guitar playing.  He hits an E7 in the ninth bar of his form that gives things a nice color, and accords almost equal space to guitar solos and verses.  He plays really hard from the right hand, as was his wont, but is still immaculately clean and has a non-buzzy tone, never bottoming out.  How did he do that?  The song is a chorus blues.  Here is his performance, and unfortunately, the record it was copied from is kind of whupped:



INTRO

Come here, baby, sit down on my knee
I want to tell you how you jivin' me
REFRAIN: 'Cause I'm quitting you, babe, I'm quitting you now
I'm getting tired of your jive, you don't mean me no good nohow

SOLO

When you get your money, you have your fun
You ain't got no money when I'll send some
REFRAIN: Because I'm quitting you, baby, I'm quitting you now
I'm getting tired of your jive, you don't mean me no good nohow

SOLO

I'm getting tired of you parkin' on my white shoes
And doin' nothin' but runnin' up and down the good streets
REFRAIN: Because I'm quitting you, babe, I'm quitting you now
I'm getting tired of your jive, you don't mean me no good nohow

SOLO

It's springtime now and summer's gonna come
I've stood your jive all winter, now I've got you, love's all gone
REFRAIN: And I'm quitting you, babe, I'm quitting you now
I'm getting tired of your jive, you don't mean me no good nohow

All best,
Johnm

[Kadens]

I am working on Scrapper Blackwell?s ?Backstep blues? (1960).
I have problems hearing some of the lyrics, so please fill in.

Where I don?t have a clue, I put ?---?, otherwise, interrogation marks.

I only found the song on a compilation of songs on youtube. It is the third song (at 6:48) if the link doesn?t take you there directly:



Revised version follows:

Backyard backstep, look what you done done
Backyard backstep, look what you done done
Lord, and brought and broke my leg, and the police come

Should I fill you up, baby, when you first began?
Should I fill you up babe, lord when you first began?
But I?m afraid to pay you no mind, lord, I believe you?ll be back again

Lord, lost to me, baby, I just don?t know what to do
Lord, lost to me, babe, I just don?t know what to do
Lord, I'm alright with me - I bet I'm alright with you

Solo twice

Lord, when I get to walking ? I?m gonna break you up like wood
Lord, when I get to walking ? I?m gonna break you up like wood
I?ll have me a little fire, babe - that might do you some good

Solo once

All you girls, you want to see me here
All you girls, you wanna see me here
Come around to the front door - and I go anywhere

-
Modified 2nd of Sept 2016 with corrections from JohnM (see below)

[Johnm]

Hi Kadens,
Here is what I'm hearing on "Backyard Backstep":

   1.3 He mis-speaks at the front end of the line, sounds like he's saying, "Lord, AND BROUGHT AND broke my leg, and the POLICE come

   2.1 Should I fill you up, BABY, when you first begin?
   2.2 Should I fill you up, babe, Lord, when you first begin?
   2.3 BUT I"M AFRAID TO PAY YOU NO MIND, Lord, I believe YOU'LL be back again

   3.1 Lord, LOST TO ME, BABY, I just don't know what to do
   3.2 Lord, LOST TO ME, BABY, I just don't know what to do

   4.3 I'LL have me a little fire, babe, that might do you some good

These lyrics are pretty cryptic.  It's hard to know what the hell he's singing about.

All best,
Johnm

[Kadens]

Thanks a lot JohnM!

I have lost count of all the times I have tried to figure out especially line 1.3 - a relief to have it down.

The song is indeed cryptic and enigmatic .

[Johnm]

Hi all,
Scrapper Blackwell recorded "Bad Liquor Blues" at a session in Chicago on July 7, 1935, for which he was backed by Dot Rice, playing piano in F. Scrapper accompanied himself out of D position in standard tuning, capoed up and his playing is really stellar, one of his finest performances in D position. Here is "Bad Liquor Blues":



INTRO

Listen here, people, listen to what I have to say
Listen here, people, listen to what I have to say
If you drink bad whiskey, it will do you this-a-way

Make you lose your money, make you lose your best friend
Make you lose your money, make you lose your best friend
And when you get sober, swear you'll never get drunk again

Lay down in the evenin', wake up in the mornin', feelin' bad
Lay down in the evenin', wake up in the mornin', feelin' bad
It's just some bad liquor, partner, that you've had

Get up in the mornin', your head goin' 'round and 'round
Get up in the mornin', your head goin' 'round and 'round
Buy more bad liquor, stand and drink it down

Better stop that drinkin', before it goes to your head
Better stop that drinkin', before it goes to your head
Wake up some mornin', find your own self dead

CODA

Edited 7/24 to pick up correction from Blues Vintage

All best,
Johnm

[Blues Vintage]

New piano player to me.

4.3 suggestion;

Buy more bad liquor

[Blues Vintage]

Even if he misspeaks in that 1.3 of "Back Step Blues" it sounds to me like;

Lord, and burned and then broke my leg, and the police come

[Johnm]

Thanks for the fix on "Bad Liquor Blues", Blues Vintage, I have made that change. On "Backstep Blues", I agree with "burned" rather than "bought" and will make that change, but don't hear "and then" at all. What he says has a closed "m" sound. I'll change it to "burned and" in Weeniepedia.