Topic: Barbecue Bob Lyrics

[banjochris]

Hi guys,
I decided to sit "Cold Wave Blues" out, but for what it's worth, I hear nothing but "cold wave" in the first half of each line of the last verse.  I don't hear "go 'way" at all.

I think that's possible, John. I fancied I hear a slight difference in what I'm thinking is a G vs. what I'm hearing as a C, but I'm nowhere near 100% on those lines.
Chris

[kentuckybluesboy]

My first time posting here so I hope this is in the right thread.
Lyric suggestion for Bad Time Blues. Rather than 'fallin', I would suggest 'followin' is what Hicks is singing.

[Johnm]

Hi kentuckybluesboy,
Welcome to Weenie Campbell.  If Barbecue Bob intended the meaning "followin'", he nonetheless pronounced it as a two-syllable word every time he sang it in the song, with the second syllable missing, which makes it phonetically identical to "fallin'".  "Foll'in'" may make more sense than "fallin'", but in terms of sound they're the same.  I will make the change.
All best,
Johnm 

[kentuckybluesboy]

Thanks for the welcome John. I just found the site today. It's interesting how different interpretations can be put on lyrics depending on how one hears dialects. Put it down to Atlanta "twang".

[Johnm]

Hi all,
Barbecue Bob chose to accompany himself out of Spanish tuning for "Mama You Don't Suit Me", utilizing an accompaniment and phrasing model he employed on many of his songs, at least in the front end of his rendition.  After the long spoken interjection, he goes to a completely different place, musically.  Here is his performance of "Mama You Don't Suit Me":



I done got me a high yella, done quit this brown, b'lieve to my soul I've got to leave this town
REFRAIN: That gal don't suit me, she don't suit me,
Like my other mama did

I went home last night, I knocked at my door, I heard a strange voice say, "You don't live here no more."
REFRAIN: Woman, you don't suit me, you don't suit me
Like my other mama did

I kept knocking at her door, thought she was just having fun, I heard another voice say, "Put it to your big boy and run."
REFRAIN: Hon', you don't suit me, you don't suit me
Like my other mama did

Oh, this gal of mine, she drives well at night, she won't stop for bully boys, won't wait for the red light
REFRAIN: Mama, you don't suit me, you don't suit me
Like my other mama did

Went home last night, I started to my bed, just wait 'til the next verse, I'll tell you what she said
REFRAIN: You don't suit me, you don't suit me
Like my other mama did

Said, "Go 'way from my bed, stop knockin' at this door.  Got another daddy, I can't use you no more."
REFRAIN: ou don't suit me, you don't suit me
Like my other mama did

SPOKEN: Yes, when I quit this high yella and got this brown, sometime I have to cry, sometimes to moan.  Then again, to sing this lonesome song and try to call her back.

Ma----ma, ma---ma,
Come to your daddy, come to your daddy, your dad ain't mad at you

SPOKEN: She didn't come, so guitar, you call her:  (Guitar calls her)
Come to your daddy, come to your daddy, your dad ain't mad at you

Edited 6/14 to pick up corrections from banjochris

All best,
Johnm 

[banjochris]

A few suggestions, John:

4.1 Oh, this gal of mine she DRIVES WELL AT NIGHT, SHE WON'T STOP FOR BULLY BOYS, WON'T WAIT FOR THE RED LIGHT

and I think that last spoken aside is

...your dad AIN'T mad at you (both times)

and

...so GUITAR you call her

Chris

[Johnm]

Hi all,
Barbecue Bob once again used his favorite tuning, Spanish, to accompany himself on "Blind Pig Blues", recorded in 1928.  The title refers to a slang term for a speakeasy.  Indeed, the use of slang throughout is pretty winning and conjures up a bygone era.  I'd very much appreciate help with the bent bracketed end of the sixth verse.  Here is "Blind Pig Blues":



INTRO

Let me in please, Charlie, no-one here but me
Oh let me in please, Charlie, no-one here but me
I'm speakin' easy, give me pint of stingeree

Pour me out some White Mule, pour me out some Sandy Rye
Pour me out some White Mule, pour me out some Sandy Rye
I don't want no bug juice, that old stuff is too darned high

Oh liquor, liquor, liquor, give me liquor until I die
Oh liquor, liquor, liquor, give me liquor until I die
And I'm always happy, when I've got my liquor nigh

I'm kindly worried, got something on my mind
I'm kindly worried, got something on my mind
That's why I drink my whiskey, make my sorrow wag behind

Blind pig, blind pig, sure glad you can't see
Blind pig, blind pig, sure glad you can't see
If you could, it would be too tight for me

I'm slippin', slippin', slippin', tryin' to dodge United States law
I'm slippin', slippin', slippin', tryin' to dodge United States law
I'm loaded down with bootlegs, like to make them hear me call

SOLO

HUMMED VERSE

Edited 6/15 to pick up corrections from banjochris, Johnm,

All best,
Johnm

[Johnm]

Thanks very much for the help, Chris.  I re-listened, and all of your suggestions were right on, as I would expect.  I have made the changes.  Can you get the end of the line in verse six of "Blind Pig Blues"?  It has me stymied.  Thanks for all your help.

[banjochris]

Can you get the end of the line in verse six of "Blind Pig Blues"?  It has me stymied.  Thanks for all your help.

Me too! I hear something like "like to make them hear me call" but I'm pretty sure that's not right. If you have the old Roots N' Blues Retrospective compilation there's a copy of "Blind Pig" on there with much better sound than is on that video, by the way, but it's still eluding me. If I think of something I'll post it!
Chris

[Johnm]

I think you got that line right, Chris.  I've listened a bunch of times with a really good speaker.  The only other difference I found is that he says "bootlegs", in the plural, which I've never heard before when using that word as a noun.  I'm satisfied that it is right now, whatever he meant.  Thanks!
All best,
Johnm

[Johnm]

Hi all,
For "I'm On My Way Down Home", Barbecue Bob accompanied himself out of Vestapol tuning with a slide and was accompanied by Curley Weaver, working out of G position in standard tuning and Buddy Moss on harmonica.  The song is a cover of "Sitting On Top of the World", and much of its distinctive sound can be attributed to Curley Weaver, who really took an active role in coloring the ensemble sound, adding a nice touch by going to a VI7 chord (E7 for him) in the sixth bar of the form.  Curley also switches to double time for his accompaniment of the solos, really giving them a lively feel.  Barbecue Bob sounds as though he played only on the solos and the response to the last line of each chorus and let Curley and Buddy back him for his singing.  I'd very much appreciate help with the tail end of the first line of the fourth verse.  Here is the trio's "I'm On My Way Down Home":



INTRO SOLO

Maybe a week, a month or two, when you left me, mama, I'm leavin' you
REFRAIN: And now I'm gone, don't you worry, I'm on my way down home

Don't come here lyin', with your fancy tales, you wanna catch me, mama, be on my trail
REFRAIN: Now I'm gone, don't you worry, I'm on my way down home

SOLO

You ain't got no meal, you ain't got no lard, when you cook your bread, mama, it's 'most too hard
REFRAIN: Now I'm gone, don't you worry, I'm on my way down home

Honey, y'always wanna, give you your room, you was down in Florida, cuttin' on the boom
REFRAIN: And now I'm gone, don't you worry, I'm on my way down home

SOLO

The happy days I spent in life, when I was with you, baby, night after night
REFRAIN: And now I'm gone, don't you worry, I'm on my way down home

So bye-bye, baby, it's fare you well, see you again, baby, cain't no-one tell
REFRAIN: And now I'm gone, don't you worry, I'm on my way down home

SOLO

All best,
Johnm

 

[Johnm]

Hi all,
Barbecue Bob recorded "Atlanta Moan" in 1930, accompanying himself in Vestapol tuning with a slide.  His guitar part is really active and dynamic.  He's short in his first vocal phrase, allowing only one bar for instrumental response rather than the more commonly played two bars.  Here is "Atlanta Moan":



Oh, nobody knows Atlanta like I do
Oh, nobody knows Atlanta like I do
But the reason I know it, I travelled it through and through

If you've got a good woman, this a lesson I give to you
Oh, if you've got a good woman, lesson I give to you
Don't you take her to Atlanta, the mens'll take her 'way from you

Oh, they taken my woman, hurt me to the bone
Lord, they taken my woman, hurt me to the bone
That's the reason why you hear me cry and moan

HUMMED VERSE

I taken one woman, believe me, I am true
Lord, I taken one woman, believe me, I am true
Just for what you do, coming home to you

Oh, don't you hear that steamboat whistle blow?
Oh, don't you hear that steamboat whistle blow?
And it blowed just like it never blowed before

That's all right, baby, 'bout how you run around
Oh, that's all right, baby, how you run around
But your heart'll strike sorrow, when Bob gets back to town

SOLO

HUMMED VERSE

If you taken my woman, I won't get mad with you
Oh, if you take my woman, I won't get mad with you
Like you take her from me, somebody sure take her from you

All best,
Johnm

[Johnm]

Hi all,
Barbecue Bob accompanied himself out of Spanish tuning for "New Mojo Blues".  Here it is:



Mojo, mojo, blues always on my mind
Mojo, mojo, blues always on my mind
You run my Grandmama crazy, you run my Grandpa blind

Got me a brand new mojo, the best one in this town
I've got a brand new mojo, the best one in this town
But my mojo refuse me, my brown done turned me down

I begged and I pleaded, all the long, long day
I begged and I pleaded, all the long, long day
She said, "Take that old mojo, and be on your way."

SOLO

I was borned in Georgia, raised up in Tennessee
I was borned in Georgia, raised in Tennessee
I don't let no woman, make no fatmouth out of me

Hard luck, hard luck, all the live-long day
Hard luck, hard luck, all the live-long day
I'm gon' get me a new mojo, and drive hard luck away

Mmm-mmm, why am I treated so?
Mmm-hmmm, why am I treated so?
I can't get no action, out of this old mojo

I'm goin' down to the river, and jump overboard
I'm goin' down to the river, and jump overboard
I don't mind the drownin', honey, but the water's so cold

All best,
Johnm

[banjochris]

Hi all,
For "I'm On My Way Down Home", Barbecue Bob accompanied himself out of Vestapol tuning with a slide and was accompanied by Curley Weaver, working out of G position in standard tuning and Buddy Moss on harmonica.  ...  I'd very much appreciate help with the tail end of the first line of the fourth verse.   

Pretty sure "boom" is right, John. I've heard "getting on a boom" a few times in old songs and I know it has to do with locomotives and "boomers" but I'm not sure what the context is exactly here. BTW I was listening with headphones at work and Bob is playing throughout the tune, even while he sings, but his guitar is really off-mike until the breaks.
Chris

[Johnm]

Thanks for the corroboration on "boom", Chris.  The sound was certainly right, but I didn't recognize the sense in that context.  Good to know that Bob was playing throughout the track, too.