Topic: Walter Cole/Walter Coleman Lyrics

[meredithanthraxelrod]

This is a Walter Coleman record. I'd love to get all the words off this! I have some additional clarity, but I would love help figuring out the remainder of them. I changed them below and noted most of my changes.

Finally, here's the earliest version of Mama Let Me Lay It On You listed in B&GR, Walter Coleman's Feb 1936 recording.  Again, underlined portions are best guesses, so ideas are welcome.

Mama Let Me Lay It On You - Walter Coleman acc. own g and unknown 2nd g
(Mx 90611-C, recorded Feb 8 1936; issued on De 7157)
 
(Inst intro)

A mama let me lay it on you
A mama let me lay it on you
I'd give anything in this whole round world
Mama let me lay it on you

Then I'm goin' up stairs
T' turn your lamp down low
An' if your bed breaks down
See me pilin' on the floor

No it's a mama let me lay it on you (mmm-humm)
Mama let me lay it on you  (uhh-huhh)
Give everything in this whole round world
Mama let me lay it on you

I'm goin' to buy you a diamond ring
A baby see you shake that thing
I'd give everything in this whole round world
Mama let me lay it on you

Now it's a mama let me lay it on you
A mama let me lay it on you
I'd give EVERYTHING in this whole round world
Mama let me lay it on you

I'm goin' to buy ya (a) brand new bed
So ya can pin? it through your KIDMAN's head  <--- was "thin man's head"
I'd give everything in this whole round world
Mama let me lay it on you

Now it's a mama let me lay it on you
A mama let me lay it on you
I'd give everything in this whole round world
Mama let me lay it on you

Boy if you ever wake up
ICY COLD IN HAND  <---- was "I'se sick holding hands"
Feel for your midnight rider
Piling with another woman's man

Now j' baby let me lay it on you (mmm-humm)
Darlin' let me lay it on yo (mmm-humm)
Give anything in the whole round world
Mama let me lay it on you

___________ and / in a dollar
A-mama six months ain't long
Any woman can get a man now days
__[incipatin']??____ ain't been out[/u] long

Now it's a mama let me lay it on you
A mama let me lay it on you
I'd give anything in this whole round world
Mama let me lay it on you

It's mama pull off your dress
And put on your nightgown
I got a funny feelin' baby in my back
Mama won't you PILE IT down

Now it's a mama let me lay it on you
A mama let me lay it on you (mmm-humm)
Give anything in this whole round world
Mama let me lay it on you

(Instrumental to end)
...
...  (spoken) Ahh, play it till I get back to George Street
...
...  (spoken) Ahh, stomp that thing
...

[Johnm]

Hi Meredith,
I think the first line of the fourth verse from the end is:
   NINETY-SIX CENTS AIN'T a dollar
I'll keep listening to the rest.
All best,
Johnm

[Stuart]

Hi Meredith:

I did a little listening and searching and I found this which you might have seen already:

https://tinyurl.com/y9z3z638

I took the hint and listened to Georgia White's reworking of the song:

https://tinyurl.com/y8jtfk7v

While not Walter Coleman's original, I think that it might be helpful to give it a listen. Naturally, we want an accurate transcription of Coleman's version. However, after listening to Georgia White, where John has "NINETY-SIX CENTS AIN'T a dollar," I believe Coleman is singing "NOW SIX BITS AIN'T a dollar."

Also: "So ya can pin it TO your KIDMAN's head"

Like John, I'll keep listening.

[Johnm]

Yup, you have that line right, Stuart. 
All best,
Johnm

[Johnm]

Hi all,
It seemed like a good idea to try and get the remaining titles by this Cincinnati musician who recorded under so many different names. He recorded "Mama Keep Your Yes Ma'am Clean" at a session in Richmond, Indiana on September 4, 1930, and was backed on the title and the remainder of the session by James Robinson on violin (James Cole?), Ralph Miller on piano in E and surprisingly, Bayless Rose on guitar, playing out of F position in standard tuning. I was not aware that Bayless Rose had done any recording other than his solo titles. The song seems pretty clearly to be derived from Luke Jordan's "Won't You Be Kind", recorded about nine months earlier. The first four bars of each verse bear a melodic similarity to Leroy Carr's "Papa's On The Housetop", too.  If any more proof was needed that Sweet Papa Tadpole and Walter Cole were the same person, Sweet Papa Tadpole recorded the very same title with Tampa Red and the unknown pianist very close to the same time, and the voices of the singers on the two tracks are identical. I"m transcribing this track first because it is easier to hear. Here is "Mama Keep Your Yes Ma'am Clean":



INTRO SOLO

Now, your mama found a jacket, it was laying in the grass, now, it's 'long come a bumblebee stung her yes, ma'am, yes
REFRAIN: Now, won't you be kind to me? I'll be kind to thee, all this time with me, drinkin' wine with me
To be kind to me, it's mama, keep your yes ma'am clean

Oh now I heared a mighty rumblin', under the ground, it must be the devil turnin' Tony's mammy 'round
REFRAIN: A-won't you be kind to me? I'll be kind to thee, all this time with me, drinkin' wine with me
To be kind to me, it's mama, keep your yes ma'am clean

Oh now it's mama, mama, mama, won't you look at sis? Out in the back yard, mama, a-doin' Chicago Twist
REFRAIN: Oh now, won't you be kind to me? I'll be kind to thee, all this time with me, drinkin' wine with me
To be kind to me, it's mama, keep your yes ma'am clean

Oh now the preacher's in the pulpit jumpin' up and down, say your mammy's in the basement hollerin' "Pass the liquor 'round."
REFRAIN: Now, won't you be kind to me? I'll be kind to thee, all this time with me, drinkin' wine with me
To be kind to me, it's mama, keep your yes ma'am clean

Now, your mammy's in the back yard, picking up chips, now it's along come a Jersey cow a-shakin' up her hips
REFRAIN: Now, won't you be kind to me? I'll be kind to thee, all this time with me, drinkin' wine with me
To be kind to me, it's mama, keep your yes ma'am clean

Oh now the farmer and the hobo was playin' in the grass, now the farmer stuck the pitchfork, hobo's yas-yas-yas
REFRAIN: Now, won't you be kind to me? I'll be kind to thee, all this time with me, drinkin' wine with me
To be kind to me, it's mama, keep your yes ma'am clean

Edited 1/11 to pick up corrections from dj and Johnm
Edited 1/15 to pick up corrections from Johnm

All best,
Johnm

 


 

[dj]

A couple of minor suggestions:

1.1 Now, your mama found a jacket, that was laying in the grass

2.1 it must be the devil turnin' Tony's mammy 'round

[Johnm]

Thanks for the suggestions, dj. I don't believe that "that" is correct in 1.1, but rather a very quick "it" before "was laying in the grass", there's no "th" on the front end of it. "Mammy" in 2.2 is sure enough spot on. I've made the corrections, thanks!

[Johnm]

Hi all,
The one other song from the "Mama Keep Your Yes Ma'am Clean" session was "Everybody Got Somebody". The song is played in C, and it sounds like Bayless Rose may have sat this one out--at any rate, if there is guitar on the track it is inaudible. Of course this is a Pop song, all the way, and it would be interesting to know how much of this type of material Walter Cole did in performances, perhaps quite a lot, since he sounds pretty at home with it. This song could work well in a Jug Band treatment or as a raggy solo guitar piece. Here is "Everybody Got Somebody":



INTRO

Everybody, is got somebody, ain't got nobody, too
That's why I love my little girly, because she goes to school
And she likes going to a ball, I swear, sweet mother, that's all she know
Everybody, is got somebody, ain't got nobody, too

I love my baby, I love my baby, I'll tell you the reason why
My little baby, I love my little baby, because she won't lie
It's not because she's big and fat, I ain't gonna beg her to take me back
Everybody, is got somebody, ain't got nobody, too

VIOLIN SOLO

Oh now, the girls don't like me, the girls don't like me, because I'm young and wild
The girls don't like me, the girls don't like me, because I'm young and wild
The girls don't like me 'cause I'm young and wild, I can't help it, girls, I'm mother's baby child
Everybody, is got somebody, ain't got nobody, too

I looked out my window, looked out my window, the sun refused to shine
I looked out my window, looked out my window, the sun refused to shine
I looked out my window, sun refused to shine, I looked at my baby and she changed her mind
Everybody, is got somebody, ain't got nobody, too

All best,
Johnm
 

[Johnm]

Hi all,
Walter Coleman recorded "Greyhound Blues" at a session in Chicago on February 8, 1936, for which he was joined by an unknown seconding guitarist. Coleman's released recordings from this session included "I'm Going To Cincinnati", "Mama Let Me Lay It On You" and "Smack That Thing", and he was now calling himself Walter Coleman rather than Walter Cole. The song is played out of C position in standard tuning by both guitarists and the lead guitar part is so different from any of Cole/Coleman's playing on his earlier recordings that it makes one wonder if it might have been the unknown guitarist playing the lead part. I"m missing a fair amount of the lyrics here and would very much appreciate any help. Here is "Greyhound Blues":



INTRO SOLO

Now, my baby woke up this morning, the same thing on her mind, she grabbed an armful of Greyhound, and she went a-flyin'
REFRAIN: Won't you tell me, driver? And it's tell me, driver
And it's tell me, driver, how long that Greyhound bus been gone?

Yes, she go where that Greyhound, is coming 'round the bend, it takes the Good Lord tell my baby be back again
REFRAIN: Won't you tell me, driver? Won't you tell me, driver?
And it's tell me, driver, how long that Greyhound bus been gone?

Now, I feel for cockin' machine guns, in my baby's face, I'll let some lonesome graveyard, be her resting place
REFRAIN: Won't you tell me, driver? And it's tell me, driver?
And it's tell me, driver, how long that Greyhound bus been gone?

SOLO (Spoken: Last year she come back!)

Just throw your arms around me, mama, like circle 'round the sun, and say to your little daddy which way you want your lovin' done
REFRAIN: Won't you tell me, driver? And it's tell me, driver?
And it's tell me, driver, how long that Greyhound bus been gone?

I'm motherless, fatherless, friend, in the old world, too, them cards and pack-of-dice underworld women ain't no friend to you
REFRAIN: Won't you tell me, driver? And it's tell me, driver?
And it's tell me, driver, how long that Greyhound bus been gone?

Now, the driver tooted his whistle, Roosevelt blowed his horn, said, "The good beer and whiskey come in, stole my gal and gone
REFRAIN: Won't you tell me, driver? And it's tell me, driver?
And it's tell me, driver, how long that Greyhound bus been gone?

SOLO

Edited 1/12 to pick up corrections from Old Man Ned and Johnm
Edited 1/12 to pick up many corrections from banjochris

All best,
Johnm

 

[Old Man Ned]

Hi John,

Not sure if this is much help but in the last verse where you have [with the men] I'm sure I'm hearing 'whiskey' in there somewhere. In the second verse for 'Yes, she's gon' ride that Greyhound,..' I'm hearing 'Yes, she's gon' where that Greyhound,..'

All the best,
Ned

[Johnm]

Thanks very much for the help, Ned. "Where" in the first line of the second verse is spot on, and I've made that correction and cleaned up the end of that line, I think. I originally heard "whiskey" where you're hearing it, too, but am now thinking it might be "when she". That's really tough for me to hear. We'll get some more help, though. Thanks!
All best,
Johnm

[banjochris]

Still working on the bit before dice in 5.1 but these I'm pretty confident of:

1.1 I think is woke UP instead of me – I feel like I can hear the stop of the "p" plus it makes more sense in the context of leaving to wake up rather than wake the singer up.

REFRAIN - I think all the places where you have "Can you tell me" it should be "AND IT'S tell me"

2.1 ... it takes THE GOOD LORD TELL my baby be back again

3.1 I think it might be COCKIN' but poppin' isn't out of the question there

5.1 I'm motherless, fatherless, friend IN THE WORLD too, them CARDS and ? DICE underworld women...

6.1 Now, the driver tooted his whistle, ROOSEVELT blowed his horn, said, "THE GOOD BEER AND WHISKEY COME IN, stole my gal and gone."

In 5.1 I think he meant to put a "NO" in there and ran out of room.

Chris

[Johnm]

Wow, Chris, that is a major clean-up job! I re-listened and they all checked out. I have made the changes, thanks!

[banjochris]

Thanks John – I like "pack of dice" I think you've got that one too.

[Johnm]

I would have thought that this one would be easier than it turned out to be for me, given that he took several of these verses almost intact from other songs that he recorded that we've already transcribed, but . . . the sound on this track seemed really messy to me, despite the musical aspects being really present. I sure like this process with different people helping as they're able.

[banjochris]

I agree with you on all that, and he's not the best enunciator either, which doesn't help a bit!

[Johnm]

Hi all,
Walter Coleman's "Smack That Thing" is a chorus blues of the "Tight Like That" model, for which the lead guitarist chose to play out of E position in standard tuning, with the second guitarist providing bass lines working out of E position in standard tuning. More and more, I'm thinking that it's likely that Coleman was playing the lead guitar parts on these duo tracks, mostly because the bass lines on the songs are so syncopated that I think they would be more difficult to sing to while playing than the lead guitar parts. I'd very much appreciate help with the bent bracketed passages and anything else I have wrong. Here is "Smack That Thing":



INTRO SOLO

Now I wake up in the mornin', girl's feelin' sad, "You know I want somethin' I ain't never had."
REFRAIN: You wanta smack that thing, you wanta smack that thing,
You wanta smack that thing, mama, I ain't got a thing to give 'way.

I went to my gal's house, other day, and I didn't go to stay, I got to smackin' that thing and I stayed all day
REFRAIN: You want smack that thing, you wanta smack that thing,
You wanta smack that thing, mama, I ain't got a thing to give 'way.

Now it's a-roll down your window shade and close up your blind, let's keep the next-door neighbors from hearin' you whine
REFRAIN: You wanta smack that thing, you wanta smack that thing,
You wanta smack that thing, mama, I ain't got a thing to give 'way.

SOLO

I got a brass bed, mama, shine like the mornin' star, I went to rock you in it, go and bounce you like a Cadillac car
REFRAIN: You want smack that thing, you wanta smack that thing,
You wanta smack that thing, mama, I ain't got a thing to give 'way.

A-run here, sweet mama, I'm gonna get you told, you ain't the onliest woman in the world strut your jellyroll
REFRAIN: You want smack that thing, you wanta smack that thing,
You wanta smack that thing, mama, I ain't got a thing to give 'way.

The first time I met you, standin' in my back door, I told you a sign of that trick wasn't walkin' no more
REFRAIN: You want smack that thing, you wanta smack that thing,
You wanta smack that thing, mama, I ain't got a thing to give 'way.

Now, the girls don't like me 'cause I'm young and wild, I can't help it, girls, I'm my mama's baby child
REFRAIN: You want smack that thing, you wanta smack that thing,
You wanta smack that thing, mama, I ain't got a thing to give 'way.

Now you Green Cabin girls, you needn't flirt, you've got flyspecks on your underskirt
REFRAIN: You want smack that thing, you wanta smack that thing,
You wanta smack that thing, mama, I ain't got a thing to give 'way.

SOLO

Edited 1/13 to pick up corrections from dj
Edited 1/13 to pick up corrections from banjochris
Edited 1/14 to pick up correction from Harry

All best,
Johnm

     

[dj]

4.1:  I went to rock you in it, gon' bounce you like a Cadillac car

8.1:  "green cabin girls" is correct.  The Green Cabins were a section of jukes and houses of prostitution in Cincinnati (see Steven Tracey, Going to Cincinnati, p. 69).   

[Johnm]

Thanks very much for the help, dj, I think that gets me over the hump. He enunciated "Green Cabin" perfectly clearly but I didn't know the meaning in this context. Thanks for the clearing that up, and I will make the changes.
All best,
Johnm

[banjochris]

One suggestion, John –

5.1 A-RUN HERE, sweet mama, I'm gonna get you told, you ain't the onliest woman in the world STRUT YOUR jellyroll

Some nice guitar playing on this one!

Chris

[Johnm]

Thanks, Chris, those put the icing on the cake. Yes, I like all of these duets from this session, and I think the seconding guitarist is great--those syncopated bass runs really give the time a jolt!

[Blues Vintage]

1.1 "You know I want somethin' that I ain't never had."

6.1 I told you a sign that of that trick wasn't walkin' no more

[Johnm]

Thank for the suggestions. He doesn't sing "that" in the first line where you suggested it. I'll make the other correction, thanks.

[Johnm]

Hi all,
Walter Coleman's version of "Mama, Let Me Lay It On You" opened this thread, but the transcription of the lyrics was never completed, so I thought I'd give it a shot now. It was recorded at the same session as "I'm Going To Cincinnati", "Smack That Thing" and Greyhound Blues", and like all of them is a duet with Walter Coleman playing along with an unknown guitarist, and both guitarist playing in G position in standard tuning. I'd very much appreciate help with the bent bracketed place in the lyrics. I don't recall hearing another blues singer use the word "piling" the way Walter Coleman uses it in this song's lyrics. Here is "Mama, Let Me Lay It On You":



INTRO SOLO

A-mama, let me lay it on you, a-mama, let me lay it on you
I did everything in this whole round world, mama, let me lay it on you

When I'm goin' upstairs, to turn your lamp down low
And if your bed breaks down, see me pilin' on the floor

Now it's mama, let me lay it on you, ooo-hoo, mama, let me lay it on you, uh-huh
Did everything in this whole round world, mama, let me lay it on you

I'm gonna buy you a diamond ring, a-baby, 'til you shake that thing
I did everything in this whole round world, mama, let me lay it on you

Now, it's mama, let me lay it on you, a-mama, let me lay it on you
I did everything in this whole round world, mama, let me lay it on you

I'm gonna buy you a brand new bed, so you can send it to your kidman's head
I did everything in this whole round world, mama, let me lay it on you

Now it's, a-mama, let me lay it on you, a-mama, let me lay it on you
I did everything in this whole round world, mama, let me lay it on you

It's boys, you ever wake up, icy cold in hand?
Feel for your midnight rider, pilin' with another woman's man

Now it's, a-baby, let me lay it on you, ooo-hoo, mama, let me lay it on you, ooo-hoo
I did everything in this whole round world, mama, let me lay it on you

Now it's six bit's ain't a dollar, a-mama, six months ain't long
Any woman can get a man nowadays, since the prison ain't been out long

Now it's, a-mama, let me lay it on you, a-mama, let me lay it on you
I did everything in this whole round world, mama, let me lay it on you

It's mama, pull off your dress, and put on your nightgown
I got a funny feelin', baby, in my back, mama, won't you pile it down?

Now it's a-mama, let me lay it on you, a-mama, let me lay it on you, ooo-hoo
Did everything in this whole round world, mama, let me lay it on you

SOLO (Spoken: Aw, play it like you're back in George Street! Come on, stomp that thing!)

Edited 1/21 to pick up correction from banjochris

All best,
Johnm





 

[banjochris]

That's a bit of a rough one, John. I think it might be "since the prison ain't been out long."

I'm still on the fence if it's "did" or "give" in the chorus line; I keep hearing it differently.
Chris

[Johnm]

"prison ain't been out long" sounds right to me, Chris, thanks! I will make the change. I do think it is "did" in the refrains--it especially sounds like "did" on the back end of the word.
All best,
Johnm

[Johnm]

Hi all,
The last Walter Coleman song to have been released (though not on a 78) is "Carry Your Good Stuff Home", recorded at a session in Chicago on June 3, 1936. For the song, Walter Coleman is accompanied by a pianist playing in D, possibly Jesse James, according to D,G & R, and his own guitar, played in C position standard tuning, as well as an expert unnamed jug player. I do think the pianist sounds like he could very well be Jesse James--the last solo, in particular, is a killer. The song was first issued on a Paul Oliver-curated disc, "The Story of the Blues", and it is another "Tight Like That" cover. Here is "Carry Your Good Stuff Home":



INTRO SOLO

Now you come to my house, mama, want to go to bed and stay all night, say ask some 'bout that good stuff, you wanta fuss and fight
REFRAIN: It's carry your good stuff home, it's carry your good stuff home
It's carry your good stuff home, mama, you don't want me to have it all night long

I ain't gon' put no gun on you, mama, and no razor, too, you don't want me have any of that good stuff, carry it back home, too
REFRAIN: It's carry your good stuff home, it's carry your good stuff home
It's carry your good stuff home, mama, you don't want me to have it all night long

Now, I'm goin' away, little mama, cryin' it won't be long, I'm sorry, mama, I can't get at your good stuff along
REFRAIN: It's carry your good stuff home, it's carry your good stuff home
It's carry your good stuff back home, mama, you don't want me to have it all night long

PIANO SOLO

Now, it's I've got a brownskin, boys, she's seven foot tall, the movement of her hips would make the President squall
REFRAIN: It's carry your good stuff home, it's carry your good stuff home
It's carry your good stuff back home, mama, you don't want me to have it all night long

Now you can shoot your dice, mama, you can shake, rattle and roll, she got something, good boys, make you leave your wife and your home
REFRAIN: It's carry your good stuff home, it's carry your good stuff home
It's carry your good stuff back home, mama, you don't want me to have it all night long

PIANO SOLO

Edited 1/26 to pick up corrections from banjochris and Johnm

All best,
Johnm
 

[banjochris]

Couple very minor suggestions, John:

2.1 ...have THAT good stuff...

3.1 ...can't get at GOOD stuff along

5.1 ...rattle and roll, SHE GOT something good... (I don't here "but" there either)

Chris

[Johnm]

Thanks very much for the help, Chris. When I re-listened, I realized in 2.1 he actually squeezes in:

      2.1 . . . have ANY OF that good stuff

and in 3. 1

     3.1 . . . can't get at YOUR good stuff along

I entered your corrections plus the additions I heard re-listening. Thanks!