Topic: Miller's Breakdown

[blueshome]

Not got a guitar handy but,
Minnie G standard; Joe G standard
Buddy - E standard. No guitar so no chance on the other questions.

[Gumbo]

On Georgia Skin I think the rhythm guitar is playing in G position capo'd at 2 while the lead lines are played from A position both standard tuning.

The opening riff of the Buddy MOSS track does sound easily on the E string in standard but after that I'm lost.

EDITED to save some semblance of credibility coz it sure ain't Buddy Guy

[banjochris]

I do believe --
Minnie: Spanish
Joe: A standard

Buddy: E standard, tuned low
on the first and third strings, third fret
and I don't have a guitar handy so I'm not figuring out that A run!

Chris

[frankie]

I do believe --
Minnie: Spanish
Joe: A standard

Buddy: E standard, tuned low
on the first and third strings, third fret
and I don't have a guitar handy so I'm not figuring out that A run!

I'm with Chris - and I'll add that at 1:49, he starts with a walk up from the open fifth string:

0-2-3-4

arpeggiates the fourth string second fret, third string open and second string open (an A9 arpeggio, one could say)

While the second string is still ringing, he walks up on the fourth string:

0-1

Then strikes the open second string again, followed by the third string second fret, and a hammer from the open third string to the first fret, then strikes the first string open, anticipating the beat, and then a pinch on the open first and sixth strings.

Slick, slick, slick...

I have to say that I've used that A9 arpeggio a million times, but it NEVER would have occurred to me to put it together with the bass run up the major third of the V7 chord (the 0-1 on the fourth string under the open second string) - brilliant.

[Johnm]

Hi all,
It looks like all the responses are in on the Memphis Minnie/Buddy Moss puzzlers, so I'll post the answers.  For Memphis Minnie and Kansas Joe's version of "Georgia Skin Blues":
   * Minnie was playing out of Spanish tuning, either tuned a full step above Joe or capoed two frets above him, and Joe was playing out of A position in standard tuning, as Chris and Frank heard it.  Joe has a characteristic A standard sound, coming up into the second fret of his sixth string for his IV chord, D, as so many players did when working out of A position.  His V7 chord, too, has an E7 sound, not the droney sound that a V7 chord in Spanish tuning has.  I've found myself wondering in recent years if Minnie played with a flat-pick on a number of her duets with Kansas Joe.  Everything you can hear her doing her is single-string runs in the treble or brush strokes of chords in the treble.  I don't hear her maintaining any kind of time-keeping in the bass at all--not that she needed to, for Joe had the bass handled completely.  I reckon we'll never know, but I'm curious nonetheless.
  *For Buddy Moss's rendition of "Blue Shadow Falling", he was working out of E position in standard tuning, though tuned pretty darn low.  I think everyone who responded on this one had that right.  From :19--:22, Buddy bends the first and third strings at the third fret, as Chris identified it.  It's really something to have such a simple effect sound so good.  The passage from 1:49--1:52 is described so accurately in Frank's response, in the post immediately prior to this one, that rather than re-describe it here, I'll just refer you to his description of the run.  That whole passage is such an ear-catcher; Buddy is converging on the I note (E) at the second fret of the fourth string from below and above simultaneously, walking up chromatically from the B note at the second fret of the fifth string through B and C#, then up through D and D# on the fourth string until he arrives at E.  From above, he hits the open second string at the top of the A9 arpeggio, hits the A note on the third string as he passes back through B7, hammers from G to G# on the third string as he moves to resolve back to E, and finally lands the second fret E on the fourth string.  It's like a lesson in the architecture of the blues--whew!  Buddy had such a crisp touch, and his vocal instrument at this period of his life was kind of amazing.  Had he been so inclined, he could have been a great Pop Jazz singer like Billy Eckstine or Johnny Hartman or Lou Rawls.

Thanks to all who participated, and I'll try to find another puzzler soon.

All best,
Johnm

[Johnm]

Hi all,
I like to transcribe the lyrics of the puzzler songs, and I'm stumped on a little phrase in the tagline of the last verse of Buddy Moss's "Blue Shadow Falling".  I'd very much appreciate some fresh ears to listen to it and any help anyone could give.  Thanks!
All best,
Johnm

[eric]

That's a tough one.  How about:

Let me tell you how it [feeled yesterday], how it feeled to be alone.

[banjochris]

Hi all,
I like to transcribe the lyrics of the puzzler songs, and I'm stumped on a little phrase in the tagline of the last verse of Buddy Moss's "Blue Shadow Falling".  I'd very much appreciate some fresh ears to listen to it and any help anyone could give.  Thanks!

That really is a puzzler! Maybe "how I feel blue today"?

[Prof Scratchy]

I hear: Let me tell you how it feels when you do it, How it feels to be alone

[Gumbo]

Something like:

Let me tell you how I feel if you're t' feel, ah, how it feels to be alone

except " t'feel, ah " sounds more like " t'feeder " 

[Johnm]

Hi all,
Thanks for all of the suggestions.  I just re-listened to the passage, and I think I have it:

   Well, let me tell you how I FEEL THE BLUES TODAY, how it feels to be alone

See if that is what it sounds like for you all.

All best,
Johnm

[Johnm]

Hi all,
I have a new puzzler for any folks who might be interested.  The first song is Arthur Weston's "Stack O' Dollar".  Weston was a St. Louis musician who recorded one album for Testament which may still be available on CD.  Boy, was he good!  Here is Arthur Weston's performance of the song:



Stack of dollar, stack of dollar, long as I am tall, Lordy Lord
Stack of dollar, stack of dollar, long as I am tall

Be my woman, be my woman, you can have them all, Lordy Lord
Be my woman, be my woman, you can have them all

Stack of dollar, stack of dollar, take me where I'm goin', Lordy Lord
Take stacks of dollar, stacks of dollars, take me far, I'm goin'

Here's a woman, here's a woman, can I get a job wit' you, Lordy Lord
Ain't got no money, got no money, got no money, found no way to do

Take stacks of dollars, take stacks of dollars, take me where I'm goin', Lordy Lord
Take stacks of dollars, take stacks of dollars, take me where I'm goin'

I have two questions with regard to "Stack O' Dollar":
   * What position/tuning did Arthur Weston use to play "Stack O' Dollar"?
   * What possible position is eliminated as a possibility by what you can hear Weston doing from :08--:12 on the track?

The second song is Rev. Robert Wilkins' performance of "Holy Ghost Train".  Here it is:



SOLO

REFRAIN: If this ain't the Holy Ghost, I don't know, and it just (guitar)
If this ain't the Holy Ghost, I don't know, and it just suits me
If this ain't the Holy Ghost, I don't know, never felt such a love before
And it just suits me

SOLO

Old John saw the train a-comin', and it just (guitar)
Old John saw the train a-comin', and it just suits me
Old John saw the train a-comin', got on board and never stopped runnin'
And it just suits (guitar)

REFRAIN: If this ain't the Holy Ghost, I don't know, and it just suits (guitar)
If this ain't the Holy Ghost, I don't know, and it just suits me
If this ain't the Holy Ghost, I don't know, I never felt such a love before
And it just (guitar)

Old Peter saw that train a-comin', and it just suits (guitar)
Old Peter saw that train a-comin', and it just suits me
Old Peter saw that train a-comin', he got on board and it never stopped runnin'
And it just suits (guitar)

REFRAIN: If this ain't the Holy Ghost, I don't know, and it just suits (guitar)
If this ain't the Holy Ghost, I don't know, and it just suits me
If this ain't the Holy Ghost, I don't know, I never felt such a love before
And it just (guitar)

SOLO

REFRAIN: If this ain't the Holy Ghost, I don't know, and it just suits (guitar)
If this ain't the Holy Ghost, I don't know, and it just suits me
If this ain't the Holy Ghost, I don't know, I never felt such a love before
And it just suits me

SOLO

REFRAIN: If this ain't the Holy Ghost, I don't know, and it just suits (guitar)
If this ain't the Holy Ghost, I don't know, and it just suits me
If this ain't the Holy Ghost, I don't know, I never felt such a love before
And it just suits me

SOLO

The only question re "Holy Ghost Train" is:
   * What playing position/tuning did Robert Wilkins use to play "Holy Ghost Train"?

Please use only your ears and instruments to arrive at your answers and please don't post any responses until Thursday morning, April 2.  Thanks for participating, and I hope you enjoy the songs.

All best,
Johnm

[harriet]

I have no clue on the first.

Not much of an answer but the Wilkins it sounds like vestapol to me, a similar melody to wished I was in heaven but it could be he's playing the notes in another tuning like Spanish - I cant tell - be interested in the correct answer.

[blueshome]

Cross-note, tuned down. He adjusts the 3rd string to below the 3rd of the scale.
Vastapol/F

[Lyndvs]

Arthur Weston-Crossnote.At 8-12 secs.He plucks/adjusts his fourth string open to tune it to the same note an octave higher as  his sixth string open(I`m counting sixth string as lowest and  first string as  highest treble string),it  becomes a root note -eliminates the possibility of the tune being played out of "E" position.
Wilkins sounds like Vastapol to me too.