I don't think it would have occurred to me that "Hattie Mae" is a cover of "Louise Louise Blues", apart from the name change. That's pretty neat. Andrew Dunham's sound is so strong and unusual it tends to sweep everything else out of my mind when I hear him.
Hi John, And to make things even a bit more strange, Andrew Dunham also has a version of "Rocky Mountain" (your other current puzzler, that one by Jim Brewer)! Dunham's was not originally released, but you can hear it below. It has the Dunham sound all over it. To be fair, it may not be quite the same song as Brewer's, but the coincidence is fun...
Hi Jeff, Yes, I know the Dunham "Rocky Mountain" and considered posting two versions of "Rocky Mountain", but felt like "Hattie Mae" got at something in terms of hearing and identifying playing position that I wanted folks to give a listen. I do love the Dunham version of "Rocky Mountain" though. All best, Johnm
I think once I started transcribing Johnny Temple lyrics I just figured you have to do "Louise Louise".
Temple's singing on this is incredibly good - what a tone! This song would make a pretty interesting SOTM topic, given the variety of covers and spin-offs in both professional and field recordings... just saying...
Hi all, For "Roomin' House Blues", Johnny Temple was backed by a pianist, a discreet drummer and a very suave clarinetist. The focus here is all on Johnny's vocal, and it merits all of one's attention. His control over the way he cracked his voice was really spectacular. The song has an interesting paranoid fantasy going--Johnny's imagination is working in ways that are not helping him feel better. Here is the track:
INTRO
I was worried last night, didn't know what I was worried about I was worried last night, didn't know what I was worried about I looked up at a roomin' house, whoo-oo, saw my baby walkin' out
I said, "Look-a-here, baby, what you doin' in this rooming house?" I said, "Look-a-here, baby, what you doin' in this roomin' house?" She said, "Baby, my friend lives there, whoo-oo, you don't know what it's all about."
"Well, I see if you open the door, I saw two men walkin' in I seed if you open the door, I saw two men walkin' in And see if you have the nerve to tell me, whoo-oo, that was Lula's friend."
When she opened that roomin' house, "I told you, I want you to keep out. When she opened that roomin' house, "I told you, I wanted you to keep out. Because it's place like that, baby, whoo-oo, Lord, I know what it's all about."
"I have been watchin' you here of late, runnin' over to this roomin' house." "I have been watchin' you here of late, runnin' over to this roomin' house. When you walk in, I seed your girlfriend peepin' out."
All best, Johnm
« Last Edit: June 28, 2015, 12:46:44 PM by Johnm »
Hi all, For "Hoodoo Women", Johnny Temple was accompanied by the Harlem Hamfats on piano, bass, drums, guitar and clarinet, and their uptown approach really suited both the song and Johnny's singing. Not to sound like a hanging record, but boy, could he sing! Here is their performance:
INTRO
Well, I went out on the mountain, looked over in Jerusalem Well, I went out on the mountain, looked over in Jerusalem Well, I seed them hoodoo women, whoo-Lord, makin' up their low-down plans
Well, I'm goin' to Newport, just to see Aunt Caroline Dye Well, I'm goin' to Newport, just to see Aunt Caroline Dye She's a fortune-teller, whoo-Lord, she sure don't tell no lie
And she told my fortune, as I walked through her door And she told my fortune, as I walked through her door Said, "I'm sorry for you, buddy, whoo-Lord, your woman don't want you no more."
Well, I turned around, said, "I believe I'll go downtown." Well, I turned around, said, "I believe I'll go downtown, To Chicago River, whoo-Lord, and jump overboard and drown."
The hoodoo said, 'Son, please don't act no clown." The hoodoo said, 'Son, please don't act no clown. Because it's a many more women, whoo-Lord, lyin' 'round in this no-good town."
A hoodoo is all right, in their low-down plans The hoodoo is all right, in their low-down plans But they will take your woman, whoo-Lord, and put her with another man
All best, Johnm
« Last Edit: June 30, 2015, 09:53:22 PM by Johnm »
Hi all, For "Chain Gang Blues", Johnny Temple was backed by a larger ensemble than usual, with piano, drums, tenor saxophone, cornet, and possibly bass. The sax player sounds to have been a devotee of the playing of Lester Young, and his smooth approach works especially well against Johnny's very raw singing and shouting. Here is the song:
INTRO
Lord, these women is the cause of me wearin' a block and chain Yes, these women is the cause of me wearin' a block and chain They put bad ideas in my head, I declare, and they know that crime don't pay
When I get out of this chain gang, I don't want no more woman in my home Oh, when I get out of this chain gang, I don't want no more woman in my home I been thinkin' about the way I was treated, I declare, and back to the chain gang I'm goin'
SAX SOLO
Oh, she knew I was in this chain gang, I didn't have one lousy dime Yes, she knew I was in this chain gang, and I didn't have one lousy dime Well, she had four hundred dollar, I declare, and she wouldn't even, not come and pay my fine
Lord, you say you want some money, baby, you say you wanted you a diamond ring Yes, you say you wanted some money, you say you wanted you a diamond ring Well, but when I got caught, baby, you declared I was a no-good man
Edited 6/3 to pick up corrections from dj and Johnm
All best, Johnm
« Last Edit: October 23, 2015, 03:27:41 PM by Johnm »
Verse 1.3 of Chain Gang Blues should be "... and they know THAT crime don't pay"
Chain Gang Blues is a really interesting song, in that it sounds like Johnny Temple got it from someone else and didn't understand all the words. The phrase "block and chain" in the first verse would make more sense as "lock and chain", and "money" in verse 2 is really oddly pronounced and doesn't really make sense in terms of the song. In fact, in the context of the verse, it would make more sense, and fit the accenting of the two syllables better, if Temple sang "to be" instead of "money".
Does anyone know if there's an earlier version of Chain Gang Blues?
Thanks for the catch on 1.3, dj. I will fix that. I agree that "money" is strange in verse two, and I re-listened, and it now sounds like: When I get out of this chain gang, I don't want no Mormon in my home which fits the sound, but is even odder. I think what he is actually singing is When I get out of this chain gang, I don't want no more woman in my home with "more" and "woman" smeared together. I will make those changes. Thanks for your careful listening. All best, Johnm
« Last Edit: July 03, 2015, 08:53:03 AM by Johnm »
Hi all, For "What Is That She Got", Johnny Temple was accompanied by a very adroit pianist, and a guitarist strumming "straight fours", closed chord positions, four-to-the-bar, a la Freddie Green with the Count Basie Orchestra. It's been said before of other singers, but I would be happy to hear Johnny Temple sing the phone book. Here is his performance:
INTRO
I went to my baby like a lion, came away like a doggone lamb I went to my baby like a lion, came away like a doggone lamb Lord, I wondered at what is that she got, Lord, that make me be so calm
I looked at my woman like a lion, ready to tear her down I looked at my woman like a lion, Lord, ready to tear her down She says, "Come here, baby, I declare let's lay back down."
Better come here, somebody, help me to find my way back home Lord, come here, somebody, help me to find my way back home I was cruel to my woman, but I declare I know that I was wrong
SOLO
My baby left me this morning, I walked the street like a tiger in the woods My baby left me this morning, I walked the street like a tiger in the woods If my baby come back to me, I declare now I'll always be good
All best, Johnm
« Last Edit: October 23, 2015, 03:26:23 PM by Johnm »
Hi all, I found Johnny Temple's very catchy "Jinx Lee Blues" posted on youtube today. He is joined by the very expert Horace Malcom on piano and a guitarist on it, and for the guitarist I would suspect Teddy Bunn. Temple was certainly a wonderful singer. Here is the song:
INTRO
I've got a little woman and her name is Jinky Lee Well, I've got a little woman and her name is Jinky Lee The reason why I like her, she keeps the jinx off of me
She's the jinkin'est thing that ever walked down the street She's the jinkin'est little thing that ever walked down the street Reason why I like her, she can ease my misery
PIANO SOLO
Jinky Lee, Jinky Lee, can't you hear me callin' you? Jinky Lee, Jinky Lee, can't you hear me callin' you? You don't have to leave me to do what you want to do
Jinky Lee, Jinky Lee, baby, whyn't you hurry home? Jinky Lee, Jinky Lee, baby, why don't you hurry home? That jinx been on me ever since Jinky Lee been gone
PIANO SOLO
Well, the jinx this morning, they knocked upon my door Well, the jinx this morning, they knocked upon my door "If Jinky Lee ain't there, buddy, you got to go."
PIANO SOLO
All best, Johnm
« Last Edit: July 06, 2018, 04:07:56 PM by Johnm »
Hi all, I found Johnny Temple's "My Pony" on the discontinued "The Essential" series on Document. He recorded the song with a small jazz ensemble with piano, bass, clarinet, trumpet and drums. The group takes turns playing fills behind Johnny's singing, but as was most often the case on his records, no space was left for instrumental solos. I sound like a broken record saying the same thing over and over, but boy, did he sing well! Here is "My Pony" with apologies to non-U.S. Weenies who may not be able to play the video:
INTRO
I'm gon' saddle up my pony, hitch up my bay mare I'm gon' saddle up my pony and hitch up my bay mare Tell, me and my baby's gon' take a roll down the road somewhere
When you hear my pony comin', please give me the lane When you hear my pony comin', please give me the lane If I ain't drunk off of whiskey, I declare I'm drinkin' my champagne
I got a horse there in Texas, pony already trained I got a horse there in Texas, pony already trained I got a gal in Chicago with hair just like his mane
She's the prettiest thing that ever went down the line She's the prettiest thing that ever went down the line Well, my pony is crippled, but I rides her just the same
If you see my pony, please start her home If you see my pony, please start her home Well, I ain't had no ridin', since my pony been gone
Hi all, Johnny Temple was one of very few blues musicians who recorded covers of Skip James songs. Johnny did a really nice job with "Cherry Ball", for which he was joined by a pianist, clarinetist and an expert guitarist. It would be interesting to know whether the different verses that Johnny sang on this recording were his own inventions or if they were verses that Skip sang in performance but didn't include on his Paramount recording. I don't think there is any way of finding out at this point. Here is Johnny Temple's "Cherry Ball":
INTRO
I love my Cherry Ball better than I love myself I love my Cherry Ball better than I love myself When my Cherry Ball quit me, I didn't want nobody else
When my Cherry Ball quit me, she quit me really nice, quiet way When my Cherry Ball quit me, she quit me really nice, quiet way I wouldn't mind it so bad, but she taken my whole payday
My Cherry Ball, she left me, standin' in the back door, cryin' My Cherry Ball, she left me, standin' in the back door, cryin' Sayin', "You've got a home, daddy, ooo-baby, long as I got mine."
My Cherry Ball, she's sweet, sweet as she can be My Cherry Ball, she's sweet, sweet as she can be Ain't but one thing I hope: my Cherry Ball come back to me
I take care of my Cherry Ball, if I don't take care of myself I take care of my Cherry Ball, if I don't take care of myself And the reason why I do it, I don't want to have nobody else
All best, Johnm
« Last Edit: January 13, 2019, 04:40:38 PM by Johnm »
Hi all, Another interesting track from "The Essential Johnny Temple" is "Better Not Let My Good Gal Catch You Here", which turns out to be a sort of evolutionary transitional stage between Ishmon Bracey's "Saturday Blues" and Frankie Lee Sims' "Lucy Mae". I had previously thought that "Lucy Mae" was based on "Saturday Blues", but it now seems more likely it was based on the Johnny Temple song. He has a really expert pianist and guitarist backing him, and I don't know who either one of them was because this Document series had nothing in the way of session information. The song has a really tricky scansion, and I've inserted commas to indicate where Johnny Temple did little pauses in his delivery of the lines. It reads oddly, but sung that way, it grooves like crazy. Here is "Better Not Let My Good Gal Catch You Here", with apologies to non-U.S. Weenies who may not be able to view the video.
INTRO
My regular woman, she bring me the daily news, my, Monday woman, she buys my socks and shoes REFRAIN: Now you, better not let my, good gal catch you here Oooh, it ain't no tellin', what she might do
She may cut you, she may, shoot you, too, she may break your back in two REFRAIN: Now you, better not let my, good gal catch you here Oooh, it ain't no tellin', what she might do
My Thursday brown, she holds my pocket change, my, Wednesday brown, she wants to do the same REFRAIN: Now you, better not let my, good gal catch you here Oooh, it ain't no tellin', what she might do
She got a razor, she got a Gatling gun, she cut you if you stand, she shoot you, if you run REFRAIN: You better not let my, good gal catch you here Oooh, it ain't no tellin', what my gal may do
When my Friday brown knock up, on my door, my Thursday brown, well, she, have to go REFRAIN: Now you, better not let my, good gal catch you here Oooh, it ain't no tellin', what she might do
I got, three, four puppies, I got one, shaggy hound, takes, all them dogs to run my, women down REFRAIN: You, better not let my, good gal catch you here Well, it ain't no tellin', what she might do
All best, Johnm
« Last Edit: January 15, 2019, 04:58:47 PM by Johnm »
"prob Sam Price, pno, prob Teddy Bunn, gtr, unkn sb" -- from Blues and Gospel Records 1890-1943 (but also on my copy of DOCD-5239; the session info is on the inside of the front sleeve -- the format is a bit convoluted, but it's there).