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Country Blues => Country Blues Lyrics => Topic started by: uncle bud on June 19, 2005, 08:56:44 PM
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I've been attempting to listen to this one lately - it's in pretty rough shape and no sign of a cleaner copy yet from the likes of Yazoo et al. I think underneath all that surface noise is a pretty cool song. It sounds a bit like a cross between Green River Blues and the accompaniment Willie Brown plays in Moon Going Down. I haven't started on the guitar part yet, so could be way off base. Anyway, I'm foolishly taking a stab at the lyrics. Help!
https://youtu.be/5yxzDjoqqHk
Joe Kirby Blues
Said I'll be your monkey baby, don't wanna be your dog
I said I'll be your monkey baby, don't wanna be your dog
'fore I stand your doggin', I'll stay in a hollow log
Some people say baby them Kirby blues ain't bad
Some people say now baby them Joe Kirby blues ain't bad
Well it must not a been them Joe Kirby blues I had
Just like a doggone rabbit, lordy, got no doggone den
I'm just like rabbit I ain't got no doggone den
I been in trouble lord ever since here I been
I was standin' (in) Clack's crossroads, biddin' my rider goodbye
I was standing at the crossroads, bid my rider goodbye
It blowed for the crossroad, lord, she started to fly
Well I'm goin' where the Green River do sink down
I'm goin' where the Green River do run down
But the woman I love lordy, she live in Robin(son)ville town
Hey well where was my baby, now tell me what's on your mind
Hey just tell me now mama lordy, tell me what's on your mind
Well you know you got a home baby long as I got mine
[attachment deleted by admin]
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Said I'll be your monkey baby, don't wanna be your dog
I said I'll be your monkey baby, don't wanna be your dog
'fore I stand your doggin', I'll stay in a hollow log
Some people say baby them Kirby blues ain't bad
Some people say now baby them Joe Kirby blues ain't bad
Well it must not a been them Joe Kirby blues I had
Just like a doggone rabbit, lordy, got no doggone den
I'm just like rabbit I ain't got no doggone den
I been in trouble lord ever since here I been
I was standing Clack's the crossroads, kissing my rider goodbye?
I was standing at the crossroads, bid my rider goodbye
It blowed for the crossroad, lord, she started to fly
Well I'm goin' where the Green River do sink down
I'm goin' where the Green River do run down
But the woman I love lordy, she live in Robin(son)ville town
Hey well well well now baby, now tell me what's on your mind
Hey just tell me now mama lordy, tell me what's on your mind
Well you know you got a home baby long as I got mine
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Thanks powerline! Clears up a lot. I had heard something like "Clacks the crossroad," but it made no sense to me, so didn't put it down. It still makes no sense, even though that's what it sounds like. Gotta be something else, no?
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Clack's Store was the store in Robinsonville Mississippi where Son House recorded for the Library of Congress. Clack's Crossroads must have been the crossroad where the store stood. Dick Spottswood, in the lyric transcription for the Charley Patton Revenant box, has the Clack's line as:
I was standin' (in) Clack's Crossroads, biddin' my rider goodbye
You can hear a train go by in one of Son House's LoC recordings, so she could have been going by train.
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Fancy you not knowing that UB, I thought it was common knowledge hehe!
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Fancy you not knowing that UB, I thought it was common knowledge hehe!
Yup, I'm embarrassed ;)
dj, yes I remember the train well in Son's LoC tracks. Hadn't remembered the store name though. Thanks for obscure and illuminating details.
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Normally I prefer to transcribe lyrics myself (you learn a lot from doing it, it's enjoyable, and you have a better chance of getting them right if you don't get someone else's wrong transcription stuck in your head as you're listening). But in this case I'm making an exception and asking for help! Charley Patton's "High Water Everywhere" is of course highly relevant to current events, and someone requested it of me the other day, and I'd especially like to get it together for a Katrina benefit I'm playing this weekend. So...I web-searched and found it on Harry's Blues Lyrics Online or something like that. Pretty good, except for a few rough spots that I'd appreciate help on:
Verse 5, Harry has it as "Charley's town," which doesn't make sense or sound quite right. Could it be "Charleston"? There is a Charleston, Miss., and maybe Charley pronounces it oddly?
In that same verse, last line, Harry has "I'm goin' to Vicksburg for that high of mine." Maybe "a higher mile"? That doesn't really make sense either. Any ideas?
Verse 10 (counting straight through both parts), the bit about taking a trip on a "big ice sled" makes no sense even if it sounds sort of like that. Can anyone come up with a better idea, or an explanation of why he would be riding an ice sled in the Mississippi Delta? Verse after that Harry calls as "I hear the ice", which might be "I hear the voice" with the V for some reason dropped. Thanks! Chess
https://youtu.be/336dDZsU1Eg
https://youtu.be/bytNCPstnY0
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Hey Steve,
Well, for starters I checked Dick Spottswood's transcriptions in the Revenant set.
Verse 5 he has as "Shaw's(es) town" in the first 2lines and in the last line he has "(on a higher mound)", yeah, his parens. I'm not sure what that means, either Dick is unsure of that part, or, since I'm not listening to it right now, Patton is speaking those sections?
Verse 10 he has "big ice sled", too. Perhaps a reference to a hearse, death? Also, "I hear the ice boat" in the next verse.
Okay, here is the last paragraph from Dick's notes on the song, after discussing other flood songs:
The Patton account was something else entirely. Unlike Smith, Bob and Wallace [Bessie, Barbecue and Sippie] Charley was there when it happened. Being both a witness and participant, he could let raw emotion replace purely objective narration. No longer just a blues entertainer, he becomes a sanctified preacher delivering an impassioned sermon, with snapped bass strings and thumped guitar box to emphasize the text and underscore the tension. Some of the momentum and passion seem to evolve towards resignation on Part II, as Charley documents flooding across the river in Arkansas and notes the use of ice sleds and boats as rescue vehicles. His struggle to come to terms with the devastation is poignantly revealed in the last line, as he gazes sadly at the empty remains of houses where people had expected to live out their lives.
Well, that sorta makes sense of it. Any help?
All for now.
John C.
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In the Calt/Wardlow Patton bio, it's transcribed as
Well they tell me the water, done took short little town
"Boy I'm going to Vicksburg!"
Well I'm goin' to Vicksburg, over that higher mound.
The footnote explanation of higher mound reads, "Apparently this phrase (which Booker Miller deciphered) refers to an Indian burial mound."
The authors go on to note, "The basis of this couplet was probably the evacuation of a thousand refugees from the Greenville to the Vicksburg levee, six days before the latter town was overrun by water on April 30th. Most of these refugees were white: a group of Red Cross steamers intended for the removal of blacks was prevented from leaving Greenville by influential planters who feared that their tenants would never return."
Yikes.
C&W also refer to the use of ice sleds as rescue vehicles during the flood.
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Ooh, yes, I like the "higher mound," very good, thanks Wax. And "Shaw's town" might be right, too, there is a Shaw right in the area that was flooded. I still don't like the "ice sled" bit -- will have to listen harder (or research more to find out why that makes sense)!
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Re: ice sleds.
Those were the days of ice houses, where businesses kept blocks of ice cut and shipped from northern lakes and packed in sawdust to deliver throughout the year to people who had "ice boxes" to keep food cold. I know for a fact that they used "ice sleds" to move the ice blocks from the lake to the initial storage house, but I agree, it's hard to imagine them using an ice sled for any purpose in Mississippi.
Lindy
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Has anyone tried relistening to this, besides just checking others' transcriptions? I'm starting to think maybe Charley headed for the coast. Instead of "I thought I would take a trip, Lord, out on the big ice sled" it might be "I thought I would take a trip, Lord, out on the beach I slept."
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Has anyone tried relistening to this, besides just checking others' transcriptions? I'm starting to think maybe Charley headed for the coast. Instead of "I thought I would take a trip, Lord, out on the big ice sled" it might be "I thought I would take a trip, Lord, out on the beach I slept."
I usually stay out of lyric discussions except on point of information. FWIW about 15-20 years ago somebody disected and commented on this song in minute detail, verse by verse. I distinctly remember this couplet which had been tormenting listeners since its first appeance on OJL7 two decades earlier: Whoever was writing suggested that what was sung was far more logical than either Fahey's paperback ("out on the days I slept" ) or the 1970 Yazoo booklet ("out on the big ice sled") made it:
High water always rising, got up in my bed
Lord high water was rolling, got up in my bed
I thought I was taking a trip, Lord, out on the bed where I slept.
Now all I have to do is recall by who, and where, this theory was put forward.
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I hear this with slight differences as:
The water was rising, got up in my bed
Lord the water it rolling, got up to my bed
I thought I would take a trip, Lord, out on a big ice sled.
I'm not totally sold on the ice sled line, but it sure sounds like that. It's possible we have a goofy metaphor here: the water rising to his bed, bed threatens to start floating away, moving on the water like "a big ice sled."
That said, I do like Bunker Hill's suggestion of "out on the bed where I slept." Makes much sense, although I don't quite hear it and do seem to hear to hard G in big.
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For what it's worth, I hear the basically the same words Uncle Bud referenced (although I admit I don't hear the "ce" in ice distinct from the the "s" in sled, nor do I hear the "d" in sled, so I actually hear "I sle..." or perhaps "Ice le...". And like uncle bud, I also hear the "g" in Big, although I admit the "d" in bed would sound similar. But the vowel sounds more like his "i" sound than his "e" sound to me.
While Bunker Hill's "out on the bed where I slept" sounds tempting, I can guarantee there is nothing between "bed" and "I", so "where" would have to be implied rather than actually sounded, making the line (as sung) ... out on the bed I slept. Could be, but that's not what I hear. Granted, if the "pt" sound was dropped from slept, it would sound just like "sled" with the "d" dropped. But singing the line with both words (sled and slept), it is harder for me to drop the "pt" than to drop the "d".
Oh, and just for the record, the words quoted from Harrys's Blues Lyrics appear identical to those originally printed in the liner notes for Yazoo's circa 1970 double LP L-1020, Charley Patton -- Founder Of The Delta Blues. In these lyrics, the words in parenthesis are generally spoken, although in a couple of places it seems like this meant they couldn't make out the words, because they clearly don't sound spoken to me, but are difficult to make out.
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While Bunker Hill's "out on the bed where I slept" sounds tempting, I can guarantee there is nothing between "bed" and "I", so "where" would have to be implied rather than actually sounded, making the line (as sung) ... out on the bed I slept.? Could be, but that's not what I hear.? Granted, if the "pt" sound was dropped from slept, it would sound just like "sled" with the "d" dropped.? But singing the line with both words (sled and slept), it is harder for me to drop the "pt" than to drop the "d".
I was putting forward a published theory and from memory - the "where" may have been square bracketed to denote implication. I've still to locate where this lengthy analysis was published but the suggestion was 'logical' enough to stick in my memory.? Personally what was proposed isn't what I hear but only owning OJL7 and L1020 and no digital format I'm somewhat disadvantage when it come to such discussions. It's for such reasons I steer clear of lyric discussions and perhaps shouldn't have broken my golden and bitten my tongue. Having started this hare running I'm determined to locate said transcription/analysis and pass it on here.
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Having started this hare running I'm determined to locate said transcription/analysis and pass it on here.
Finally located the source of my recollection. It was Robert Macleod in his first volume of lyric transcriptions of Yazoo LPs (Yazoo 1-20, 1988). The analysis/discussion takes place on pages 10-17 whilst the song transcription itself is on pages 286 & 287. I've attempted an OCR scan but it was 'typeset' using what looks like a dot-matrix printer and my software ain't up to it.
What Macleod hears is:
The high water always risin', got up in my bed
Lord the high water was rollin', got up to my bed
I thought I was takin' a trip Lord, out on the bed where I'd slept.
He also lists other known published transcriptions of the song - Fahey (Patton booklet), Robert Palmer (Deep Blues), Eric Sackheim (The Blues Line), Charters (The Bluesmen), Voice Of The Delta (Patton symposium publication) and Yazoo booklet. I have all of these works but I'm off to get a life instead. :)
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Hi all!
Thought I would ask any interested Weenies for help..."lend me your ears!" :P
Been listening to Charley Patton: "Elder Greene"take 2 and "Goin' to Move To Alabama", and learning the tunes, and find the lyrics difficult to suss out. Can get a few words like "slough" and "creek" in Alabama, but can't make sense of a few others here and there. Got this so far:
https://youtu.be/rChk_PlplBk
https://youtu.be/oC0Btzilpew
Goin to Move to Alabama
Charley Patton, F,Bb, C
INTRO: first 2 lines of verse intstrumental
I?m goin? to move to Alabam,a, I?m goin? to move to Alabama,
I?m goin? to move to Alabama, make Georgia be your home.
Ahh?, she long and tall,
She ain?t good for men, makes ?em swear and bawl,
I have to move to Alabama, I have to move to Alabama,
I have to move to Alabama, to make Georgia be your home
I?m gonna show you common women, how I feel,
Gonna get me ?nother woman, before I leave,
I?m goin? to move to Alabama, said I will move to Alabama,
Said, I will move to Alabama, make Georgia be your home.
Said, Momma got the{ white folks, women got the chairs, }
My brother got the whiskey, momma got the jug,
I?m goin? to move to Alabama, I?m ma? to move to Alabama,
I?ma? to move to Alabama, Make Georgia be your home.
Well, these evil women, sho? make me tired,
Get a handful of beer, Momma, much obliged,
You must ?ve been to Alabama, you must ?ve been to Alabama,
You must ?ve been to Alabama, to make Georgia be your home.
Awww, I got a woman, she long and tall,
But when she wiggles, she makes this man bawl,
She gonna move to Alabama, have you been to Alabama,
Have you been to Alabama, to make Georgia be your home
Say, Momma and Poppa, bawl when you walk,
Let my business, { }
Well, have you been to Lou?siana, have you been to Alabama,
Have you been to Alabama, to make Georgia be your home
Awww, my momma told me...
?The ol? woman, like to fiddler you
Well, have you been to Alabama, have you been to Alabama,
Have you been to Alabama, to make Georgia be your home
Aww, I got up this morning, my hat in my hand,
Been down {toward Rome, after the mail,}
Well, have you been to Alabama, have you been to Alabama,
Have you been to Alabama, to make Georgia be your home
and
Elder Greene take 2
Charley Patton, F,Bb, C
INTRO: instrumental
Elder Greene is, Elder Greene is gone,
?Cause when {Darlin? calls} him, with his long coat
With his long coat, with his long coat on,
Oh, when {Darlin? kindness}, with his long coat on.
Aww, let me call a deacon, let?s go down in prayer,
Get the big old deacon at New Orleans, come and let?s go there.
Come, if you got a woman, for raise her to your hand,
Keep away from Momma walkin?, {by the air resolve, by the air}
Why the creek?s all muddy, and the slough?s all dry,
{Havin? one muddy creek milk cow, last Boys?, all the women would.}
Don?t you leave me here, don?t you leave me here,
I don?t care when or where you go, don?t you leave me (here).
I love to fuss and fight, I love to fuss and fight,
Lawdy, get drunk and drink the bottle and bawl and walk the streets all nite.
Walk the streets all nite, and walk the streets all nite,
Lawdy, get sloppy drunk on the bottle, and bawl and walk the streets all nite.
Why the streets all muddy, and the slough?s all dry,
And there?s one by the street, my cow lay, Boy, on the ground and die.
On the road somewhere, on the road somewhere,
To get fiiiiiiine highway robbers, on the road somewhere.
On the road somewhere, on the road somewhere,
To get fiiiiiiine highway robbers, on the road?(somewhere).
Haa, let?s meet your {Leg Deacon}, let?s go down in prayer,
To get fiiiiiine robbers, on the road somewhere.
Any help is appreciated. Once I get the words to make sense, it is easier to sing. I want to learn a mandolin part, too. ;D
Thanks,
Buzz
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Here's how I hear them both -- I didn't bother transcribing the choruses to "Going to Move" 'cause those seem right -- the "If you got a woman" verse of Elder Greene on both takes is probably the hardest thing to understand on any Patton record, IMHO.
Chris
"Going to Move to Alabama"
Ah, she's long and tall
the way she whups her meat'd make a panther squall
I'm gon' show you common women how I feel
Gonna get me 'nother woman fore I leave
Say mama's got the washboard, my friend's got the tub
My brother's got the whiskey and mama's got the jug
Well these evil women sure make me tired
Gotta handful of gimme mouthfulla much obliged
I got a woman she's long and tall
But when she whip it she makes a panther squall
Say mama and papa both went to walk
Left my sister standin at the waterin' trough
My mama told me --
... no one woman like they can't love you
I got up this morning my hat in my hand
Didn't have nowhere to roam, had no man
"Elder Greene" take 2
Elder Greene is (take your time), Elder Greene is gone
Gone way down the country with his long coat on
With his long coat on, with his long coat on
Gone way down the country with his long coat on
Elder Greene told the deacon, let's go down in prayer.
It's a big 'ssociation at New Orleans, come and let's go there.
And if you got a woman, want raise her to your hand,
Keep away from mamma walkin, mamma have been lonesome, mamma ???
Well the creek's all muddy, and the slough's all dry
If it wasn't for the sweet mouth county boys all the women would die
Don't you leave me here, don't you leave me here
Lord I don't care where in world you go, don't you leave me here
I like to fuss and fight, I like to fuss and fight
Lord and get sloppy drunk offa bottled in bond and walk the streets all night
And walk the streets all night, and walk the streets all night
Lordy get sloppy drunk offa bottled in bond and walk the streets all night
Well the creek's all muddy, and the slough's all dry
If it wasn't for the sweet mouth county boys all the browns would die
On the road somewhere, on the road somewhere
You can find highway robber, on the road somewhere
On the road somewhere, on the road somewhere
You can find highway robber on the road somewhere
Elder Greene told the deacon, let's go down in prayer.
You can find highway robber on the road somewhere
https://youtu.be/DwT7TNiklgs
take 1?
Green is, Elder Greene is gone
Gone way down the country with his long coat on
With his long coat on, with his long coat on
Gone way down the country with his long coat on
Elder Greene told the deacon, let's go down in prayer.
It's a big 'ssociation down in New Orleans, come and let's go there.
Come and let's go there, come and let's go there,
It's a big 'ssociation down in New Orleans, come and let's go there.
I like to fuss and fight, I like to fuss and fight
Lord and get sloppy drunk offa bottled in bond and walk the streets all night
And walk the streets all night, and walk the streets all night
Lord and get sloppy drunk offa bottled in bond and walk the streets all night
Elder Greene told the deacon, settle down in prayer
You can take everything I've got but settle down in ...
Ah most anywhere, yeah most anywhere
You can cheat? off someone and walk anywhere
Elder Greene is gone, Elder Greene is gone
Gone way down the country with his long coat on
If you got a woman, want raise her to your hand
Keep away from mamma walkin, mamma have been lonesome, mamma ???
Mamma ???, mamma ????
Keep away from mamma walkin, mamma has a daughter, mamma ???
I like to fuss and fight, I like to fuss and fight,
Lord and get sloppy drunk offa bottled in bond and walk the streets all night
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Thanks!
Will give these a listen some time soon and check back in....anyone else got any ideas? ::)
Buzz
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Haven't had a chance to slow these down and give a real deep listen, but I have seen the difficult lines sometimes transcribed as "curling his hair" (maybe "curling her hair"?) and what Chris has as "mamma" is sometimes given as "Molly" or "mommy", particularly "Molly Walker" as if it were a full name.
And yeah, Chris, most transcribers I have seen admit that these lines are among the hardest in all of Patton's songs. The rest of what you have seems pretty good and agrees with the better transcriptions I have seen. I definitely prefer "long coat" over the often given "long clothes".
All for now.
John C.
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I agree it could be Molly or Mommy. Purely phonetically, it almost sounds like he's saying "Molly kind and how" or even "Molly Cunningham." I'm pretty sure it's not "curling" (although I've seen that written, too), even allowing for Patton's weird pronunciation.
Chris
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My guess at that penultimate verse in "Elder Green" take 2 is:
If you got a woman, wan' raise her to your hand
Keep away from mama walkin', mommy have it lonesome, mama cut it out
Mama cut it out, mama cut it out
Keep away from mommy walkin', mama have it lonesome, mama cut it out
I get the sense that Charley's "mama" is turning tricks, leaving Charley lonesome, and he wants her to stop.
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I've been baffled by some of the "Goin' to Move to Alabama" lyrics -- and especially the tag line of the refrain -- for years. I think that Chris has the lyrics a little closer, Buzz, and I will post my interpretation after a re-listen. HOWEVER: I cannot believe that "Make Georgia be my home" is the final line of the refrain. I agree that it certainly SOUNDS like that -- but, as is typical for Patton, it can "sound" like about 12 other things too...given Patton's proclivity to make the listener wonder....
My problem with "Make Georgia be my home" [and the reason that I dispensed with it myself] is that it simply doesn't make sense. Virtually everything else Patton sings makes sense, once you decipher his vocal styloe (even if it doesn't necessarily rhyme!). Patton certainly knew that Georgia is not Alabama. My current "working" version is "(To) make Georgia be in my heart" -- but I am far from satisfied with it, because I think it a bit too "poetic". [Maybe someone -- anyone -- besides Patton sang some version of this song (which sounds to me like a variant of "Goin' to Move to Kansas City") and delivered this line more clearly.]
I will not rest until I am determined that every word is Patton's own; know what words he may have left out; know where the line came from (if it is more-or-less "standard" (like the "washboard/tub" verse); and know its reason for being included in the song (if it's not more or-less-random). I personally won't necessarily sing it that way myself, but I gotta know!
Unless someone out there can come up with a good justification for "Make Georgia be my home" (besides "it sounds like"), I'm going to keep listening and straining to make sense of that final line, which is a crucial "hook" to the song. I hope that Buzz and Chris will go back to the drawing (listening?) board on this one, and that others who may have a better inspiration will help out!
Dr. G
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I don't hear Georgia either - I hear "graveyard"!
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Actually, I keep wanting to get an old map of Alabama and see if I can find a place named Lake George so the line could be "Lake George'll be my home".
Buzz and I got together the other night and gave a close listen to Elder Greene take 1 and I really like "Mommy Cunningham".
Also, the second "Mommy" line which Chris has as "has a daughter" I think Patton is singing "have been lonesome" but is slurring everything by changing most of the consonant sounds to a zz sound, so it comes out "Mozzy ha min zonezome" just a theory, but that's really what it sounds like he is saying, phonetically, to me.
Had a few other minor discrpencies from Chris' version (take all summer) as I hear it so here's the whole thing:
Elder Greene, take 1
Green is, Elder Greene is gone
Gone way down the country with his long coat on
With his long coat on, with his long coat on
Gone way down the country with his long coat on
Elder Greene told the deacon, let's go down in prayer.
It's a big 'ssociation in New Orleans, come and let's go there.
Come and let's go there, come and let's go there,
It's a big 'ssociation in New Orleans, come and let's go there.
I like to fuss and fight, I like to fuss and fight
Lord and get sloppy drunk offa bottled in bond and walk the streets all night
And walk the streets all night, and walk the streets all night
Lord and get sloppy drunk offa bottled in bond and walk the streets all night
Elder Greene told the deacon, settle down in prayer
You can take uhh thing I've got but settle down in ...
Ah most anywhere, yeah most anywhere
You can take all summer and walk anywhere
Elder Greene is gone, Elder Greene is gone
Gone way down the country with his long coat on
If you got a woman, want raise her to your hand
Keep away from Mommy walkin, Mommy have been lonesome, Mommy Cunningham
Mommy Cunningham, Mommy Cunningham
Keep away from Mommy walkin, Mommy ha min zonezome, Mommy
I like to fuss and fight, I like to fuss and fight,
Lord and get sloppy drunk offa bottled in bond and walk the streets all night
All for now.
John C.
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I realise that this discussion is concerned with specific lyric and not lineage but, as an aside, John Wesley Work, who died in 1925, collected a song called "Ol' Elder Brown's" (sic). A portion of this was published in "American Negro Songs And Spirituals" (Bonanza, 1940 p.241) thus:
Ol' Elder Brown's in town
Ol' Elder Brown's in town
Ol' Elder Brown's in town
a-with his long coat on
Ol' Elder Brown tol' Griffin
"Don't you think I'll win?"
Goin' back to Shreveport Town
Goin' build my church ag'in
Ol' Elder Brown started his church
An' de storm blowed it down
den Elder sang this song
"I'm all out an' down"
He's on de road somewhere
He's on de road somewhere
A long tall brownskin man
He's on de road somewhere
A fuller examination of the Elder Greene/Alabama Bound song type can be found in Paul Oliver's Songsters & Saints (p.115-117).
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With regard to the problem line in Goin' to Move to Alabama, I'm not completely convinced it's "make Georgia be your home", but it certainly sounds that way. (It's "your home" and not "my home" by the way.)
A rationale for this interpretation could go this way:
The lyric for the refrain from Kansas City Blues, to which this song is undoubtedly related, goes
"I'm going to move to Kansas City, honey where they don't allow you."
I.e., getting the hell away from the troublesome woman. Charley Patton, who's definitely singing about women troubles in this tune, could be saying he'll move to Alabama and telling the woman to move to Georgia, i.e., putting a lot of distance between them: I'll move to Alabama, you make Georgia be your home.
I'm hearing "you make Georgia be your home" more than "to make Georgia..." but admit to currently listening on my laptop.
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Hi all,
I just listened to this tune again to hear if what I've understood the lyrics to be still sounded right to me. I think they do. What I hear for the last line of the lyric is:
"To make sure she be your home"
"Sure" is pronounced like "shore" and "she" refers to the state of Alabama itself, I think. The two syllables in question have never sounded like "Georgia", or even "Georgie" to me. I hear an "sh" sound at the front end of both syllables, not a "j" sound. And the chorus sometimes says, "Have you been to Alabama?" I think he's trying to track the woman down, not avoid her. What do you think?
All best,
Johnm
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Both unclebud's and Johnm's scenarios for the meaning of that final phrase are plausible to me, and a heck of a lot more satisfying than anything I had come up with to date. Can anyone confirm that anyone other than CP might refer to a state as "she" (for example the way a ship is?) Any other such references in song lyrics, or other written or recorded speech, from the region or era?
Dr. G
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Maybe he's leaving someone in Georgia to go to Alabama?
"Make Georgia be YOUR home"
That's what I would use.
Christian
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Hi all,
I was listening to Charley Patton's version of "Frankie and Albert" and ended up transcribing the lyrics. It seems Patton's take on this is not necessarily held in high regard, either as a Patton song or as a version of Frankie and Albert (or Johnny). I rather like it, and though the lyrics aren't exactly coherent, there's some entertaining verses in there IMO. The guitar part is done out of E position and while not super tricky has some nice I chord/E licks, and IV chord/A licks.
Here are the lyrics with some trouble spots. Any help filling them in much appreciated.
https://youtu.be/x693ZORIFbo
Frankie and Albert ? Charley Patton
Well Frankie went down to Albert?s house, ?how late Albert?s been here??
Oh Albert?s sittin? down in some cheap gal?s lap, buyin? some cheap gal beer
"Say, he was my man but he done me wrong"
Well Frankie, she called Albert, she called him some two or three times
Look down the road ?bout a [quarter block], you mighta seen little Albert flyin?
?Say, he was my man but he done me wrong?
Well Frankie she was good ol? gal and everybody knows
She would pay one half a hundred for the makin? of her man?s clothes
?Say, he was my man but he done me wrong?
Well Frankie went down to the courthouse to hear little Albert cry
Oh Albert was convicted, Frankie hung her head and cried
?Say, he was my man but he done me wrong?
?Say you remember all last Sunday, twenty-fifth day of May
You ?buked me and you cursed me, oh baby all that day
Say, he was my man but he done me wrong?
?Tell you, some folks give you a nickel, and it?s some gonna give you a dime
But I'm [goin' give you a smile instead] for I know you was a man of mine?
Kill her man, go kill her man
Well Frankie went to the cemetery, fell down on her knees
Oh Lord, will you forgive me and give my poor heart ease
Say, he was my man but you done me wrong?
Well, Frankie?s mother come runnin?, come a-whoopin?, screamin? and cryin?
?Oh Lord, oh Lord, my only son is dyin?
She kill her man, yes she kill her man?
edited to add corrections from banjochris and dj
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I can't make out that second bracketed part, either, but I think the first one is either "quarter block" or "quarter mile"
Chris
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Dick Spottswood and friends, in the lyric transcriptions for the Revenant box, have "quarter block" for the first bracketed section, and "I'm goin' give you a smile instead" for the second.
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Thanks Chris and dj. I've changed the text accordingly. I am hearing "block" now, though am not sure about "instead".
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Hi all,
I agree with you, Uncle Bud, I very much like Patton's version of "Frankie and Albert". I think my favorite thing about it is the way Patton times his playing under the refrain line "done me wrong", or "kill her man", and then immediately answers the line with the guitar, pushing the beat with his thumb. It's such great timing, and a very unusual; I'm hard put to think of other places in the music with that particular emphasis.
Edited to add: It just occurred to me that Patton has no spoken asides on this song. Perhaps his sense of telling the story kept him from his normal hi-jinks.
All best,
Johnm
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Hey, Uncle Bud--
Listening again to the "smile" line, I think he might sing
?Tell you, some folks give you a nickel, and it?s some gonna give you a dime
But I'm goin' give you smilin', too, for I know you was a man of mine?
In other words, she gave him not just money but affection.
Chris
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I invite you all to listen to my version of this song. You can find it here:
http://www.soundclick.com/bands/pagemusic.cfm?bandID=547497
It's somewhere in the middle of the list... the title is "Frankie and Albert".
I play lap-style slide in there. Please let me know what you think!
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Hi,
As far as I know, and I *think* I saw this on a copy I had of the lyrics as listed on an old Yazoo LP, The chorus to "Gonna Move to Alabama" is...
Gonna Move to Alabama (X3)
make the graveyard to be your home.
I may give Charlie a listen tomorrow while I'm at work and I'll make sure to listen especially close to these two tunes and let you know what I come up with :)
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Here's my take on Joe Kirby. I'm curious to know what those of you who may have better hearing that I do think. :)
Joe Kirby Blues
Said I believe I'm gonna leave here. Don't wanna be here no more (X2)
As for where I 'tend to go, mama, (I'll) tell ya when I know.
Some people say baby them Kirby blues ain't bad
Some people say now baby them Joe Kirby blues ain't bad
Well it must not a been them Joe Kirby blues I had
Just like a doggone rabbit, lordy, got no doggone den
I'm just like rabbit I ain't got no doggone den
I get in trouble lord every chance I get
I was standin' at the crossroads, kissin' my rider goodbye
I was standing at the crossroads, kissin' my rider goodbye
(The) train blowed for the crossroad, lord, she started to fly
Well I'm goin' where the Green River do sink down
I'm goin' where the Green River do run down
But the woman I love lordy, she live in Rossville town (not sure where I got Rossville, but that's what it sounds like to me LOL)
Hey well where was my baby, now tell me what's on your mind
Hey just tell me now mama lordy, tell me what's on your mind
Well you know you got a home baby long as I got mine
As has been said, Charlie's lack of diction makes it difficult, and some of the lyrics I hear may seem to have too many syllables, but given how he garbles speech at times, I wouldn't think them impossible.
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I still think it's "make Georgia be your home," and I think that, like "to the land of California, to my sweet home Chicago," it defies logical interpretation.
Chris
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Actually, "to the land of California, to my sweet home Chicago" makes some sense if you take "land of California" to mean something like "the land of milk and honey" or "the promised land". That's not too far off if you think of California in the 1920s and 1930s. California was the place where movies were made and where movie stars and radio stars lived, which gave it glamor. But it was also a place where work was plentiful, where massive water projects were soaking up manual labor, where the advent of large-scale irrigation and refrigerated transport meant that agricultural laborers were needed, and where industry was growing and needed labor, in short, it was a place where decent paying work was plentiful. I always think that the line in "Sweet Home Chicago" means that Chicago, with its industry and its (relatively) enlightened race relations, was to blacks from Mississippi the same kind of land of milk and honey that California was to the entire nation.
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DJ -- I've heard that explanation of "land of California" too, and although it makes sense to a certain extent, I still don't buy it. I guess I'd rather think RJ was confusing his geography innocently and accidentally rather than deliberately coming up with a metaphor that makes him sound like he's confusing his geography. :D
Chris
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FWIW I'll weigh in with this 30 year old info to make of what you will:
"[Robert Johnson] made a mystery of himself...because that's the way he was. In one of his songs, he sings, 'back to the land of California, to my sweet home Chicago.' Doesn't make sense...I found out he had a cousin living in California, near Port Chicago." Mack McCormick interview, Chicago Tribune 13th February 1978
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By the greatest of all, Papa Charley... Thanks!
https://youtu.be/l6qIyDZzxrQ
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Oh and while you're on it, the lyrics for "Some Happy Day" will be very helpful too. Thanks!
https://youtu.be/NSQK3p3XmW4
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Here's what I found from "Lord I'm Discouraged":
Sometimes I feel discouraged
????????????????????????
????????????????????????
And live high ????? ???? ???? ?????
There'll be glory, what a glory
When we reach that other shore
There'll be glory, what a glory
????? ?????? Jesus evermore
I'm on my way to glory
???????????????????????
I'll soon live ???? ????? ???? ????
When the ?????????????
There'll be glory....
I'm on my way to glory
???????????????????????
I'll shout ???? ????? ???? ????
When the ?????????????
There'll be glory....
Sometimes I have religion
?????????????????????
?????????????????????
?????????????????????
There'll be glory...
I'll really appreciate it if you'll take a minute to listen to the recording and try to figure out the other parts. Thank you!
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Found it... Thanks anyway.
Sometimes I get discouraged. I believe my work is in vain
But the Holy Spirit whispers revive my mind again
There'll be glory, what a glory, when we reach that other shore
There'll be glory, what a glory, praising Jesus evermore.
I'm on my way to glory, to the happy land so fair
I'll soon reside with God's army with the saints of God up there
I'm on my way to glory, to that happy land so
I'll shout His spiritual army with the saints of God up there
Sometimes I have no religion, feel a-hopeless [and despair]
Well, I think of sweet King Jesus' great kingdom in the [air]
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Does anybody have the lyrics?
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From Dick Spottswood's lyric transcriptions in Screamin' and Hollerin' the Blues:
Some day, some happy day, from sin set free
I'll live with Christ for ages, some day, some day
My trials will fewer be, some day, some day
When I shall have eternal home, some day, some day
Some day I'll be in the entrance here, some day, some day
Adapted by Patton from "Some Day", words by J. Graydon Hall, music by H. E. Barnett
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I've been updating this for some years, and this is the latest version. Spoken parts are in brackets. Each part is followed with notes in an attempt to justify difficult bits.
HIGH WATER EVERYWHERE - PART I
The backwater done rose all around Sumner, Lord, drove me down the line.
Backwater done rose around Sumner, drove poor Charley down the line.
And I'll tell the world the water done struck Drew'ses town.
Lord, the whole round country, Lord, creek water has overflowed.
Lord, the whole around country, man, it's overflowed.
(You know I can't stay here, I'm bound to go where it's higher, boy.)
I would go to the hilly country, but they've got me barred.
Now, look a-here now at Leland, river was risin' high.
Look a-here, boys, around Leland, (tell me,) river was ragin' high.
(Boy it's a-risin' over there. Yeah.)
I'm gonna move over to Greenville, thought I'd bid you goodbye.
Look a-here, the water done got out and flooded, (levee broke), rose most everywhere.
The water at Greenville and (Leland), Lord, it done rose everywhere.
(Boy, you can't never stay here.)
I would go down to Rosedale, but they tell me the water's there.
Lord, the water now, mama, done struck Shaw'ses town.
Well, they tell me the water done struck Shaw'ses town.
(Boy, I'm goin' to Vicksburg.)
Well, I'm goin' to Vicksburg, on a high up mound.
I am goin' above the high water where levees don't never overflow.
Well, now, I'm goin' over the hill where water, oh, it don't never overflow.
(Boy, it sure hit this County and everything was drownin' in Stoneville.)
Bolivar County was inchin' over in Tallahatchie's shore.
(Boy, I went to Tallahatchie and they's drownin' over there.)
Lord, the water have done rushed all over that old Jackson road.
Lord, the water have done raised up, over that Jackson road.
(Boy, it's got in my clothes.)
I'm goin' back to the hilly country, won't be worried no more.
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6.1 I give it in full, but he sings 'where levees don't nev' o'erflow'. The usual 'where levees don't never flow' sounds fine, but makes Charley stupid, I think.
6.2 Similarly, this is 'don't nev' o'erflow'.
6.3 The line ends in a fairly clear 'l', and rules out 'Stover' or 'inched over'. Similar arguments justify the line as it is.
7.1 He sings 'rushed all o'er'(?).
HIGH WATER EVERYWHERE - PART II
Backwater at Blytheville, backed up all around.
Backwater at Blytheville, done took Joiner town.
It was fifty families and their children, some of them sink and drown.
The water was risin' up in my friend's door.
The water was risin' up in my friend's door.
The man said to his womenfolk, "Lord, we'd better go."
The water was risin', got up in my bed.
Lord, the water was rollin', got up to my bed.
I thought I was takin' a trip, Lord, out on the bed where I slept.
Oh, I can hear the high waters flow, flowin' up on my door.
(You know water. Whoooosh. You can hear it.)
I hear the high waters flowin', Lord, I was sinkin' down.
(Whooosh.)
I couldn't get no boat, they're lettin' them sink on down.
So high the water risin', airplanes soon came down.
Sayin' the water was risin', airplanes was all around.
(The water was all around.)
It was fifty men that was killed there, floods were sinkin' them down.
Oh, high water, Lordy, women and groanin' men drown.
Oh, high water, women and children sinkin' down.
(Lord have mercy on them.)
I couldn't see nobody's home, and wasn't no one to be found.
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3.3 Although 'bed where I slept' (sung 'bed wh'I slep') fits, he is vague enough to have the same said for 'big ice sled'. I find the former makes more sense ? he wasn't going anywhere. The water was up to his bed and he thought etc..
4.1 'waters flow, flowin' up' has a clear 'f', here and in 4.3, and rules out horns blowin'.
4.2 This line is clear, making high water the subject of the verse. The 'whoosh' sound of the water, protracted in this line, is repeated in 4.4, and is not just breathing (which doesn't occur elsewhere like this.).
5.4 I rule out 'children' for 'killed there' because of the 'k' and 'r' (making it 'kilder'!)
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FWIW here's what I hear in a couple lines (some nitpicking):
HIGH WATER PART ONE
1.2 . . . at Sumner drove . . .
1.3 . . . done struck through this town
4.2 . . . water done Lordy, levee broke . . .
5.3 . . . 'fore I have mind [prob should be 'while I have a mind']
6.1 I am going after that water where levee's don't ever flow
WHO KNOWS?
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Just to muddy these flood waters further here?s David Evans?s transcription from his chapter "High Water Every Where" (p. 3-75) in Nobody Knows Where The Blues Come From: Lyrics And History (Ed. R. Springer, Mississippi UP, 2006). Over to the brains trust for further debate:
Part 1
I. The back water done rose all around Sumner, Lord, drove me down
the line.
Back water done rose at Sumner, drove poor Charley down the line.
And I'll tell the world the water done struck Drew'ses town.
2. Lord, the whole round country, Lord, creek water is overflowed.
Lord, the whole round country, man, it's overflowed.
(Spoken: You know, I can't stay here. I'm . . . I'll go where it's high, boy.)
I would go to the hill country, but they got me barred.
3. Now looky here now at Leland, Lordy, river was rising high.
Looky here, boys around Leland tell me river is ragin' high.
(Spoken: Boy, it's rising over there. Yeah.)
I?m gonna move over to Greenville. Bought our tickets. Good-bye.
4 Looky here, the water dug out, Lordy (Spoken: Levee broke), rose most
everywhere.
The water at Greenville and Leland, Lord, it done rose everywhere.
(Spoken: Boy, you can't never stay here.)
I would go down to Rosedale, but they tell me it's water there.
5. Lord, the water now, mama, done struck Shaw'ses town.
Well, they tell me the water done struck Shaw'ses town.
(Spoken: Boy, I'm going to Vicksburg.)
Well, I'm going to Vicksburg on a high[er] mound.
6. I am going out on high water where land don't never flow. [sic]
Well, I m going on a hill where water, oh, it don't never flow.
(Spoken: Boy, Sharkey County and Issaquena's drowned and inched over.)
Bolivar Country was inchin' over in Tallahatchie's shore.
(Spoken: Boy, I went in Tallahatchie. They got it over there.)
7. Lord, the water done rushed all over that old Jackson Road.
Lord, the water done raised up over the Jackson Road.
(Spoken: Boy, it got my clothes.)
I?m going back to the hill country. Won't be worried no more.
Part 2
1. Back water at Blytheville, backed up all around.
Back water at Blytheville, done struck Joiner town.
It was fifty families and children. "Tough luck; they can drown."
2. The water was rising up in my friend's door. (X2)
The man said to his womenfolk, "Lord, we'd better go."
3. The water was rising, got up in my bed.
Lord, the water was rolling, got up to my bed.
I thought I would take a trip, Lord, out on the big ice sled.
4. Oh, I hear the horn blow, blowin' up on my shore.
(Spoken: You know, I couldn't hear it.)
I heard the ice boat, Lord, was sinking down.
I couldn't get no boat, so I let 'em sink on down.
5. Oh-ah, the water rising, islands sinking down.
Sayin' the water was rising, airplanes was all around.
(Spoken: Boy, they was all around.)
It was fifty men and children. "Tough luck; they can drown."
6. Oh, Lordy, women is groanin' down.
Oh, women and children sinkin' down.
(Spoken: Lord, have mercy.)
I couldn't see nobody home, and wasn't no one to be found.
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David Evans's transcription from c. 1984 (in his "Charley Patton--Conscience of the Delta" pp. 111-214 in The Voice of the Delta--Charley, ed. Robert Sacre (1987)) is as follows:
Part 1
I. The back water done rolled, Lord, and tumbled, Lord, drove me down
the line.
Back water done rolled and tumbled, drove poor Charley down the line.
Lord, I'll tell the world the water done struck Drew's town.
2. Lord, the whole round country, Lord, creek water is overflowed.
Lord, the whole round country, man, it's overflowed.
Spoken: You know, I can't stay here. I'm bound to go where it's high, boy.
I would go to the hill country, but it's got me barred.
3. Now looky here now, in Leland, Lord, river is rising high.
Looky here, boys around Leland tell me river is ragin' high.
Spoken: Boy, it's rising over there. Yeah.
I?m going over to Greenville. Bought our tickets, good-bye.
4 Looky here, the water dug out, Lordy, levee broke, rolled most
everywhere.
The water at Greenville and Leland, Lord, it done rose everywhere.
Spoken: Boy, you can't never stay here.
I would go down to Rosedale, but they tell me there's water there.
5. Lord, the water now, mama, done struck Shaw's town.
Well, they tell me the water done struck Shaw's town.
Spoken: Boy, I'm going to Vicksburg.
Well, I'm going to Vicksburg on a higher mound.
6. I am going out dry water where land don't never flow. [sic]
Well, I m going on a hill where water, oh, it don't never flow.
Spoken: Boy, Sharkey County and Issaquena's drowned and inched over.
Bolivar Country was inchin' over in Tallahatchie's shore.
Spoken: Boy, I went in Tallahatchie and it got it over there.
7. Lord, the water done rushed all down old Jackson Road.
Lord, the water done raised up over the Jackson Road.
Spoken: Boy, it stopped up my clock. (?)
I?m going back to the hill country. Won't be worried no more.
Part 2
1. Back water at Blytheville, backed up all around.
Back water at Blytheville, done struck Joiner town.
It was fifty families and children. Tough luck, they can drown.
2. The water was rising up in my friend's door.
The water was rising up in my friend's door.
The man said to his womenfolk, "Lord, we'd better go."
3. The water was rising, got up in my bed.
Lord, the water was rolling, got up to my bed.
I thought I would take a trip, Lord, out on the big island.
4. Aw, I hear the horn blow, blowing up on my shore.
Spoken: You know, I...couldn't hear it.
I heard the lifeboat, Lord, was sinking down.
I couldn't get no boat, so I let 'em sink on down.
5. Oh-ah, the water rising, islands sinking down.
And the water was rising; airplanes was all around.
Spoken: Boy, they was all around.
It was fifty men and children. Tough luck, they can drown.
6. Oooh, Lordy, women is groaning down.
Oooh, women and children sinking down.
Spoken: Lord, have mercy.
I couldn't see nobody home, and wasn't no one to be found.
Evans's remarks on the song at pp. 194-195 are as follows:
"Part 1 of the song is set in Mississippi and portrays mainly the sense of confusion and mounting fear of someone caught in the Delta with the water rising aroung him in all directions. Patton's description is not tied to any one location. Instead he becomes a kind of "Delta everyman," constantly changing his mind about where to go as he hears fresh reports of rising water. This must have been the real experience of thousands of people like Patton. Typically, Charley concentrates on this rather odd matter. His phrase, "I'll tell the world", in the last line of stanza 1 should probably be taken quite literally. The attention of the world was fixed on this disaster, and Patton here sets himself up as a spokesman for thousands of Delta residents who had no other voice to tell their story to the world. Following an amusing mistake in the first line of stanza 6, he introduces a remarkable image of entire counties being literally carried away by the water and deposited on the shore of another county. The mood of fear and confusion in Part 1 changes to a mood of stark terror in Part 2. No longer is he able to compare reports and ponder where to go to find higher ground. Now the water is up to the singer's bed, and the only hope is for rescue. Part 2 is set in Arkansas and evidently is based on the experience of friends of Patton (cf. stanza 2), although typically Charley sings some verses in the first person as if he himself had experienced the events. In truth, there wasn't much difference. Those with access to boats became rescuers. Those without boats hopefully became rescued. Charley paints a grim picture of islands being created and then submerged by the rising water, rescue boats blowing horns and people unable to hear them, a lifeboat itself sinking in the flood, and reconnaisance planes flying overhead unable to offer any assistance. One lifeboat, the Pelican, did, in fact, sink when it was drawn into a crevasse in the levee near Helena, Arkansas, drowning eighteen refugees. The mood of helplessness that Patton depicts of both the victims and the rescuers is awesome and terrifying. The final chilling stanza, with its imagery of complete devastation and an absence of life anywhere, is one of Patton's greatest musical moments and one of the greatest in all of recorded blues."
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I hear,
'Some day I'll be with the Infant Child, some day, some day.'
not
'----in the entrance here----'.
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Thanks, Bunker Hill and mtj3. I have seen the version quoted by mtj3, and similar ones like Bunker Hill's quote, which is why I was adding notes at what I reckoned to be controversial points. Charley's diction is hardly the clearest, and what I'm looking for is some considered endorsement or rejection of the matters mentioned, as well as other variations in the lyrics.
Cheapfeet has some valid points, and I wouldn't call it nitpicking ? not with Charley! My comments in brackets)
1.2 . . . at Sumner drove . . .(I can hear both 'around' and 'at'. I'm inclining to 'at', now. 1.1 is definitely 'around')
1.3 . . . done struck through this town (Again, 'through this' and 'Drew'ses' are both arguable, and I'm unsure.)
4.2 . . . water done Lordy, levee broke . . . (If 4.1? there are five syllables where you have 'Lordy', and if 4.2, I don't hear this.)
5.3 . . . 'fore I have mind [prob should be 'while I have a mind'] ( I now hear 'FOR THEIR high up mound'.)
6.1 I am going after that water where levee's don't ever flow (I hear this as ''bove the high water where levees don't nev' o'erflow' ? both 'n's are clear in latter part. I admit to hearing only the slightest trace of 'o' in 'nev' o'erflow, and wouldn't argue a lot with anyone insisting on 'never'. My defence is one of sense.)
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Some years late(!), but this is what I hear for the three items. There's quite a few places with differences, so I've given them in full. Where I think some of my suggestions may be controversial, I've given notes at the bottom of each to try and justify the differences. I've given the 'Alabama' chorus each time because it differs a lot from verse to verse.
GOING TO MOVE TO ALABAMA
1
(SPOKEN I'm gonna move, don't wanna live 'round here.)
2
I'm gonna move to Alabama.
I'm gonna move to Alabama.
I'm gonna move to Alabama.
To make Georgia be our home.
3
Ah she's long and tall.
Treats you ever so mean makes a panther squall.
I have to move to Alabama.
Have to move to Alabam'.
I have to move to Alabama.
To make Georgia be our home.
4
I'm goin' to show you Cormorant women how I feel.
Gonna get me a Hernando woman 'fore I leave.
Then I will move to Alabama.
Then I will move to Alabama.
Then I will move to Alabama.
To make Georgia be our home.
5
Sayin', mama got the washboard, my sister got the tub.
My brother got the whiskey, and mama's got the jug.
Gonna move to Alabama.
I'm gonna move to Alabama.
I'm gonna move to Alabama.
To make Georgia be our home.
6
Well, these evil women sure make me tired.
Got a handful of gimme, mouthful of much obliged.
You must have been to Alabama.
You must have been to Alabama.
You must have been to Alabama.
To make Georgia be your home.
7
Well, I got a woman, she's long and tall.
The way she wiggles, she makes a panther squall.
She's gonna move to Alabama.
Have you been to Alabama?
Have you been to Alabama?
To make Georgia be your home.
8
Sayin' mama and papa both went a walk.
And left my little sister standin' at the waterin' trough.
Have you ever been to Louisiana?
Have you been to Alabama?
Have you been to Alabama?
To make Georgia be your home.
9
My mama told me
Never love a woman like she can't love you.
You ever been to Alabama?
Have you been to Alabama?
Have you been to Alabama?
To make Georgia be your home.
10
I got up this mornin', my hat in my hand.
Didn't have no other room, had another man.
I'd know him if he'd been to Alabama.
Have you been to Alabama?
Have you been to Alabama?
To make Georgia be your home.
1.1 Very faint. The first part is clear, but less so at the end. I'm using DOCD5009, and find Yazoo LP 1020 not so good, but this is probably because it's getting worn.
4.1/2 'Cormorant' (i.e., Lake Cormorant) has a 't' at the end, ruling out 'common', and 'Hernando' has a reasonable 'ando'. A main point is that the verse makes sense: these are places in Northern Mississippi about a dozen miles apart, Hernando's population being around 1200 (1950), with Lake Cormorant having little more than double figures (with a Post Office.).
10.1/2 I think it's his woman's house, where he's having to leave because she has a new man, and there isn't a spare room for CP.
GENERAL If the transcription is correct, he thinks Georgia is a place in Alabama (or Alabama a place in Georgia), or more likely, that Alabama is so bad that anyone would travel on to the next State.
ELDER GREENE BLUES - take 1
1
Greene disa', Elder Greene is gone.
Gone away on down the country with his long coat on.
2
With his long coat on, with his long coat on.
Gone away down the country with his long coat on.
3
Elder Greene told the deacon, "Let's go down in prayer.
There's a big association in New Orleans, come and let's go there."
4
"Come and let's go there, come and let's go there.
There's a big association in New Orleans, come and let's go there."
5
I like to fuss and fight, I like to fuss and fight.
Lord and get sloppy drunk off a bottle in bond, and walk the streets all night.
6
And walk the streets all night, and walk the streets all night.
Lord and get sloppy drunk off a bottle in bond, and walk the streets all night.
7
Elder Greene told the deacon, "Settle down in prayer.
You can take everything that I've got, this little brownie here."
8
Sell her most anywhere, sell her most anywhere.
You can take her and sell her in the world anywhere.
9
Elder Greene is gone, Elder Greene is gone.
Gone way down the country, with his long coat on.
10
If you've got a woman, fall easy to your hand,
Keep her away from mama walkin', my empty arms is lonesome, Molly Cunningham.
11
Molly Cunningham, Molly Cunningham.
Keep her away from mama walkin', my empty arms is lonesome, Molly
12
I like to fuss and fight, I like to fuss and fight.
Lord and get sloppy drunk off a bottle in bond, and walk the streets all night.
1.1 'Disappeared' seems to be the unfinished word completed on guitar. Take 2, following, confirms this.
10.2 and 11.2 I don't have much faith in 'mama walkin''(or 'workin''), but if (unlikely) correct, it would be warning others off mama's beat. Both verses are tentative. Anyone got anything better?
GENERAL 'I like/love to fuss' ?difficult?
ELDER GREENE BLUES ? take 2
1
Elder Greene disa' (SPOKEN disappeared), Elder Greene is gone.
Gone away down the country with his long coat on.
2
With his long coat on, with his long coat on.
Gone away down the country with his long coat on.
3
Elder Greene told the deacon, "Let's go down in prayer.
There's a big association at New Orleans, come and let's go there."
4
And if you've got a woman, fall easy to your hand,
Keep her away from mama walkin', my empty arms is lonesome, Molly Cunningham.
5
Well, the creek's all muddy, and it soon be all dry.
If it wasn't for the sweet-mouthed colored boy, all the women would
6
Don't you leave me here, don't you leave me here.
Lord, I don't care where in the world you go, don't you leave me
7
I like to fuss and fight, I like to fuss and fight.
Lord, and get sloppy drunk from a bottle in bond, and walk the streets all night.
8
And walk the streets all night, just walk the streets all night.
Lord, and get sloppy drunk from a bottle in bond, and walk the streets all night.
9
Well, the creek's all muddy, and it soon be all dry.
If it wasn't for the sweet-mouthed colored boy, all the browns would die.
10
On the road somewhere, on the road somewhere.
You can find highway robbers, on the road somewhere.
11
On the road somewhere, on the road somewhere.
You can find highway robbers, on the road
12
Elder Greene told the deacon, "Let's go down in prayer.
You can find robbers, on the road somewhere."
1.1 I think 'disappeared' is likely spoken by Henry Sims.
4.2 Same remarks as for 'mama walkin'' in take 1 notes.
5.2 'women would die.' would be the completed line. Compare 9.2.
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I always thought it was '& get sloppy drunk off a bottle & ball & walk the streets all night . . .'
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I always thought it was '& get sloppy drunk off a bottle & ball & walk the streets all night . . .'
I try to stay away from lyric discussions but I'm sure it is "in bond" and cited as such by David Evans as long ago as 1969 in the Blues World Charlie Patton booklet. I think the reference is to liquor acquired/stolen from a bonded warehouse but I may be wrong in that.
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My understanding is that "bottle in bond" referred to commercial liquor, as distinguished from moonshine, corn liquor, white whiskey etc. Here's a note from a piece about Prohibition:
This commercial liquor was commonly called ?bottle in bond? or just
?bond? whiskey, from the distillers? term ?bottled in bond,? which indicates 100
proof whiskey that has been aged under government supervision for at least four
years.
I don't know that Patton and Co. would have been rigorous about checking whether the distillers' standards were adhered to. Basically bottle in bond referred to anything with a real cap, I think.
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I'm goin' to show you Cormorant women how I feel.
Gonna get me a Hernando woman 'fore I leave.
4.1/2 'Cormorant' (i.e., Lake Cormorant) has a 't' at the end, ruling out 'common', and 'Hernando' has a reasonable 'ando'. A main point is that the verse makes sense: these are places in Northern Mississippi about a dozen miles apart, Hernando's population being around 1200 (1950), with Lake Cormorant having little more than double figures (with a Post Office.).
According to Gayle Dean Wardlow ("Can't Tell My Future: The Mystery of Willie Brown"), the locals around Lake Cormorant pronounce it "Carmen." And if you speak a non-rhotic variety of English, as Patton did, "Carmen" and "common" sound the same.
For what it's worth.
[Side note: Son House and Willie Brown hung out together at Lake Cormorant; Garfield Akers and Joe Callicott were from Hernando. Wardlow's informant, Willie Moore, says that he and Willie Brown enlisted for World War I in Hernando.]
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Bricktown Bob, great information. I didn't know any of that. Thanks.
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Hello,
I am preparing some songs for a halloween gig and would like to do Mean Black Cat Blues by Charley Patton. Could I ask you assistance with the lyrics? Below is what I've transcribed. I'm at a loss for the last line of the first verse. The last lines of the 2nd & 3rd verse are what I hear although neither makes much sense. Your suggestions/corrections would be appreciated.
https://youtu.be/XWPqIMF60v0
Mean Black Cat Blues
By Charley Patton
It?s the mean black cat, lordy, clawing at my door
It?s the mean black cat, lordy, clawing at my door
I?m going down to Louisana where I .. no more
It?s the mean black cat, lordy, all around my bed
It?s the mean black cat, lordy, all around my bed
I?m gonna get up in the morning till that black cat dead
He?s a mean black cat, lordy, lordy he?s wearing my clothes
He?s the mean black cat, lordy, I mean he?s wearing my clothes
If you want him on my levee let that black cat go
First time I met you I said you was a crook
First time I met you said you was a crook
You got a new way of loving well it ain?t in the book
Next time I met you, you know I made a hit
Next time I met you, you know I made a hit
But you got a new way of loving well it did not quit
Thanks
Papa John
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Welcome Papa John,
Here's my take. I'm not quite certain of a couple things like "you was a crook" and "made a hit". In the "want anymore of my lovin'" line in the 3rd verse, it's sort of "wan'y'mo' my lovin'" -- rushed with a couple swallowed syllables. Also, in the first verse, it sounds like he's saying "crawling" more than "clawing", though either would work.
It?s the mean black cat, lordy, clawing/crawling? on my door
It?s the mean black cat, lordy, clawing/crawling? on my door
I?m goin' down to Louisana where I won't hear it whine no more
It?s the mean black cat, lordy, all around my bed
It?s the mean black cat, lordy, all around my bed
I?m gonna get up some morning, kill that black cat dead
He?s a mean black cat, lordy, lord he?s wearin' my clothes
He?s the mean black cat, lordy, I mean he?s wearin' my clothes
If you want anymore o' my lovin', let that black cat go
First time I met you I said you was a crook
First time I met you said you was a crook
You got a new way of loving, swear it ain't in no book
Next time I met you, you know I made a hit
Next time I met you, you know I made a hit
But you got a new way of loving, swear it just won't quit
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I'm using the JSP box set to transcribe what I hear Patton singing. Try as I might, I can't figure out the first verse due to all the surface noise, but the rest of the lyrics are not so hard for me to hear. Perhaps I listen to too much Blues :D Please let me know what you think, everyone. It's interesting how this song, or at least the "red river" verse, is normally considered to be closely associated with Buddy Moss and Josh White, and not with the more "pure" Delta Blues. Perhaps the early Delta guys learned the "red river" verses from the Piedmont players.
https://youtu.be/sEnbpapaGPA
First verse?
Which a-way, which a-way, do the red river run?
Which a-way do the red river run?
Which a-way, which a-way, do the red river run?
Which a-way do the red river run?
I was sittin'-in' down, playin' some coon can, I lose all my money but the one little lousy dime
Talking about my woman, could (couldn't?) hardly cool my head
Talking about my woman, could (couldn't?) hardly cool my head
The big Jim Lee, done shine your (her?) light on me and if I be lucky, Lord, I've been redeemed
I went way up the river, looked it up and down, and if I win your money, Lord, I'm water bound
If you didn't want me, don't dog me so, I can get me a woman before you leave my door
Which a-way, which a-way, do the red river run?
Which a-way, which a-way, do the red river run?
Some morning, some morning, Lord, it won't be long, you're gonna call for me, baby, and I'll be gone
Where were you, oh mama, when that big boat left the shed? I was way upstairs in my cold old iron bed
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Here are some suggestions, doctorpep. Verse 1, very difficult, could be totally wrong, but maybe somebody could develop from that. The Revenant album notes have 'I DONE HEARD MIGHTY RUMBLIN' (DEEP DOWN IN THE GROUND)', and ????? for line 2. 'MIGHTY RUMBLIN' sounds fine, but not the rest, but again, it could be a starting point for anyone having a go. In verse 5, 'COON MY HAND' I took from Revenant, assuming it to be a coon can phrase in playing, but I don't really know if this is so.
1.1 WELL, I LOVE A HIGH YELLOW WOMAN, SHE DON'T [SKIPS
1.2 GROOVES] SO I'M GONNA TRY THIS BROWNSKIN GAL FOR A WHILE
4.1 I was KITTYING, KNEELIN' down, playin' some coon can
5.1/2 STUDYIN' about my woman, COULDN'T hardly COON my HAND
6.1 The big Jim Lee, COME shine your ARC-LIGHT(??) on me
6.2 And THE SIDE WHEEL KNOCKIN', Lord, I've been redeemed
7.1 BIG JIM LEE up the river, BACKIN' up and down
7.2 And THE SIDE WHEEL KNOCKIN', Lord, I'm water bound
8.1 If you didn't want me, YOU OUGHTA BEEN TOLD me so
8.2 FOR I'LL get me a woman before you CAN leave my door
10.1 Some MORNIN', some MORNIN', LORDY, it won't be long
11.1 Where were you, oh mama, when that 'FRISCO left the shed?
11.2 I was LAYIN' upstairs in my cold old iron bed
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Almost two years since this has been discussed. One of these days, I'll stop bumping these ancient threads :)
To back up the possibility of the line in "Elder Green Blues" being (as I've actually come to hear it):
"I like to get sloppy drunk on a bottle and ball and walk the streets all night"
In B.B. King's tune "Lucille", when he is telling the story of how Lucille was named he says:
"....two guys started a ball, y'know? They was brawlin'...."
I've since taken that to be what Patton was saying (or trying to say) in the line in question. Basically that he likes to get drunk on whiskey and start a brawl. Might explain how he got his throat slashed in '32, huh?
Whaddya think, fellow Patton enthusiasts?
Lefty :)
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I've always heard 'bottle & ball/bawl & walk the streets all night.' I've been there. So drunk you're yelling into the night, waking up the citizenry. Everytime I hear this line I smile.
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I wouldn't try to decipher this line just based on Patton's elocution. :P
Just for reference. http://en.wikipedia.org/wiki/Bottled_in_bond
I went home the other night, I'd swore I wouldn't drink no more
Until saloons come back with bottled in bond as in the days of long ago
-Jim Jackson, Bootlegging Blues
Give me one more drink, drink of that bottle in bond
Give me one more drink, drink of that bottle in bond
And I will tell everything just as soon as I get back home
- Memphis Minnie, Drunken Barrelhouse Blues
I'm sure there's many more examples. And someone will correct me if I'm wrong but "bottled in bond" in blues lyrics like these would distinguish the hooch as a higher class than corn liquor/moonshine etc.
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Correct. See the Wardlow/Calt Patton bio for a detailed, and to me anyway, convincing discussion. I loaned mine to someone and it never came back, otherwise I'd scan and post the excerpt.
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Has anyone deciphered Patton's Prayer of Death? My copy is pretty static laden. I'd really appreciate it if anyone has them. I wouldn't turn my nose up at a tab either, for that matter, if someone wanted to post one. Thanks.
https://youtu.be/crDECVer1-U
https://youtu.be/vCwD7r9qTbo
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Part 1:
The prayer of Death
Toll the bell
Call on them to toll the bell again
Tell them sing a little song like this :
Take a stand, take a stand, take a stand
If I never, never see you any more
Take a stand, take a stand, take a stand
I'll meet you on that other shore
I got his word, etc.
I'm satisfied, etc.
I have a right, etc.
I done left over here, etc
I'll meet you on that kingdom shore
I got his word, etc.
Now here my hand, etc.
Here where I hear old reverend (?) that stopped and went in prayer. Now hear him calling the Lord : "Oh Lord, oh Lordy."
Part 2:
Oh, the prayer of death.
Oh Lord, oh, oh, oh, Lordy.
I know you been calling him.
Yes, the wages of sin are death,
The gift of God, eternal life.
Mmm, Lordy. He said :
"You're a rock in a weary land,
a shelter in the time of storm"
Mmmm, okay, amen,
Then all of them (?) get to moaning :
"Lord have mercy"
Oh, won't you save me, Lord
Ever since my mother been dead (x3) (he sings this as "every")
Trouble been rolling all over my head
I've been 'buked and I've been scorned (x2)
I've been 'buked and I've been scorned, good Lord,
I've been talked about, sure as you born
I've been 'buked and I've been scorned (x3)
I've been talked about, sure as you born
Oh, hold to God's unchanging hand
Hold to God's unchanging hand
Build your hopes on things eternal
Hold to God's unchanging hand
Wont you hold to God's unchanging hand
Hold to God's unchanging hand
Build your hopes on things eternal
Hold to God's unchanging hand
The last word of a line is often not sung, but played with the slide instead.
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If you're interested, New Roanoke Jug Band did a version of Prayer of Death I, as Jug Band Prayer of Death. We coupled it with Rev. Clayborn's "This Time Another Year".
You can hear the track here : http://nrjb.bandcamp.com/ (http://nrjb.bandcamp.com/)
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Nice track Scott.
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Thanks. It's not me singing, though I do sing it now that NRJB is no longer performing. I played slide on the track.
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I just got the Yazoo Charlie Patton 'Primeval Rags, Blues & Gospel Songs' & I'm hearing some stuff on it that I haven't heard before. I think.
Is there a need for a Patton lyric thread with there being a complete transcription of his lyrics with the Revenant set? Does anyone have the Revenant 'Screamin' & Hollerin' set & what is your opinion of their accuracy?
https://youtu.be/M43DeeNIqw4
'34 Blues - Charlie Patton
I ain't gonna tell nobody, '34 have done for me
I ain't gonna tell nobody what '34 have done for me
Christmas rolled up?, I was broke as I could be
They run me from Will Dockery's, ?took me from Herman Jett's job? (x2)
(sp: 'Buddy what's the matter?')
I went & told/I wanna 'told Papa Charlie I don't want you hanging 'round on my job no more
Further down in (the) country, it('ll) almost make you cry (x2)
(sp: My God, chillen?)
Women & children flagging freight trains for rides
Herman got a little six Buick, big six Chevrolet car
Herman got a little six Buick, little six Chevrolet car
(sp: 'My God what sort of car?/of power?)
And it don?t do nothing but follow behind Harvey Parker?s plow
Ah it may bring sorrow Lord & it may bring tears (x2)
Oh Lord Oh Lord, 'happy to/let me see a brand new year
Any suggestions welcome.
The Herman Jett, Harvey Parker references I got from Elijah Wald here:
http://www.elijahwald.com/patton.html (http://www.elijahwald.com/patton.html)
I found about 8 websites with this transcription. Some stuff really wrong here. Willie Brown?
I ain't gonna tell nobody, '34 have done for me
I ain't gonna tell nobody what, '34 have done for me
Took my roller, I was broke as I could be
They run me from Will Dockery's, Willie Brown, I want your job
They run me from Will Dockery's, Willie Brown, I want your job
(spoken: Buddy, what's the matter?)
I went out and told papa Charley,
'I don't want you hangin' round on my job no more'
Fella, down in the country, it almost make you cry
Fella, down in the country, it almost make you cry
(spoken: My God, children!)
Women and children flaggin' freight trains for rides
Carmen got a little six Buick, big six Chevrolet car
Carmen got a little six Buick, little six Chevrolet car
(spoken: My God, what solid power!)
And it don't do nothin' but, follow behind Holloway's farmer's plow
And it may bring sorrow, Lord, it may bring tears
It may bring sorrow, Lord, and it may bring tears
Oh, Lord, oh, Lord, let me see your brand new year
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Hi Mike,
I think the lyric transcriptions in the Revenant set are very strong, but disagree in a couple of instances. I think Patton's lyrics are hard enough to hear and open enough to interpretation that it is valuable for folks to keep taking a crack at transcribing them. As with Lemon's lyrics, you never know when one of the long-standing "mystery lines" is going to be heard and understood clearly for the first time.
I can't remember all the lyrics to "'34 Blues", but I do remember my all-time favorite spoken aside, from the verse
Herman's got a little six Buick and a Chevrolet car
SPOKEN: My God, what solid power!
I love the way Charley Patton delivers that line.
All best,
Johnm
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I remember that one line being transcribed in the Revenant as something like "They run me from Will Dockery's, drove me from Herman Jett's door", which seemed to make sense.
Chris
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Hi, great forum!
i have returned to an old chestnut, the lyrics of Jim Lee Blues pt 1, after leaving it alone for some time, anyway
here's what i got so far (not much turns up in google searches on this one, I had a learned afficianado help me on another forum some years ago, but we never had all the lyrics down pat)
the words in italics are the ones i am not sure about the most, any hints would be welcome :)
https://youtu.be/P9JfEy_2nCM
I went away up the river down 40 miles or more
I think I heard that big Jim Lee blow
She blowed so lowdown like she wasnt go blow no more
It blowed just like my baby gettin' on board
I'm a poor ol' boy
and a long way from home
and you callin' me to leave my plumb good house
my Mama is dead
and my father well could be
I ain't got nobody to feel and care for me
If you dont want me. just give me your hand
mmm i'll get a woman quick as you can a man
I gotta key on a wheeler
but i bowed down and ploughed
but a ploughin', good man, bring him down to he jump in mud
I lay my head in a fever womans arms
and she lay her nappy head in mine
when I got a'rested what you reckon was my fine?
Say they give all coons eleven twenty nine
say go on moon shine
dont pay me no mind
coz i did not let no coons in my
a let big Jim Lee keep a-backin up and down
she'd stand by strong man if ya water bound
TIA!
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Been workin' on this myself lately. Cool the way he shifts between the two arrangements, with somewhat different chording. With help from Bob McLeod and Dick Spottswood. Bent brackets for questioned parts.
(Check end of topic for latest version)
Jim Lee Blues Part 1
I went away up the river down forty mile or mo?
I think I heard that big Jim Lee it blow
She blow so lonesome, like she wadn? gon blow no mo?
It blowed just like my baby gettin? on boa'
I?m a po? ol' boy an' a long way from home
And you callin? me to leave my plumb good [hear'(t or th)]
My momma is dead an' my father well to be
I ain?t got nobody to feel and care for me
If you don? want me just give me your han?
?N? I?ll get a woman quick?s you can a man (snork)
I got a [kid] on a wheeler, got a [bouncer] on the plow
Got a plumb good man bringin? down the Johnson bayou
I lay my head in a ?ceitful woman?s arm
And she lay her nappy head in mine
When I got ?rrested, what you reckon was my fine
They give all coons ?leven twenty nine
Big [boys] ?n? shines, don?t pay me no min'
?Cause I do not let no coons in mine
Well that big Jim Lee keeps a backin? up an' down
She?s sand bar struck, man is she water boun'
Wax
P.S. Welcome to Weenie Campbell.
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Thanks for the welcome Wax!
thats some great audio deciphering, and when i listen/compare your interpretation mostly makes sense too! i definitely agree on the heart or hearth in third stanza, that occurred to me also, but i went with house for some reason?... not being familiar with the localised vernacular of the era. let alone local American terminology/nicknames of CP's region (i'm Australian) i am probably finding it a lot tougher than you lol
It was Adrian Freed on IGS that helped me a few years back, i should add..
i took the phrase i gotta key on the wheeler to mean possibly, he had a room on the riverboat, living the high life, but went back to farming for some reason, dunno anyway, its great fun trying :)
cheers!
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i was thinking, just for the record, i know you guys know it, but i am pretty sure this thread will turn up high in google searches for this song, as it does for other similar weenie campbell threads, Adrian explained what 11 29 meant, it might help someone like me, and i quote..
'11 29 means a sentence of 1 year - 2 days. This means the convict would be spared of a state penetentionary and go to local county jail.'
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Wax -- I hear a couple of things a little differently, see what you think:
1st verse:
I WAS way up the river SOME forty mile or mo'
I think I heard that big Jim Lee blow
3rd verse:
And you CAUSIN' me to leave my plumb good [hearth is possible, but I think he just says home again and drags it out]
6th and 9th verse:
I agree on these -- the beginning of verse 9 is a toughie
last verse:
She sandbar struck, man IF she water boun'
Chris
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Slide - As I said, kudos to Bob McLeod (Document), who posted here as "dingwall" and Dick Spottswood (Revenant) for doing the heavy lifting. I think Bob had most of it. Too lazy to go check, but I think he had "Big boys 'n' shines" and "'ceitful woman's". Tho' I think both of them likely had inferior transfers. Again, Richard Nevins' remasterings (Yazoo) are revealing.
I don't think either of them had "bouncer". I think maybe he means something like he has a kid and a baby (bouncer) working for him, as in belonging to the woman sharecropper he is with at the time. Possibly I'm crazy, but I don't think it's "bowser" which at least one of them had. Could be something else entirely.
Yeah, I googled "eleven twenty nine" and found out it is still somewhat in use. I found several cases, all in the south east, in which this sentence was used in recent years. Mostly with drug convictions IIRC. But you are missing the point a bit. If the judge gave him a year and he went to the state pen then the county lost 11 months and 29 days of his labor, which, in many cases was the reason for his arrest. Yes, the convicts were grateful for being close to family, who might bring food, cigarettes, etc., but that had nothing to do with the judge's sentence.
Wax -- I hear a couple of things a little differently, see what you think:
1st verse:
I WAS way up the river SOME forty mile or mo'
I think I heard that big Jim Lee blow
Right, definitely both places. I was trying to make it "'bout forty mile or so." "Some" is right. But I think it is still "away".
3rd verse:
And you CAUSIN' me to leave my plumb good [hearth is possible, but I think he just says home again and drags it out]
Absolutely. Great ear. You could be right on the "home/hearth" thing, but I think I hear "har". Heck, I just like "hearth".
6th and 9th verse:
I agree on these -- the beginning of verse 9 is a toughie
last verse:
She sandbar struck, man IF she water boun'
Chris
I still hear a sibilance here, not a fricative. But it's tough. I listened at both 100% and 70% (as slow as I'll go) where I do hear the buzz of the "z" sound. Both speeds it sounds like "is" to me. The way it slides into "she". What do you think? I'll leave it for now.
So nobody blinked at "(snork)"? What a riot. The first time I heard it I took my headphones off to see if someone was standing behind me snuffling.
I'm gonna just restate what we have here. I like to see the history of these threads. I'll edit in a notice to check the bottom of the thread for the latest updates.
Jim Lee Blues Part 1
I was away up the river some forty mile or mo?
I think I heard that big Jim Lee it blow
She blow so lonesome, like she wadn? gon' blow no mo?
It blowed just like my baby gettin? on boa'
I?m a po? ol' boy an' a long way from home
And you causin? me to leave my plumb good [hear'(t or th)]or[ho'(me)]
My momma is dead an' my father well to be
I ain?t got nobody to feel and care for me
If you don? want me just give me your han?
?N? I?ll get a woman quick?s you can a man (snork)
I got a [kid] on a wheeler, got a [bouncer] on the plow
Got a plumb good man bringin? down the Johnson bayou
I lay my head in a ?ceitful woman?s arm
And she lay her nappy head in mine
When I got ?rrested, what you reckon was my fine
They give all coons ?leven twenty nine
Big [boys] ?n? shines, don?t pay me no min'
?Cause I do not let no coons in mine
Well that big Jim Lee keeps a backin? up an' down
She?s sand bar struck, man is she water boun'
Wax
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Slide - As I said, kudos to Bob McLeod (Document), who posted here as "dingwall" and Dick Spottswood (Revenant) for doing the heavy lifting. I think Bob had most of it. Too lazy to go check, but I think he had "Big boys 'n' shines" and "'ceitful woman's". Tho' I think both of them likely had inferior transfers. Again, Richard Nevins' remasterings (Yazoo) are revealing.
I knew i wasnt going to be the first person to wonder what the words were!, i loved that song well before i had a clue what he was saying lol, i was shocked when Adrian told me, he was using his original copy of a 78 to learn from, i think?, and i have used the andrew rose/pristine audio cd version from the start, slowdown software in small loops and all that. and i also have the JSP 5 cd set, which i listened to JLB part 2, as well the lyrics which are easier to figure i guess, hoping to find clues to help with first version - and that fits in with 'Big [boys] ?n? shines, ' with the search light on the Jim Lee mentioned in that one..
with ' I got a [kid] on a wheeler, got a [bouncer] on the plow' ..two thoughts, adrian was the one who i got the word 'key' from originally,
and he was using the 78 recording, ..and with bouncer on the plow, there was the modern invention of/and wider spread use of the stump jump plough happening about that time? i know i'm shooting in the dark here lol, anyway thankyou for all the wonderful info so far, your version becomes more and more stronger plausible case, after reading the background especially!
if i ever did a version, and i hope to, i think will do an amalgamation of the 2 pts, leaving out the offensive lines, its such a great number, with bulletproof vocal lines, i have even been able to make up my own unrelated lines, and i still enjoy doing it..but still would like to know it 100% first
cheers again Wax, extremely helpful for me!
PS was the Jim Lee a pleasure boat or a smaller working riverboat?
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Pretty sure Jim Lee was a working riverboat, part of the same line that had the Bob Lee (mentioned by Patton in "Hammer/Hammock Blues") and the Stacker Lee. There are quite a few mentions in the Calt/Wardlow bio of Patton. I googled and found this: http://www.riverboatdaves.com/owners/l.html#LEELI
Wax-- I did chuckle at the "snork" -- I remember when I first heard this track having to go back and listen again to see if I'd heard what I thought I had heard! It's mentioned in the bio too (as is Patton's mini-snork at the beginning of "Spoonful").
Chris
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Interesting thread...I read it this morning before heading out to work and looking over it again now while listening again to the tune.
Having difficulty adjusting my brain to hear a few of the words tho.
I always heard:
I lay my head in a sweet l'il woman's arms...
and in a later verse:
They give a coon seven-twenty nine.
Minor differences, which probably make little to no sense. I'm not trying to argue the point. I trust that the assertions made here are correct. Just wondering how I came up with it the way I did :)
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Pretty sure Jim Lee was a working riverboat, part of the same line that had the Bob Lee (mentioned by Patton in "Hammer/Hammock Blues") and the Stacker Lee. There are quite a few mentions in the Calt/Wardlow bio of Patton. I googled and found this: http://www.riverboatdaves.com/owners/l.html#LEELI
Wax-- I did chuckle at the "snork" -- I remember when I first heard this track having to go back and listen again to see if I'd heard what I thought I had heard! It's mentioned in the bio too (as is Patton's mini-snork at the beginning of "Spoonful").
Chris
thankyou Chris, makes sense!.. just out of interest, i live in a part of the world were similar riverboats were once the lifeblood of country around same time, and the lazy river (murray river - south australia) was the main rural highway in early days, often see paddle steamer riverboats from era when i visit the river which is often,, and they were ALL working boats back then, but some did a mixture of work.. carried passengers an stuff ..anyway i better shut up now
Wax i heard the noise too, i thought he was just phlemgy?
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Here's my take on Part 2. Take the first verse with a bit of a grain of salt, although I'm pretty certain of "nine go by."
I heard mighty rumblin', deep down [in the ground?]
[You can hear the ? 569? go by]
Which-a-way, which-a-way do the Red River run?
Which-a-way do the Red River run?
Which-a-way, which-a-way do the Red River run?
Which-a-way do the Red River run?
I was sitting [ing] down, playin' some coon can*
I lose all my money but the one little lousy dime
Studyin' 'bout my woman, couldn't hardly coon my hand
Studyin' 'bout my woman, could hardly coon my hand
The big Jim Lee come and shine her light on me
And the sidewheel knockin', Lord I been redeemed
Big Jim Lee up the river, backing up and down
And the sidewheel knockin', Lord I'm water bound
If you didn't want me, you oughta been told me so
For I get me a woman, 'fore you leave my door
Which-a-way, which-a-way do the Red River run?
Which-a-way do the Red River run?
Some mornin', some mornin, Lord it won't be long,
You gon' call my name, baby and I'll be gone
Where were you, oh mama, when that Frisco left the shed,
I was way upstairs in my cold old iron bed.
*The transcription in the Screamin' and Hollerin' set, which I looked at after this, has this line as "I was kidding, kneeling down..." which I don't think is right. It sounds to me as if Patton just sings the line wrong, meaning to lengthen "sitting" to last for the full part of the phrase, screwing up and just adding another in' suffix to fill out the line. He remembers and holds "backing" out properly in the rest of the song.
Also might be of interest: http://en.wikipedia.org/wiki/Conquian
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this thread just gets better!, thanks for pt ll and most illuminating explanations Chris
I have been back working on pt 1, and verse 6 - i cant make 'johnson bayou' work, even tho it fits so well geographically ect.
i have two ideas
'Got a plumb good man bring him down to his Johnson moor' ...as in moorings at johnson bayou?, but pronounced maa here by CP
but i like this better
'Got a plumb good man bring him down to his Junkin bar' ...as in maybe its decommissioned and sent for salvage, on some sandbar for convenience?
i'll keep trying :)
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Slideaway -- keep in mind that bayou is often pronounced "buy" in Mississippi. You can hear Skip James pronouncing it this way in '60s recordings of "Devil Got My Woman."
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ahh! ok Chris, shoulda guessed as much - ive only got the old original skip james stuff so far, i have that 60's album on my amazon wish list for some time now
cheers
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Lefty, Patton is very hard to hear. Just look at all the variations in transcriptions as better versions are found or better remasterings are made. It's easy to understand why you might have trouble with the differences between " 'leven" and "seven" or "(de)ceitful" and "sweet li'l"
As discussed above, eleven months and 29 days was the maximum sentence given to keep a prisoner from being taken to the state pen instead of the county farm. This was a somewhat common lyric.
The (de)ceitful woman is likely a reference to the fact that she's married, possibly to the plumb good man in the previous verse. At the risk of offending those who think all verses in Patton's songs have no connection with each other, I would suggest that these two verses go together and Patton is implying that her children and husband are all out workin' the fields while he is laying with her, and possibly getting food and money from her as well.
Slide, possibly the meaning of "bringin' down the Johnson bayou" is that he is drawing water off for irrigation. Just a wild guess, could be anything. Bayous are ephemeral. Sometimes they are separate lakes and other times the river will connect up and flow through them again. And they can even become the best navigation channel again.
Good work on Part 2, Chris. I don't have time to check it, probably till next week, but I will. and I'll check what Bob McLeod has to say, too.
Slide, to sing the song I change the first "coon" line to "The judge he give me 'leven twenty nine" and then I substitute the verse from Part 2 about the big Jim Lee shining it's light and him being redeemed for the other "coon" verse.
But I think that verse is tremendously interesting because it may be implying that he passed for white amongst the other prisoners in jail, again assuming this verse is connected to the previous. "Big boys 'n' shines" refers to other black prisoners. See the Tin Pan Alley song with the title or refrain "That's why they call me Shine" which I actually know best from Ry Cooder's version. Again, just a guess.
I'm currently rereading the Calt/Wardlowe bio, Chris, mostly looking for references to his right hand style (i.e. top tapping v. foot tapping, etc.) but I'll keep my eye out for that reference. BTW, if you know any other sources of discussion about his right hand, please let me know. I'm hoping to find the quote from Son House about it in there, but that might be from Dick Waterman somewhere else. Thanks.
Wax
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that is possibly the greatest bit of detective work/research and extrapolation i have ever witnessed Wax! i am am speechless in awe! sounds highly logical now when you put it like that, i knew this one needed someone with a U.S country blues PhD with a rosetta stone type situation, and have obviously given this some long serious thought, ..i was happy to just ape it phonetically in parts if that what i had to do lol, but to understand it like that, was beyond wildest expectations (i am well familiar with the Louis Armstrong version of shine) a little bit of blues history just before my eyes,
and it wouldnt surprise me if you are right about CP's writing, i already know he was some kind of strange, naturally occurring, one off unschooled genius, from learning some of his vocal/guitar parts, wouldnt surprise if it applied to everything he did..
cheers and respect
kearn
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I'm currently rereading the Calt/Wardlowe bio, Chris, mostly looking for references to his right hand style (i.e. top tapping v. foot tapping, etc.) but I'll keep my eye out for that reference. BTW, if you know any other sources of discussion about his right hand, please let me know. I'm hoping to find the quote from Son House about it in there, but that might be from Dick Waterman somewhere else. Thanks.
Wax -- when you say "that reference" here I wasn't sure what you were referring back to. I've read the Calt/Wardlow book many many times so I'd be glad to help out; did you mean a reference to the passing for white or talking about his right-hand style? One thing I do remember in the book is an indirect quote from Son House who claimed that Patton played "Down the Dirt Road" with a flatpick.
Chris
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Heh, heh, heh. I meant the reference to the "snork" you mentioned.
I have split this topic as we have gone into a discussion that would be more appropriate on the Licks and Lessons board. I cut, copied and reposted this post as it ties up a few thoughts pertaining to the lyrics. There is some further discussion about the "snork" intwined in the new thread: Charley Patton's Right Hand (http://weeniecampbell.com/yabbse/index.php?amp;Itemid=128&topic=6688.0)
I talked to Terry Robb while up in Portland and we both have entertained the thought that he could have played with a hybrid flat pick style, i.e. using the flat pick and a finger. I'm hoping to get together with Craig Ventresco, and discuss the possibilities with him, altho' I don't think he is that familiar with Patton's music. I talked to him briefly at a gig and showed him how I was doing Pony Blues (which has changed more since) and he was very interested. In DTDRB I do use my index fingernail virtually like a flat pick, backing it with my thumb, in several places, particularly the final little treble lick. I'm even starting to get the double time top tapping on that lick.
I had read a reference to House talking about Patton tapping the top, just mentioning that he did it. It was possibly on the pre war list, but I haven't been able to find it again. If I could find the original quote there might be more. Anything about his right hand is of interest.
I think I am pretty close now. Terry was really encouraging, and after hearing all his stories about so many evenings sitting around with Fahey trying to figure out Patton together I can't think of a better authority. Chezz is on board, too, suggesting I write an article, which is why I'm researching references and such.
Sorry for getting away from the topic, Slideaway. I don't know whether any of my ideas are more than just personal fancies, but I do think that it is important to have some meaning in mind when you sing a song. If you have intent the audience may not get the same thing, but they may come to a meaning of their own. If you are unclear then they probably won't go anywhere with it, if you see what I mean. Good luck with it.
Wax
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At the risk of offending those who think all verses in Patton's songs have no connection with each other
Who thinks that?
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Some lyric transcriptions of this number have read the third line of the first stanza as a few variants of: "Where I can see my man, lordy, if he come easin' by."
Given that Magnolia Blues was either the next or the immediately previous song that Patton recorded (listen now abd you will instantly apprehend my meaning, trust me), and knowing that he was married to Mandy France...
Doesn't it sound like Charlie sang in When your Way gets Dark: "So I can see my Man, lordy, dy come easin' by," or: "So I can see my Mand, lordy, y come easin' by," because I'm hearing both of these as distinctly plausible, and much more understandable than the oft quoted "Where, or sometimes, so I can see my man, lordy, if he come easin' by." He's just playing with the syncopation of her given name, and it has caused at least four decades of earnest debate :-\
Any takers?
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Sorry to harp on about this, especially since I'm the kind of saddo who responds to his own, unanswered, post and whatnot, but in the first stanza of Magnolia Blues, I'm absolutely convinced that it's "Mandy," not "man if he," or any of those other variants.
Oh, God, I feel so alone...
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Don't feel alone, Stumblin'. Stephen Calt and/or Gayle Dean Wardlow are on your side, at least as far as page 147 of their King of the Delta Blues: The Life and Music of Charlie Patton is concerned. They transcribe the line from Magnolia Blues as "Where I can see my Mandy, come a-easin' (by)".
I find the prospect somewhat dubious myself. Patton pretty clearly sings (well, it's Patton) "Where I can see my man, Lord, as he come a-easin' by" in When Your Way Gets Dark, the other take of the song. In Magnolia, I think he just sings "Where I can see my man a-ee come a-easin'" with the 's' and 'h' both swallowed in "as he".
One can't know the psychology of such things, but I would find it somewhat surprising that Patton would be singing about a woman he hadn't seen in six years, and had treated like crap when he did (at least according to Calt/Wardlow).
I can't say for certain since I haven't looked for a corresponding line, but if it is "my man" I can't help but wonder if this is another example of Patton lifting a lyric from one of the earlier women blues singers.
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Don't feel alone, Stumblin'. Stephen Calt and/or Gayle Dean Wardlow are on your side, at least as far as page 147 of their King of the Delta Blues: The Life and Music of Charlie Patton is concerned. They transcribe the line from Magnolia Blues as "Where I can see my Mandy, come a-easin' (by)".
I find the prospect somewhat dubious myself. Patton pretty clearly sings (well, it's Patton) "Where I can see my man, Lord, as he come a-easin' by" in When Your Way Gets Dark, the other take of the song. In Magnolia, I think he just sings "Where I can see my man a-ee come a-easin'" with the 's' and 'h' both swallowed in "as he".
One can't know the psychology of such things, but I would find it somewhat surprising that Patton would be singing about a woman he hadn't seen in six years, and had treated like crap when he did (at least according to Calt/Wardlow).
I can't say for certain since I haven't looked for a corresponding line, but if it is "my man" I can't help but wonder if this is another example of Patton lifting a lyric from one of the earlier women blues singers.
Thanks for the citation, I'd lost the page and have been busy lately.
The lyric lifting suggestion certainly makes more sense than Calt & Wardlow's notion that Patton was playing multiple roles within the song, that just sounds unnecessarily contrived; especially for the first stanza, when there had been no obvious "set-up" to tip off his listeners that he was going to sing the parts of multiple characters.
I still think it's "Mandy," with some combination of vocal idiosyncrasy and (possibly) acoustic artefacts from the recording technology & age of the 78 etc, causing some consonants to be obscured/lost. But I'll give it several more listens, bearing the lyric lifting idea in mind. Thanks.
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Actually I don't find the possibility that there are multiple perspectives in the lyric or the lack of a set-up that hard to believe. It's definitely another possibility.
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Actually I don't find the possibility that there are multiple perspectives in the lyric or the lack of a set-up that hard to believe. It's definitely another possibility.
No disagreement here.
It is entirely conceivable that some medicine or tent show skit traditionally introduced this number, in live stage performance settings, introducing and establishing the characters. We might therefore expect that the original intended target audience for the discs would be aware of the er... Dramatis personae, but we of later generations might be excused for finding it mysterious and fascinating.
Aaaanyhoo...
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i sing the last line as
"gonna move to alabama, and thank god, you'll be in my heart" - it works rhythmically and thematically to my ears .. then again .. there are also clearly some verses where there's an "m" at the beginning of the alleged "thank". clearly and repeatedly. to account for this, i got nothin'.
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this is how i hear verses 3 & 4, i donnt see them transcribed this way anywhere else .. thoughts? also, any ideas for the last line of verse 2
https://youtu.be/yCpprdzU6X4
Lord the citizens around Lula, all were doing very well
Citizens around Lula, all were doing very well
So they all got together and said,
they're not goin nowhere! (show solidarity, and misplaced pride which would lead to their ruin)
I aint got no money and I sure aint got no home
I aint got no money and I sure aint got no hope
Yeah when others come in, collect all the cotton and corn (referencing you cant even keep what you grow because of debt to planter, bank, whatever)
if a mod thinks this can be merged to a more appropriate thread, please do. thanks -shovel
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You've got verse 3 the way I hear it--it's pretty clear for Charley. I can't tell home from hope in verse 4--could be either at the end of those lines. You could transcribe the verse that way, but I hear the second line with "Lord" at the beginning and no "and" in the middle.
You know, I've said it here before, but someone once told me of an interview he once hear or read with Son House, who had been asked by some ethnomusicologist to listen to Charley and tell him what Charley was singing. Son apparently told the ethnomusicologist that he couldn't hardly make Charley out when they were in the same room, and he sure couldn't understand what he was singing on that scratchy old record.
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I hear that last line of verse 4 as "[something] come in, parched all the cotton and crops", but what it was, I can't tell.
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Just recalling now that Stefan Grossman, in one of his books, offered the prize of a sealed bottle of Lula Water ca. 1930 for anyone who could accurately transcribe the lyric of Dry Well Blues. I think that bottle's probably safe till Judgement Day.
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How about
"Goin' to move to Alabama, lake shores'll be our home"
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I agree with Kokomo O about the "home" / "hope" issue, they're indistinguishable on my stereo system. I couldn't decide which word Mr. Patton actually used, but either would fit nicely - and he might evne have used both, deliberately, but we might never discover which line contained which word.
Etc...
Sorry, I'll get me coat.
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I wish there was some kind of online access to the Patton Revenant set lyric transcriptions . . . they seem the most obvious source to work from. I'm reluctant to try my hand at any more Patton because I always feel like, at best, I'm just offereing what has already been established with those transcriptions.
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I aint got no money and I sure aint got no home
I aint got no money and I sure aint got no hope
Yeah when others come in, collect all the cotton and corn (referencing you cant even keep what you grow because of debt to planter, bank, whatever)
I've always heard the last line of this verse as:
"The weather done come in & parched all the cotton & corn..."
Just another idea to add to the bunch. I know better than to claim this as the definite line :-)
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I think Lefty is real close, and I hear
"The hot weather done come in, parched all the cotton and corn"
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hmmm i dunno .. i feel i hear a c at the beginning of collect all the cotton and corn, and the syllables seem to match, but yeah, no way to know, especially with patton.
thanks for the feedback,
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I know I transcribed this somewheres else. . . I was looking on the BBF. . .
I hear
"Citizens around Lula, they all doin very well
All come together and said, Lord, let's bore a well"
Oh where is that old post!
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EDIT - title corrected - thanks uncle bud
I'm going to go out on a limb and say it sounds like it's played in standard around a C shape and the slide is only playing the top e string?
If anyone can help with the missing lyrics that'd be great (and impressive). This is what i have so far
https://youtu.be/fPUzRBy6P0g
Magnolia Blues
When your way get dark baby
Turn your lights up high
When your way get dark baby
?? (come over to my room)??
When you see my man he
come a-eve(n)in' ..
I'm worried now baby
won't be worried long
I'm worried now baby, I
won't be worried long
Goin' away baby
won't be back no more
I'm goin away mama
won't be back no ..
I love my baby and I
tell the world i do
I love my marra (farro?)
tell the world i do
what make me love her
you can love her too
got up this morning
bout 7.45
got up this morning
..
i didn't have me nobody
??
worried woman
sing a worried song
takes a worried woman
sing a worried song
i'm worried now, baby
i won't be worried ....
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This one is played in Spanish tuning, either tuned up or capoed to around B. It is likely Patton played most of his slide tunes like this lap-style. I wouldn't tune my guitar to B though! It's certainly possible to do it in an upright position. Patton recorded this song twice, once as Magnolia Blues and once as When Your Way Gets Dark. Magnolia Blues probably qualifies for the mystery title thread. I've played this one, so have the lyrics lying around.
Magnolia Blues - Charley Patton
Spanish tuning
When your way get dark, baby, turn your lights up high
When your way get dark, baby (yeah, well, what's a matter with 'em)
Well, I can see my man and he come a-easin' ...
I'm worried now, baby, won't be worried long
I'm worried now, baby, won't be worried long
Goin' away, baby, won't be back no more
I'm goin' away, mama, won't be back no more
I love my baby an' I tell the world I do
I love my fair brown, tell the world I do
What made me love her, you come to love her too
Got up this morning, I said my 'fore day prayer
Got up this morning...
I didn't have me nobody...speak in my behalf
Worried woman, sing a worried song
Takes a worried woman sing a worried song
I'm worried now, babe, I won't be worried...
https://youtu.be/5CixncXxCX4
When Your Way Gets Dark - Charley Patton
When your way gets dark, baby, turn your lights up high
(spoken: What's the matter with 'em?)
Where can I see my man, Lord, if he come easin' by
I take my daily...
(spoken: Daily 'fore day prayer!)
I take my daily...
Trouble at home, baby
(spoken: Tryin' to blow me down!)
It wouldn't hurt so bad but the news all over this...
I love my baby an' I
(spoken: Tell the world I do)
What made me love her, you will come an' love her, too
Hey, someday, baby
(spoken: You know, an' it won't be long)
You'll call at me, baby, an', an' I'll be gone
I'm goin' away, baby
(spoken: Don't you wanna go?)
I'm goin' away, baby, don't you wanna go?
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I thought "'bout 7.45" sounded a bit strange :D
and i never would have got "speak on my behalf"
thank you kindly *raises hat*
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I'm fairly convinced that Mr. Patton was referring to Mandy France, a former wife or girlfriend.
This has been covered elsewhere on the Weenie lyrics board, I think. Although I could be mistaken - on both counts.
Something like:
Where I can see my Man-dy - she come easin' by
Factor in Patton's idiosyncratic diction, the timing of the vocal and instrumental lines, and you might see where I'm coming from.
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I can hear that.
but then i could hear "got up this morning bout 7.45" and "I didn't have nobody peekin' my purple hair"
:-X
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Yes, discussed here: http://weeniecampbell.com/yabbse/index.php?amp;Itemid=128&topic=6856.0. I'm still not sold, but one never knows, do one.
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Although there have been a several Patton threads active lately including a topic on his right hand technique in Bo Weavil I can't find a thread on the lyrics. Here's my interpretation. Asterisks flank lyrics I'm completely unsure of. I enclose a possible alternative in parentheses). Also, not sure he sings doney at the end of most verses, but it sounds more like doney than lordy to me and I imagine he would tend to address the women in the audience.
https://youtu.be/yU3A44SRAos
Here's a little bo weavil keep moving and a ain't he naughty?
You can plant your cotton and you won't get a half a cent *on it* ( or doney)
Boweavil boweavil where's your native home doney?
A Louisiana arin (around) Texas is where I was bred and born doney
Well I saw the bo weavil lord he circle lord *in the air* (or and he land) doney
The next time I seen him Lord he had his family there doney
Boweavil left Texas Lord *didn't bid fare the well doney * (or didn't eat fairly well doney)
where you gong now?
I'm going down to Mississippi going to get a little *devil hand on it* (or dab of ham doney)
Bo weavil said farmer ain't got to treat you fair doney
*How you like boll* (??)
Suck all the blossom and leave you *have* the square doney ( or half the square)
A next time I seen you had the family there doney
Bo weavil and his a' wife went and set down on the end doney
Bo weavil told the wife let's *change this forty end doney* (or save for the end doney)
Boweavil told the wife said I think I'll make a loan on it
Oh and I won't tell nobody
Let's leave Louisiana and go to Arkansas doney
Well I saw the boweavil lord he circle lord a *in the air* (or and he land) doney
Next time I seen him lord he had his family there doney
Bo weavil told the farmer said I ain't got to treat you fair doney
Suck all the blossom and leave you *have* the square doney (or half the square)
Boweavil boweavil where's your native home doney?
Most anywhere they raise cotton and corn doney
Bo weavil bo weavil why not treat me fair doney
Next time I seen you had the family there doney
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Zounds Nate, you are right, we have a ton of lyrics but no unified thread. We should create one and move stuff to it probably. Also there's no Patton in weeniepedia yet. I suspect this is because we often don't reach agreement on the full lyric for his songs.
Check out the tag index for Charlie Patton: http://weeniecampbell.com/yabbse/index.php?option=com_smf&action=tags;tagid=1291, (http://weeniecampbell.com/yabbse/index.php?option=com_smf&action=tags;tagid=1291,) tons of lyric discussions.
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I created a merged Patton lyrics thread. And here is another lyric to add to it. Hammer Blues (Take 2) was played out of Spanish tuning, pitched around B, probably played lap style. There are several spots in the lyric where things are a little shaky and I could use some help. Patton seems to screw up the 4th verse, and screws it up differently in Take 1.
https://youtu.be/WYBrQwV272E
Hammer Blues (Take 2) ? Charley Patton
Spanish tuning
Gonna buy me a hammock, place it underneath a tree
Gonna buy myself a hammock, gonna plant it underneath the tree
So when the wind blows, the leaves may fall on me
Go on, baby, you can have your way
Go on, baby, you can have your way
Just as every dog sure must have his day
Got me shackled, I'm wearin' a ball and...
They've got me shackled, I'm wearin' my ball and chain
And they got me ready for that Parchman train
I went to the depot, I looked up at the board
I went to the depot, I looked up at the board
And the train had left, went steamin' all up the road
Clothes I buy, baby, honey your board I'll pay
Your board I'll pay, dear, honey, your clothes I'll buy
I will give you all my lovin', baby, till the day I die
I went way up Red River, crawlin' on the...
I went up Red River, crawlin' on a log
I think I heard the Bob Lee boat when she moaned
edited to pick up corrections from banjochris
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A few suggestions, UB:
1.1 and 1.2 I think you have right
2.3 SISTER, every dog?
4.3 And the train had left WENT STEAMIN' ALL UP THE ROAD
5.1 CLOTHES I BUY, BABY, HONEY YOUR BOARD I'LL PAY
5.2 YOUR BOARD I'LL PAY, DEAR, HONEY YOUR CLOTHES I'LL BUY
6.1 I WERE WAY UP RED RIVER?
6.2 I'S WAY UP?
Chris
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Thanks, Chris.
Re. SISTER 2.3. I'll listen some more. I've seen it transcribed that way elsewhere (from the Revenant set, perhaps) but I am still currently hearing a quiet 'S' at the end of that phrase.
That's great in 4.3. Ditto 5.1-2. Makes a lot more sense.
For 6.1 I still hear I WENT WAY UP... He sings it more as WEN' or WUN', barely pronouncing the N. I hear WEN' UP in 6.2 as well. Aside from hearing it that way, I can't recall Charlie using those kinds of grammatical constructions off-hand, seems a little surprising to me, but my memory could be wrong.
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Nate, rather than tag corrections, I'm posting my transcription of Mississippi Bo Weavil Blues, since I was hearing enough stuff differently. I'm pretty certain he sings Lordy, not doney, to end the lines.
Mississippi Bo Weavil Blues ? Charley Patton
There's a little bo weevil, see it movin' in, a-in the --- Lordy
You can plant your cotton and you won't get a half a [cent/bale], Lordy
"Bo weevil, bo weevil, where's your little home, Lordy?"
"Ah Louisiana and Texas is where I was bred and born," Lordy
Well, I saw the bo weevil, Lord, a-circle, Lord, in the air, Lordy
The next time I see'd him, Lord, he had his family there, Lordy
Bo weevil left Texas, Lord, a-biddin' it fare thee well, Lordy
(Where you goin' now?)
"I'm goin' down in Mississippi, gonna give Louisiana hell," Lordy
Bo weevil said, "Farmer, think I'll treat you fair?" Lordy
(How is that, boy?)
Suck all the blossom and leave you a [empty/half the square], Lordy
"Ah, next time I seen you, Lord, you had your family there, Lordy"
Bo weevil an' his wife went and sit down on a [hill], Lordy
Bo weevil told his wife, "Let's take this [forty] in," Lordy
Bo weevil told his wife, "Said, I'll believe I [may go north], Lordy
(Lord, I'm gonna tell all about it)
Let's leave Louisiana and go to Arkansas, Lordy"
Well, I saw the bo weevil, Lord, a-circle, Lord, in the air, Lordy
Next time I seen him, Lord, he had his family there, Lordy
Bo weevil told the farmer, "Now, think I'll treat you fair? Lordy
Sucked all the blossom and leave you a [empty/half the square], Lordy"
"Bo weevil, bo weevil, where's your little home, Lordy?"
"Most anywhere they raise cotton and corn, Lordy"
"Bo weevil, bo weevil, why don't you treat me fair, Lordy?
The next time I see'd you, you had your family there, Lordy"
edited to pick up correction from Stuart
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Very unusual verse form. Strikes me (I'm totally guessing here) it might have been a work song originally. The only other stuff I can think of that are in a similar format are work songs. I'm sure there are other accompanied songs in this form but I can't think of any right this moment, someone will correct me I'm sure.
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Hi Andrew:
IIRC, the unclear lyric is "half a square,' a square being a term that refers to some measurement of cotton. Somewhere there are archived government films on the web about boll weevils and cotton farming that make this clear. I'll look around to see if I can locate them.
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Thanks Stuart. I was starting to hear square and was about to come back to it when I saw your post.
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Some info re: "Square":
square - The flower bud of a cotton plant with a central corolla containing the pollen anthers and sepals and surrounded by three (or sometimes four) bracts (squares are often the preferred site of insect damage; e.g., plants bugs, boll weevils, bollworms).
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I took a look at Calt's Patton book which has a transcription of the Bo Weavil lyrics and I have made some changes to the above transcription based on what was in there. Still rather shaky in spots, IMHO.
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Sounds like in the second verse Patton sings "Ah LOU'SIANNAR LEAVIN' Texas is where I was bred and born," Lordy. Certainly there's more between "Louisiana" and "Texas" than just "and".
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Re. half the square. A little bird (or was it a boll weevil) tells me that both Dick Spottswood and Bob McLeod transcribe this as "empty square" with an H sound added before empty. Which makes a lot of sense as an image. I am not sure I am hearing it myself, still think I hear an F sound more than an M, but am putting it out there as a likely candidate. Will be listening some more. Figure I'll have this one in a year or two.
dj, I agree he's singing "LOUISIANNAR" but don't hear anything other than the AND following it.
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...but don't hear anything other than the AND following it
I pulled out the Revenant box and both the Fahey and Spottswood transcriptions there agree with you, not me.
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Yeah, I'm just hearing two syllables on the AND so that rhythmic effect of the line is steady. But I'll be listening more for other stuff so will keep it in mind.
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Well, I have tried on my own to work out the lyrics to "Devil Sent The Rain", and can't make heads or tails after the first line! I have been using a battered copy of "Founder of The Delta Blues". I admit, I need help and a lot of it.
https://youtu.be/74e3OON-ahk
Thanks, Larry
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The first line of Devil Sent The Rain is, appropriately enough:
Good Lord sent the sunshine, Devil he sent the rain
(Edited to correct the first two words on further listening)
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I can help with the second line but after that I'm stumped :P
EDIT actually the other verses aren't too bad just that last line of verse one
this is what i hear
Devil Sent The Rain
Good lord sent the sunshine devil he sent the rain
Good lord sent the sunshine devil he sent the rain
???
you don't know sure don't know my mind
you don't know me sure don't know my mind
I don't show you my ticket you don't know where i'm gwine
follow you sweet mama to the buryin ground
follow sweet mama to the buryin ground
I don't know I loved her till they eased her down
I been to the great ocean been to deep blue sea
I been to the ocean deep down in the deep blue sea
I didn't see nobody look like my sweet mama to me
one of these mornings ye know it won't be long
one of these mornings no it won't be long
you gonna be mistreated have to leave your home
I'm goin' away mama don't you want to go
I'm goin' away mama don't you wanna
I'm goin' away mama don't you wanna
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can't make heads or tails after the first line
Wow, I totally misread that. I thought it was the first line you couldn't get. :o
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i've oft understood the second line of the verse to be:
I'm gonna be there (down?) tomorrow, on that mornin' train (swing?).
It'd be foolish of me to assert that this is definitely right, but may I'm close at least??
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i've oft understood the second line of the verse to be:
I'm gonna be there (down?) tomorrow, on that mornin' train (swing?).
It'd be foolish of me to assert that this is definitely right, but may I'm close at least??
that's pretty much what I hear too
I'll be there 'morra on tha' mornin' swing
::)
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For the second line of the first verse, I hear "I will be there tomorrow, Lord I'm on this way" "Will" is purely speculative, as I think what comes out of Patton's mouth is "ah". It could be (w)i(ll) or (g)o(n') or something else entirely. Also, what I've transcribed as "this way" actually sounds more like "the sway" or "thus way", and I'm just trying to make sense of the vowels and consonants I hear. Does that muddy the water's enough?
Why oh why didn't Patton's parents send him to Miss Featherby's School Of Elocution? :P
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probably they suspected what might happen if they did!
after repeated listening trying to hear your transcription dj, i now don't hear mornin'.
is wain (wagon) a word that would have been current in Patton's time?
I can hear "honey I'll be there 'morra, haul 'em (her?) on this wain"
it fits with the burial theme
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After a bunch of close listening, I think it's ""Lord I'll be there t'morra', Lord I'm on this way"
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Here are some corrections (for Weeniepedia format), changes and some different thoughts on the last line of the first verse.
Devil Sent The Rain
Good lord sent the sunshine devil he sent the rain
Good lord sent the sunshine devil he sent the rain
???
Good Lord sent the sunshine, devil he sent the rain
Good Lord sent the sunshine, devil he sent the rain
I believe that I'm gonna ride on a -- on a muddy [s????]
OR
I believe that my rider on a muddy [s????]
The last word sure does sound something like swing, but not sure what that would mean.
you don't know sure don't know my mind
you don't know me sure don't know my mind
I don't show you my ticket you don't know where i'm gwine
You don't know, sure don't know my mind
You don't know, baby, sure don't know my mind
I don't show you my ticket, now you don't know where I'm gwine
follow you sweet mama to the buryin ground
follow sweet mama to the buryin ground
I don't know I loved her till they eased her down
Followed sweet mama to the buryin' ground
Followed sweet mama to the buryin' ground
I didn't know I loved her till they eased her down
I been to the great ocean been to deep blue sea
I been to the ocean deep down in the deep blue sea
I didn't see nobody look like my sweet mama to me
I been to the ocean, deep down in the deep blue sea
Been to the ocean, deep down in the blue sea
I didn't see nobody looked like my sweet mama to me
one of these mornings ye know it won't be long
one of these mornings no it won't be long
you gonna be mistreated have to leave your home
One of these mornings, you know it won't be long
One of these mornings, baby, know it won't be long
You gonna be mistreated and will have to leave your home
I'm goin' away, mama, don't you want to go
I'm goin' away, mama, don't you wanna --
I'm goin' away, mama, don't you wanna --
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Why oh why didn't Patton's parents send him to Miss Featherby's School Of Elocution? :P
I've often wondered that very thing myself dj. No research hits so far on Google.
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Hey guys i hear I Love My Stuff
but i can't understand some words
Can You Help Me Please
Thanks
https://youtu.be/rlfRa80peJI
I love my stuff babe : I want to give it *a hop*
And my rider's got the ??? shivers : swear it just won't stop
Oh I know she want it hard babe : sure don't want it chawed
It would break my heart : if *the ??? need* no more
And I keeps on telling my rider : well she was *shivering* down
Lord that jelly‑baking strut : will make a monkey‑man leave his town
Oh the light burning dim : ??? *terrible near*
It must a‑be the devil : inside this barrel of gin
Oh I'm going to leave Mississippi now babe : before it be too late
It may be like Twenty‑Seven Highway : swear it just won't wait
Oh I once had a notion : Lord I believe I will
I'm going to go to the river : and stop at Dago Hill
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Have you hear Jersey Bull Blues
Its impossible for me
I play blues and I'll wonder play this song, but the lyric is....... Oh my god.... ???
https://youtu.be/hyAdadfI6m0
JERSEY BULL BLUES
If you got a good bullcow : you ought to keep your bull bull at home
Say may come along a young heifer : and just tow your bull from home
Oh my bull's in the pasture babe : Lord where there's no grass
I swear every minute : it seems like it's going to be my last
And my bull got a horn : long as my arm
I've an old five pound ax : and I'll cut two different ways
And I cut my little woman : both night and day
I've an old five pound ax : and I just dropped in your town
I got women now behind me : just try that old ax on down
And I remember one morning : between midnight and day
I were way upstairs : throwing myself away
TELL ME SOMETHING THANKS :)
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There are some unissued song of Charley Patton
you will never find ?
I shiver just thinking about
Beyond those of Charley Patton, there are also those of Willie Brown
write or comment thanks
Charley Bradley's Ten Sixty-Six Blues
Southern Whistle Blues (with Bertha Lee, credited as "Patton and Lee" in the Vocalion files)
My Man Blues (as "Patton and Lee")
You're Gonna Miss Me, Honey (as "Patton and Lee")
Stoop Down
I've Got A Mother Up In Kingdom (as "Patton and Lee")
Ananaias (as "Patton and Lee")
Listen What She Said (as "Patton and Lee")
Till The Day Is Done (as "Patton and Lee")
Black Cow Blues
Dog Train Blues (credited as "Bertha Lee", Patton plays guitar
Oh Lord, I'm In Your Hands (as "Patton and Lee")
Recorded on February 1, 1934:
God's Word Will Never Pass Away (as "Patton and Lee")
Bed Bugs and Snakes
The Delta Murder
Whiskey Distillery (as "Patton and Lee")
Move Your Trunk
O0
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Here's what I hear for "Love My Stuff," with one bit still in brackets:
I love my stuff babe, I want it good and hot
I love my stuff babe, I want it good and hot
And my rider's got some way to shimmy, swear it just won't stop.
Oh I know she want it hot babe, sure don't want it cold
spoken: Aw, shuck it mama
I know she want it hot babe, sure don't want it cold
spoken: Oh, you know it breaks my heart
It would break my heart hear you sayin', can't use me no more.
And I keep on tellin' my rider, well, keep her shimmy down
spoken: Baby please keep it down
I keep on tellin' my rider, please keep your shimmy down
Lord, that jelly you're fixin' to strut will make a monkey man leave this town.
Oh, the lights burnin' dim in, levee blast camp again,
Oh, the lights burnin' dim in, levee blast camp again,
spoken: Aw sho'
It must-a be the devil and [strikin'] there again
Oh I'm gon' leave Mississippi now babe, 'fore it be too late,
I'm gon' leave Mississippi, 'fore it be too late,
spoken: Boy you know I got to leave Mississippi
It may be like '27 highwater, swear it just won't wait.
Oh, I once had a notion, Lord I believe I will
spoken: Aw sho'
I once had a notion, Lord I believe I will
I'm goin' boat down the river and stop at Dago Hill.
The 1927 highwater is the flood Patton sings about in "High Water Everywhere."
Chris
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Hi guys what you thinking about Dry Well Blues
Help I hear this :
Dry Well Blues
Way down in Lula , hard livin' has done hit
Way down in Lula, hard livin' has done hit
Lord, your drought come an' caught us,
an' parched up all the tree
Aw, she stays over in Lula, bid that ol' town goodbye
Stays in Lula, bidding you the town goodbye
Fore I would come to know the day,
oh, the Lula well was gone dry
Lord, there're citizens around Lula,
aw, was doin' very well
Ctizens around Lula, aw, was doin' very well
Now they're in hard luck together,
'cause rain don't pour nowhere
I ain't got no money and I sure ain't got no hope
I ain't got no money and I sure ain't got no hope
...come in, furnished all the cotton and crops
Boy, they tell me the country, Lord, it'll make you cry
Lord, country, Lord, it'll make you cry
Most anybody, Lord, hasn't any water in the bayou
Lord, the Lula womens, Lord, puttin' Lula young mens down
Lula men, oh, puttin' Lula men down
Lord, you outta been there, Lord,
the womens all leavin' town
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I know I'm stressed but unfortunately I'm Italian
and understand the words of the songs for me is not easy
This is Moon Goin Down Blues by Charley Patton and Willie Brown
I think that many words aren't exact
https://youtu.be/srAyaYlRkJ8
Moon Goin Down Blues
Oh the moon is going down : baby sun's about to shine
Rosetta Henry told me Lord : I don't want you hanging around
Oh well where were you now baby : Clarksdale mill burned down
I was way down Sunflower : with my face all full of frowns
There's a house over yonder : painted all over green
Some of the finest young women : Lord a man most ever seen
Lord I think I heard : that Helena whistle Helena whistle Helena whistle blow
Lord I ain't going to stop walking : till I get in my rider's door
Oh the smokestack is black : and the bell it shine like gold
Lord I ain't going to walk here : baby around no more
I was out at night : when I heard the loco blow
I got to see my rider : where she's getting her dough
Thanks Joe
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In Jim Lee Blues pt 1, instead of "Johnson bayou", couldn't it be "Johnson bar"? See http://en.wikipedia.org/wiki/Johnson_bar_(vehicle) (http://en.wikipedia.org/wiki/Johnson_bar_(vehicle)).
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Hi guys what you thinking about Dry Well Blues
Help I hear this :
Dry Well Blues
Way down in Lula , hard livin' has done hit
Way down in Lula, hard livin' has done hit
Lord, your drought come an' caught us,
an' parched up all the tree
Aw, she stays over in Lula, bid that ol' town goodbye
Stays in Lula, bidding you the town goodbye
Fore I would come to know the day,
oh, the Lula well was gone dry
Lord, there're citizens around Lula,
aw, was doin' very well
Ctizens around Lula, aw, was doin' very well
Now they're in hard luck together,
'cause rain don't pour nowhere
I ain't got no money and I sure ain't got no hope
I ain't got no money and I sure ain't got no hope
...come in, furnished all the cotton and crops
Boy, they tell me the country, Lord, it'll make you cry
Lord, country, Lord, it'll make you cry
Most anybody, Lord, hasn't any water in the bayou
Lord, the Lula womens, Lord, puttin' Lula young mens down
Lula men, oh, puttin' Lula men down
Lord, you outta been there, Lord,
the womens all leavin' town
This looks to be the transcription that's floating around on the lyric sites but I think it is largely wrong. Charley's at his most marble-mouthed in this song, so it's probably impossible to nail this one down, but here are some suggestions. Most all of them are VERY tentative. The context of the song is the drought of 1930.
Dry Well Blues
WHEN I LIVE in Lula, hard livin' IN THAT HEAT??
Way down in Lula, hard livin' IN THAT HEAT??
Lord, THE drought come an' caught us an' parched up all the treeS
I JUST STAYED OVER in Lula, tell that ol' town goodbye
STAYED IN Lula, biddin' you/DIDN'T THEY ??? the town goodbye
[WILD WEATHER COMES?] to [BIG OL' RIVER??], Lula well was gone dry
Lord, THE citizens around Lula, ALL was doin' very well
Ctizens around Lula, ALL was doin' very well
[SUNDAY ALL MET TOGETHER AT CHURCH?], [PRAYED AH FOR A WELL??]
I ain't got no money and I sure ain't got no HOME
LORD, I ain't got no money and sure ain't got no HOME
THE HOT WEATHER DONE COME IN, PARCHED all the cotton and CORN
WELL, GO DOWN the country, Lord, it'll make you cry
GO, TH' country, Lord, it'll make you cry
Most EV'RYBODY DON'T HAVE THEI'/ANY? water R??/NEARBY?
Lord, the Lula womens, Lord, puttin' Lula young mens down
Lula 'men, oh, puttin' THE Lu-la men down
Lord, you outta been there, Lord, SEE the womens all leavin' town
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I'll take another crack at this one, i reckon...again, only hoping to maybe be in the ballpark with what I've heard over the years :)
2nd verse:
STAYED IN Lula, biddin' you the town goodbye
'fore we come to know the day when the Lula well was gone dry
3rd verse:
Lord, THE citizens around Lula, ALL was doin' very well
Ctizens around Lula, ALL was doin' very well
They all got together and said "We're not goin' nowhere
(perhaps a refusal to leave the area regardless of how bad things get?)
5th verse:
WELL, they tell me in the country, Lord, it'll make you cry
Lord, TH' country, Lord, it'll make you cry
Most EV'RYBODY DON'T HAVE their water and plow
One thing I've wondered about this track. Is there a re-master out there that brings Charlie's playing a bit more forward (or would that even be possible given the age of the original?) Willie Brown pretty much overpowers him in this track, and its led me to wonder how a more balanced recording might sound.
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Howdy:
I'm tryin' to learn to play this. Any help with the lyrics would be appreciated.
https://youtu.be/BitpHlXY-H8
Pea Vine Blues
1929
Spanish tuning, pitched at A
One bar intro
(1) I think I heard the Pea Vine when she blowed
I think that I heard the Pea Vine when it blowed
It blowed just like my rider gettin' on board
Hey the levee's sinkin', oh babe and I...
Spoken: Babe you know I can't stay
The levee is sinkin', Lord you know I ain't gon' stay.
I'm gwine up the country, mama in a few more days.
Yes you know, you know it, you know you done done me wrong,
Yes you know, you know it, you know you done done me wrong,
Yes you know, you know it, you know you done done me wrong.
Yes I cried last night and I ain't gon' cry any more,
I cried last night and I, I ain't gon' cry no more,
But the Good Book tells us you got to reap just what you sow.
Stop your way of livin' and you won't...
Spoken: You won't have to cry no more baby
Stop your way of livin' and you won't have to cry no more.
Stop your way of livin' and you won't have to cry no more.
I think I heard the Pea Vine when it blowed
I think I heard the Pea Vine when she blowed
She blowed just like it wa'n't gon' blow no more.
In verses 2 and 5 it appears that Charley forgets tha last part of the first line, only to have it supplied by a bystander.
.mp3 attached.
Corrected by banjochris-thanks.
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Hi all,
As long as we're talking about Charlie Patton lyrics, has anyone else remarked upon the fact that Charlie put the wrong person's mother in the last verse of "Frankie and Albert". The verse has Frankie's mother "whoopin', screamin' and cryin'" about her son dying. Do you reckon that should have been Albert's mother?
All best,
Johnm
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My suggestions for Pea Vine. Pretty sure it's Charlie himself doing the spoken parts; his speaking and singing voices are quite different.
I think I heard the Pea Vine when she blowed
I think that I heard the Pea Vine when it blowed
It blowed just like my rider gettin' on board
Hey the levee's sinkin', oh babe and I...
Spoken: Babe you know I can't stay
The levee is sinkin', Lord you know I ain't gon' stay.
I'm gwine up the country, mama in a few more days.
Yes you know, you knowed it, you know you done done me wrong,
Yes you know, you know it, you know you done done me wrong,
Yes you know, you know it, you know you done done me wrong.
Yes I cried last night and I ain't gon' cry any more,
I cried last night and I, I ain't gon' cry no more,
But the Good Book tells us you got to reap just what you sow.
Stop your way of livin' and you won't...
Spoken: You won't have to cry no more baby
Stop your way of livin' and you won't have to cry no more.
Stop your way of livin' and you won't have to cry no more.
I think I heard the Pea Vine when it blowed
I think I heard the Pea Vine when she blowed
She blowed just like it wa'n't gon' blow no more.
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Chris:
Boy, I was really Out-to-lunch on this one.
I listened again, with you're lyrics in hand, right on!. I would only have one correction. In the first line of Verse 3 I'd change the Knowed to Know.
I really think the asides are by someone else, but of course can't prove anything. And you're usually right.
Thanks,
Alex
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I'll go back and listen to verse 3 again. As far as the asides go, listen to Charlie talk and I think you'll change your mind. He speaks at the beginning of Spoonful (and throughout the song) and has some asides in Screamin' and Hollerin', plus he sermonizes in Prayer of Death and Jesus is a Dying Bed Maker. His speaking voice, until his last session, lacks some of the gravelly quality of his singing voice.
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That is definitely Patton doing the spoken asides. He really has several different "voices" throughout his repertoire, but that's him.
Johnm, I agree, Charley seems to screw up the end of Frankie. Unless Frankie's mother screaming and crying about her son means she is mourning her son-in-law, a shorthand you hear sometimes. That would be a stretch, IMO.
Apropos of nothing, Wikipedia sez Frankie Baker died in a mental institution in Portland, Oregon, in 1952, Portlandians.
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Uncle bud, it may have been mentioned somewhere on the site before, but Orville Johnson told me that he and his wife, Parry, once visited a sort of restaurant/resort east of Portland that had been converted from the old poorhouse and were housed there in the Frankie Baker Room, where she had lived in the years immediately preceding her death. How's that for rubbing elbows with celebrities?
All best,
Johnm
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Well I guess I?m still a glutton for punishment, tryin? to work out what Charley?s singin?, but I?m working on some songs for single string diddley bow and this one interested me because it?s sorta in what I think of as Spanish tuning on the didley bow. What I mean is, since the lowest note in the melody is the V note the root ends up being at the 5th fret position, similar to the top string in Spanish. And since with only one string you sorta use the open string as a drone or chord between melody notes, it gives quite a different sound from what I think of as Vastapol, where the open string is the root. Another good example of a song in diddley bow Spanish tuning would be Amazing Grace. Far more blues fall into diddley bow Vastapol tuning.
Anyway, Some Summer Day caught my ear one night. I searched around for some help with the lyrics, like Bob McLeod?s and Dick Spotswoods? (in the Revenant set) versions, and then listened a bunch and made some corrections as I heard ?em. Nothing is writ in stone so any suggestions welcome.
But that tag line made me wonder. I think ??Cause he?s still at camp number three? is right but I had no idea what it means. It sounds to me like he is singing about someone who has died, not merely been transferred to a different prison camp. So I googled, hoping to find some enlightening discussion, here on WC or elsewhere. Lo and behold, I stumbled upon a quote from the bible, Numbers 3:38:But those that encamp before the tabernacle toward the east, even before the tabernacle of the congregation eastward, shall be Moses, and Aaron and his sons, keeping the charge of the sanctuary for the charge of the children of Israel; and the stranger that cometh nigh shall be put to death.
(King James Version)
This made me wonder if ?Camp number three? (or "the camp from Numbers 3") had become thought of as a sorta waystation before entering heaven. I had heard a myth (on cards sent out by vets after the death of a pet) that pets wait in a field before the bridge to heaven for their humans to come, in order to pass over with them. I wonder if "camp number three" was essentially the root of this thought, that the camp of Moses and Aaron, the chosen of the chosen, was the closest place to heaven, between the rising sun and the tabernacle. Any of you bible scholars ever heard anything that jibes with this?
https://youtu.be/TvoI5eqVCls
Some Summer Day ? Charley Patton
It was late last spring, one terrible day
Oh when he left here, he'd gone to stay
An? now Harry's gone, Charley don't you worry
'Cause he?s still at camp number three
I'm goin? to the station, down at the yard
Catch me a freight train, well the times got hard
An' now he's gone, Charley don't you worry
'Cause he?s still at camp number three
Some got a month, some got a year
Tell me Johnny got, lifetime here
But now he's gone, don't you worry
Because he?s still at camp number three
I have seen days, I didn't know your name
Why should I worry, and cry in vain
But now he's gone, I don't worry
'Cause he?s still at camp number three
Solo
I'm goin? t? th' station, ....
Hot boilin' water, won't help you none
But now he's gone, I don't worry
Because he?s still at camp number three
The happy days, they have gone by
Why should I worry, take care for strife
But now he's gone, I don't worry
Because he?s still at camp number (slide)
Solo
Some got a month, some got a year
Tell me Harry, got lifetime here
But now he's gone, I don't worry
Because still at camp number (slide)
[Edited to add corrections from Johnm, Gumbo and dj]
Wax
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Hi Wax,
Yes, Charlie's lyrics are tough to get. It's looking good thus far. I have a few suggestions:
1.1 It was late last spring, one TERRIBLE day
2.2 Catch me a freight train, WELL THE times got hard
5.1 HOT BOILIN" WATER won't help you none
The "hot boilin' water won't help you none" was a relatively common line. It showed up first in a Lottie Beamon song as "Hot Springs water won't help you none" and evolved into "hot boilin' water won't help you none" by Luke Jordan's "If I Call You Mama". It evolved further into Skip James' "22.20" and Robert Johnson's "32.20".
I couldn't say right now what Charlie sings, but I'm very dubious of "take careful stride" in 6.2. Keep up the good work!
All best,
Johnm
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It could it be thusly:
6.2 Why should i worry, AN' CARE FOR STRIFE
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Gumbo's almost got it.
6.2 Why should I worry, TAKE CARE FOR STRIFE
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Thanks for the help. I made the changes in all cases. Great catch on "terrible day", Johnm. "Well the" is pretty hard to tell, either way, but "well" is sorta more Charley I think. I also changed the "and" to "but" in 3.3.
Wax
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BTW, isn't there a thread on songs where the title doesn't appear in the song? If so Some Summer Day would qualify.
Wax
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New to the forum so be kind...
I was wondering of anyone transcribed Charlie's "Hang it on the Wall" dittie? I went through the forum and didn't come across it.
https://youtu.be/eZPrCiNsZ5M
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Welcome to Weenie Campbell, jayala.
We sorta have a protocol for lyrics here at Weenie. It's in this topic: http://weeniecampbell.com/yabbse/index.php?topic=6575.0 (http://weeniecampbell.com/yabbse/index.php?topic=6575.0), which is a sticky at the top of the Lyrics board, but basically we ask you to give it your best shot, key in what you come up with, and then folks will help out with the difficult parts or with parts where they might feel you're in error. It let's folks know you're actually sincere and willing to put in the initial work, and not just looking for a freebie.
Transcribing lyrics is actually fun work, at least to me. I just set the song on repeat and get what I can on each verse as it plays through. I might run it through a slowdown app like Transcribe! to make it a little easier, but that's not necessary. Slowly the verses fill in and it may take a few repetitions, but, like anything, the more you do it, the faster you become. And, if you're planning on singing the song, the bonus is that by the time you've finished transcribing you practically know it by heart.
Wax
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I love Charlie Patton so much
Jim Lee Blues
Went away, up the river
Some 40 miles or mo'
I think I heard that big Jim Lee, he blowed
She blowed, so lonesome
Like she weren't gone blow no more
Blowed just like my baby gettin onboard
Im a poor, ole boy
And a long way from home
Its calling me to leave my plumb good home
My mama, she is dead
And my father well could be
Ain't got nobody to feel and care for me
If you, don't want me
Just give me your hand
I'll get a woman quick as you get a man
Got a kid, on the wheeler
And a bouncer on the plow
Gotta plumb good man bringing down the Johnson bayou
I lay, my head
In a deceitful woman's arms
And she lays her nappy head in mine
When i, got arrested
What you reckon was my fine?
Say they give all coons $7.29
Takes one, of shine
Don't pay me no mind
'Cause I don't let no coons in mine
Well that big, Jim Lee
Keeps backin up and down
She's sandbar stuck, man she water bound
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Hi Pontius2000,
Welcome to Weenie Campbell! I'm going to merge your post with a pre-existing Charlie Patton lyrics thread.
All best,
Johnm
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Hi Pontius2000 --
One correction I'd suggest is Patton's fine -- it's eleven twenty-nine, which was a sentence of eleven months and twenty-nine days. Just shy of a year, so they could keep you working for the county rather than send you to a state prison. And as John says, welcome!
Chris
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New guy here
Pretty sure the line in "Going To Move To Alabama" is "I'm going to move to Alabama, may god give me a home"
Who knows with Charley though.
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Hi all,
I just listened to this tune again to hear if what I've understood the lyrics to be still sounded right to me. I think they do. What I hear for the last line of the lyric is:
"To make sure she be your home"
"Sure" is pronounced like "shore" and "she" refers to the state of Alabama itself, I think. The two syllables in question have never sounded like "Georgia", or even "Georgie" to me. I hear an "sh" sound at the front end of both syllables, not a "j" sound. And the chorus sometimes says, "Have you been to Alabama?" I think he's trying to track the woman down, not avoid her. What do you think?
All best,
Johnm
Always liked Johnm's interpretation of this.
Wax
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Hi all,
Recently I' ve been listening to Charley patton for a while, and found myself hesitant about the third line of the first verse of High Water Everywhere part 1.
- The Calt-Wardlow bio suggests "An' no telling what the water, done to (Joe Lee's?) town."
- John Fahey's book offers "Well I tell the world the water done struck through this town"
- on the net I found "Lord I'll tell the world the water done crept through this town"
Comparing all these and listening to the line a couple of times led me to think that it's actually: "And I'll tell the world the water done jumped through little town", but not being a native speaker of English I'd be glad to get reinforcement or be corrected.
Thank you in advance!
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Hi David,
Welcome to Weenie Campbell! I merged your post with a pre-existing Charlie Patton Lyrics thread. I don't have an opinion at this time with regard to the lyric interpretation you posed, but other posters may.
All best,
Johnm
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Hi all,
Recently I' ve been listening to Charley patton for a while, and found myself hesitant about the third line of the first verse of High Water Everywhere part 1.
- The Calt-Wardlow bio suggests "An' no telling what the water, done to (Joe Lee's?) town."
- John Fahey's book offers "Well I tell the world the water done struck through this town"
- on the net I found "Lord I'll tell the world the water done crept through this town"
Comparing all these and listening to the line a couple of times led me to think that it's actually: "And I'll tell the world the water done jumped through little town", but not being a native speaker of English I'd be glad to get reinforcement or be corrected.
Thank you in advance!
I hear "jumped through this town" although pronounced more like "thi' town" but I think you basically have it. And welcome!
Chris
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Thank you!
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Here's my go at Dry Well:
Dry Well Blues
Lately livin' at Lula, hard livin', that heat
Lately livin' at Lula, hard livin', that heat
Lord, the drought come and caught us an,
Parched up all our trees.
I just stayed over in Lula, bid another town goodbye,
Stayed, Lula, bid the other, town goodbye,
Why would I (Hot weather?) come to know the day, lord, the ah,
Lula well has gone dry?
Lord the citizens 'round Lula, all was doin' very well,
Citizens 'round Lula, all was doin' very well
Lord they all got together, an’ said, “save our po-or well!”
I ain't got no money, an I, sho' ain't got no home,
Lord I ain't got no money and, sho' ain't got no home,
The hot weather done come in, scorched all the cotton and corn.
Well, they tell me the country, lord, it'll make you cry,
Whole, country, lord, it'll make you cry,
Most anybody, lord, haven't any water on the bayou.
Lord, the Lula womens all, puttin' the Lula men down,
Lula mens, all put the Lula men down.
Lord, you oughta been there, lord
See the womens all leavin’ town.
My biggest sticking points were the aforementioned 'home/hope' issue (I hear 'hope'...I think...this may never be decided with any certainty!) and, in the first two lines I am not 100% certain that he says 'lately'. It could be 'baby', but I think 'baby' doesn't quite fit in context, as well. Also, in the first line specifically, it really sounds like 'lately' to me. Hell, maybe there's one of each! Who knows?
Also, on the first verse, I used to like, (and still do!) 'hard livin done hit'. However, listening honestly, I hear 'that heat' instead of 'done hit' It sounds to me like he merely suggests the word 'in' prior to 'that heat'. I hear it as almost a subtle and natural extension/combination of 'livin'. i.e. 'Livin'i' that heat'; with 'livin'i' pronounced as "'livin'-a' that heat".
Or perhaps I'm exaggerating an absent 'in'.. could just be 'hard livin, that heat' as written. If you imagine the phrase in everyday conversation about the weather, and not in the song, you can hear someone like Charlie or, maybe yourself -if you talk country!- even saying 'lately livin in Lula.. hard livin, that heat!'
Thanks to all the previous transcribers who I borrowed heavily from. Standing on the shoulders of giants!
What do you all think?
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This is probably my favorite Patton song.
When I live in Lula I livin' at ease
When I livin' in Lula I livin' at ease
Lord the drought come an' caught us an' parched up all the trees
Aw it just stayed over in Lula bid that ol' town goodbye
Stayed Lula biddin' you the town goodbye
Well when it come to another day lord the uh Lula well was gone dry
Lord the citizens round' Lula all was doin' very well
Citizens around Lula all were doin' very well
Lord they all got together and they done bored a well
Aw I ain't got no money and I sure ain't got no home
Lord I ain't got no money and I sure ain't got no home
The hot wheater done come in parched all the cotton and corn
Oh look down the country Lord it'll make you cry
Whole country Lord it'll make you cry
Most everybody Lord have a water bayou
Lord the Lula womens all puttin' the Lula young mens down
Lula (wo)men all puttin' the Lula men down
Lord you outta been there Lord see the womens all leavin' town
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Hi all,
I'm a newcomer who has always enjoyed reading things on this page, but this time I'd like to get some help with the transcription of a line from Charley Patton and Bertha Lee's Troubled 'Bout My Mother.
It's the one that follows: "Daniel, he was troubled, he prayed three times a day". I think the next line starts with "angel hushed the wind", but the rest is a stubborn puzzle for me (although I'm almost sure it begins with "never").
The line is in the fourth verse, which in this video starts at 0:50. https://www.youtube.com/watch?v=D0OZKQM0PYA
I've also found the verse in another beautiful song in which it is repeated more often, but I still couldn't make it out: https://www.youtube.com/watch?v=y-WhpwYUnes (The line is sung at 1:58, for example.)
A big thank you to anybody who can help!
David
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"Angels hoist their window, lordy, to hear what Daniel had to say"
It's a not uncommon verse.
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I agree with what Al hears, and apropos of nothing, it gives me a chance to point out these two related songs and performances:
https://youtu.be/yC6Dl3Jzw_s
https://youtu.be/ZguxwH4MqGc
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Thanks a lot, now I won't have to wonder about this one for ages to come.
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Wow. I'd never heard that Lillie Knox recording. Thanks for posting that one, Frankie.
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Hi all,
I merged the recent thread on "Troubled 'Bout My Mother" into the Charlie Patton Lyrics thread.
All best,
Johnm
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Hi y'all,
My first post here. I've been struggling with a transcription of Charley Patton's "Circle Round the Moon," and I could use some help. Here's what I've got so far, with words or phrases I'm not sure of in brackets?though I should point out I'm not really sure of a single word in the entire tune!
https://youtu.be/R4s7XaPDYbQ
Out on a road, [takin' my] time
Out on a road, [takin? my] time
[Got that Delta woman], was tryin? to run me down
How long, [pray God, how long]
How long, how long, [pray God, how long]
Can I be [a? rollin?], when your man is gone
I?m goin? away, [babe, long] from here
I?m goin? away, [babe, long] from here
I?m goin? away, [babe, make it] long from here
Got up this morning, blues all round my bed
Got up this morning, blues all round my bed
[I read a letter : I ? ? ? was dead]
[Eagle been here, cried and left and gone]
[Eagle been here, ? ? left and gone]
And you know by that, I ain?t gonna be here long
Throw your arms round like, circle round the moon
Throw your arms round like, circle round the moon
Throw your arms round like, circle round the moon
Any suggestions? Thanks!
-matt
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Welcome, Matt!
You've got most of it. 4.3 still has me stumped, hopefully someone else has some ideas:
Out on the road, servin' out my time,
Out on the road, servin' out my time,
And the Delta women was tryin' to run me down.
How long, pray God, how long?
How long, how long, pray God how long?
Can I be here rollin' when your man is gone.
I'm goin' away, may get lonesome here,
I'm goin' away, may get lonesome here,
I'm goin' away, babe, may get lonesome here.
I got up this morning, blues all around my bed,
Got up this morning, blues all around my bed
I read a letter that ??? was dead.
Eagle been here, built a nest and gone
Eagle been here, built a nest and gone,
And you know by that I ain't gon' be here long.
Throw your arms round like, circle round the moon,
Throw your arms round like, circle round the moon,
Throw your arms round me like a circle round the moon.
Chris
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Hi Chris,
It sounds like he's saying,
I read a letter that I'M SURE THESE ? was dead.
The question mark word sounds like "banner".
All best,
Johnm
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Ah, brilliant! Thanks, Chris. I'll sleep much better tonight! I'm wondering about the first verse, though. It does indeed sound like he sings "servin' out my time," but that just doesn't make much sense to me. Not that it necessarily has to, but I'm wondering if anyone has any thoughts about an alternative?
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Ah, brilliant! Thanks, Chris. I'll sleep much better tonight! I'm wondering about the first verse, though. It does indeed sound like he sings "servin' out my time," but that just doesn't make much sense to me. Not that it necessarily has to, but I'm wondering if anyone has any thoughts about an alternative?
I think it could mean that he is serving his sentence as part of a chain-gang, doing road work.
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Hm, interesting. I like that idea.
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The "rollin" goes along with the chain gang reference; rolling in that context usually means working.
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Hi Chris,
It sounds like he's saying,
I read a letter that I'M SURE THESE ? was dead.
The question mark word sounds like "banner".
I hear something like that, too, John. I wonder if it's someone's name. I'll come back to it at home where I can play with the EQ some.
I remember the first time I heard "Circle Round the Moon" was on an old Wolf CD called "The Remaining Titles" and the copy of this tune made William Harris' "Electric Chair Blues" seem like high-fidelity. At least there's a better copy of it around these days!
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"Going to Move to Alabama"
I?m gonna move to Alabama, I?m gonna move to Alabama,
I?m gonna move to Alabama, You make Georgia be your home.
Ahhhhhhhhhhhhhhhhhhhhhhh....,she's long and tall
the way she whups her meat'd make a panther squall
I?m gonna move to Alabam,a, I?m gonna move to Alabame,
I?m gonna move to Alabama, You make Georgia be your home.
I'm gon' show you common women, how I feel
Gonna get me 'nother woman fore I leave
I?m a' move to Alabam,a, I?m gonna move to Alabama,
Yeah, well al' move to Alabama, To make Georgia be your home.
Say mama's got the washboard, my friend's got the tub
My brother's got the whiskey and mama's got the jug
gone move to Alabama, I?m gonna move to Alabama,
I?m gonna move to Alabama, You make Georgia be your home.
Well these evil women sure make me tired
Gotta handful of gimme, mouthful ah much obliged
Ya musta been to Alabama, Ya musta been to Alabama, Ya musta been ta Alabama, To make Georgia be your home.
I got a woman, she's long and tall
But, when she whip it, she makes a panther squall
Have Ya been to Alabama, Have ya been to Alabama,
Have ya been to Alabama, To make Georgia be your home.
Say mama and papa both went to walk
Left my sister standin at the waterin' trough
Have ya seen Louisiana, ha' ya been to Alabama,
Have ya been to Alabama, To make Georgia be your home.
My mama told me -- Don be no foo
... not one woman sigh they can't love you
Have ya been to Alabama, Have ya been to Alabama,
Have ya been to Alabama, To make Georgia be your home.
I got up this morning my hat in my hand
Didn't have nowhere to roam, ah had no man.
Have ya been to Alabama, Have ya been to Alabama,
Have ya been to Alabama, To make Georgia be your home.
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There's another Magnolia Blues that I found on YouTube, completely different from the one that starts
"When your way get dark,...":
https:/ /www.youtube.com/watch?time_continue=132&v=fPUzRBy6P0g
Is it maybe mislabeled? I collect lyrics of songs that have the line, "I woke up this mornin' " or slight variations, whenever I run into them. At about 2:05 in the video the lines are:
Got up this mornin?, Tom Deely (?) was standin? ?round, umm-hmm.
Says he lose his love and now he?s runnin? from town to town.
Any idea if I got the name right or anything else wrong? Thanks.
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Link doesn`t work.
The lyrics are:
I got up this mornin', Tom Day was standin' 'round
I got up this mornin', Tom Day was standin' 'round
If he lose his office now, he's runnin' from town to town
and they are from "Tom Rushen Blues".
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Sorry about the link, it should have been
https://www.youtube.com/watch?v=fPUzRBy6P0g
and I should have read the two comments there that id'ed it correctly.
And funny how clear it sounds when you know what to listen for. Thanks for that.
I've got an mp3 that's labelled as Tom Rushen Blues but is actually Stone Pony Blues, so I've got a freakin' mess.
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The "rollin" goes along with the chain gang reference; rolling in that context usually means working.
I think in this case rolling refers to sex, i.e. rolling her dough, which fits the context of ?when your man is gone?. This is a common sexual innuendo in the genre. I?ve been working on Charley?s lyrics for many years, so I was happy to find this site today! In many cases, it?s taken knowledge of other artist?s usage of certain words or phrases commonly traded between song writers to get the revelation of what Patton?s singing. It?s a fun thing to study.
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Charley Patton, Jim Lee Blues:
Got a kid on the wheeler and a bouncer on the plow
Got a plumb good man bringing down the Johnson bar
The singer has three male children:
a teen working on the Lee Line, a bouncing baby on the farm, and an adult on the railroad.
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Charley Patton, Jim Lee Blues:
Got a kid on the wheeler and a bouncer on the plow
Got a plumb good man bringing down the Johnson bar
The singer has three male children:
a teen working on the Lee Line, a bouncing baby on the farm, and an adult on the railroad.
I'm skeptical that the singer is describing his three male children, or that "bouncer on the plow" means "a bouncing baby on the farm." Since this verse immediately follows the one where Patton sings "If you don't want me, just give me your hand / I'll get a woman quick as you can a man," isn't it likelier that it represents his interlocutor's response, in which she informs him that in fact she already has three other men?
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Hi all,
I would second Todd's interpretation of the lyrics. A "kid" in blues lyrics usually refers to a "kidman", a boy toy. I believe it is a woman's voice speaking the lyrics in this verse, not a man.
All best,
Johnm
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Good point that it is the woman's reply!
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Thanks MKA for posting that Jim Lee Blues hearing of the verse containing 'wheeler' and 'plow'. And btw thank you for dropping in here at weenie campbell, I always enjoy reading your posts.
Back to Jim Lee Blues. Any relation, do you think, to the still unresolved, locally anyway, lyric buried within Lead Belly's earliest LoC recording of You Don't Know My Mind?
See discussion at https://weeniecampbell.com/yabbse/index.php?topic=4318.msg43690#msg43690
Weeniepedia entry (so far) is here: https://www.weeniecampbell.com/wiki/index.php?title=You_Don%27t_Know_My_Mind--Leadbelly
Interested to get your thoughts on that verse because I think there's more in there than we've uncovered.
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Hi all,
I don't know if there have been previous attempts to transcribe Charlie Patton's "Pea Vine Blues" in this thread, but if there have been, they did not end up in Weeniepedia, so here goes. Charlie Patton played this out of Spanish tuning pitched at about A, and I believe it provided the model for Skip James' "Special Rider Blues". Here is "Pea Vine Blues", and help help provided is appreciated:
https://youtu.be/XoPHUaKwCaY
I think I heard, the Pea Vine when it blowed
I think I heard the, Pea Vine when it blowed
It blowed just like, my rider's gettin' on board
Well, the levee is sinking, uh, babe, and I've . . . (Spoken: Baby, you know I can't stay)
The levee is sinking, Lord, you know I have to go
I'm goin' up the country, mama, in a few more days
Yes, you know it, you know it, you know you done done me wrong
Yes, you know it, you know it, you know you done done me wrong
Yes, you know it, you know it, you know you done done me wrong
Yes, I cried last night, and I ain't gonna cry an' more
I cried last night, and I, I haven't cried an' more
But the Good Book tells us, you've got to reap just what you sow
Stop your way of livin', you won't . . . (Spoken: You won't have to cry no more, baby)
Stop your way of livin' and you won't have to cry no more
Stop your way of livin' and you won't have to cry no more
I think I heard the Pea Vine when it blowed
I think I heard, Pea Vine when she blowed
She blowed just like she wasn't gonna blow no more
Edited 10/5 to pick up correction from Harry
Edited 10/6 to pick up correction from waxwing, harry and banjochris
All best,
Johnm
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Sounds spot on to me! Only suggestion: verse three has only one ‘done’ in first line.
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Thanks, Prof. I am hearing two there, as well, but the first one is really quick!
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Hi Johnm
That second verse sure is garbled. I've been singing "the levy is sinking" for years. But I kinda hear what you are getting. Accepting the first part, "Little baby, I ain't staying here", on faith, I would suggest he then sings: "an' I, babe, know 'at I.."
Wax
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Thanks, wax, I think I'll stick with what I have.
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2.1 Hey the levee's sinkin' and I babe and I
2.2 The levee's sinkin' Lord you know I hate to stay
4.1 Yes, I cried last night, and I ain't gonna cry an' any more
4.2 I cried last night, and I, I haven't cried an' any more
5.2 Stop your way of livin' and you won't have to cry no more
6.2 I think I heard, Pea Vine when it she blowed
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Hi Harry, I'll take the "she" in the last verse and leave the rest as I had them. Thanks!
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FWIW, Pea Vine was discussed earlier in this thread. Ghostrider and Banjochris had what I and Wax had in the 2nd verse.
https://weeniecampbell.com/yabbse/index.php?topic=1466.msg85590;topicseen#msg85590 (https://weeniecampbell.com/yabbse/index.php?topic=1466.msg85590;topicseen#msg85590)
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Well, how about that. Levees don't sink. They may be breached or washed away, but they don't sink.
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Levees don't sink. They may be breached or washed away, but they don't sink.
Levees do sink. The usual cause is the weight of the levee compacting or in waterlogged conditions, displacing the earth that it was built on. Google "levee subsidence" for news articles on modern occurrences and scientific papers on the subject.
I think I'd go with "levee sinkin'", but if Charley were standing in front of me right now saying that, I'd be saying "What? What was that? Laverne is stinking? What???" :P
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I'm sure you're right, dj. I need to re-listen, especially if so many careful listeners hear levee there. Sorry all, about the crabbiness. EDITED TO ADD: I did re-listen and finally heard it. Thanks to all who heard it right before me and brought it to my attention.
All best,
Johnm
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Hi all,
Charlie Patton recorded "Poor Me" for Vocalion in 1934, and it's one of his relatively few numbers with swung eighth notes and an underlying triple feel. The song never returns to the first two lines of its melody after the first verse, always going directly to the bridge, in the third line of the verse after that. And when the first two lines of the first verse return, they are sung to the bridge melody--very unusual. I think a lot of people compare his Vocalion recordings to his Paramount recordings unfavorably, but I don't hear them that way myself, necessarily. This is just beautiful to me. Here is "Poor Me":
https://youtu.be/_TRGUkpZojg
STRUMMED INTRO
It's on me, it's poor me, it must-a be, on poor me
I ain't got nobody, take pity on poor me
REFRAIN: You may go, you may stay, but she'll come back, some sweet day
By and by, sweet mama, by and by
Don't the moon, look pretty, shinin' down, through the trees?
Oh, i can see Bertha Lee, Lord, but she can't see me
REFRAIN: You may go, you may stay, but she'll come back, some sweet days
By and by, sweet mama, baby, won't you, by and by?
REFRAIN: You may go, you may stay, but she'll come back, some sweet day
By and by, sweet mama, by and by
It's on me, it's poor me, it must-a be, on poor me
I ain't got me nobody, take pity on poor me
Don't the moon, look pretty, shinin' down, through the trees?
Oh, I can see Bertha Lee, but she can't see me
REFRAIN: You may go, you may stay, but she'll come back, some sweet day
By and by, sweet mama, baby, won't you, by and by?
CODA
Edited 4/10 to pick up correction from waxwing
All best,
Johnm
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Hi all,
I'm going to try to do the lyrics for "Heart Like Railroad Steel", for which Charlie Patton accompanied himself out of Spanish tuning. The record is severely whupped, and so I'll be amazed if I can get it without help, so assistance with any bent bracketed passages is gratefully accepted. Here is "Heart Like Railroad Steel":
https://youtu.be/nlB2EPnl3dE
INTRO
My babe got a heart like a, piece of railroad steel
My baby, got a heart like a, piece of railroad steel
Passed by me this mornin', never said, "Dad, how do you do?"
I was leavin' at the crossbar, when that train passed by
I was leavin' at the crossbar, when that train passed by
She blowed for the crossbar, then she started to fly
I got up this mornin', some time after five
I got up this mornin', some time after five
And the morning sun now, was looking to rise
I will cut your wood, baby, (guitar takes off)
Cut your wood, baby, I'll make your fire
I will tote your water, from the boggy bayou
Yes, I went to the sea, babe, and I been to the land
Yes, I went to the sea, and I been to the land
I didn't find me nobody, did not have a man
Edited 4/12 to pick up corrections from waxwing, Lyndvs and Harry
Edited 4/13 to pick up corrections from Harry
All best,
Johnm
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You know I'll always wade into a Patton tune. Some loose suggestions:
v1.1 My babe, got a heart LIKE A, piece of railroad steel (I do hear it here, also)
v1.3 Passed by me this mornin', NEVER sayin', "DAD, how do you do?" (or possibly NEVER SAID as he sings in Rattlesnake Blues. But I really like the "'thout sayin'" as a phrase!)
v2 I was EVEN at the crossbar, when the train passed by
I was EVEN at the crossbar, when the train passed by
He blowed for the crossbar then just start to fly
(I think Charley is talking about being right at the train crossing, maybe trying to jump a train, but the engineer blew the whistle and picked up too much speed)
v3.1-3.2 I got up this mornin', SOMETIME AFTER FIVE
I got up this mornin', SOMETIME AFTER FIVE (clearer in the 2nd line but he just seems to swallow it)
v4.2 Cut your wood, baby, I'LL make your fire
v5 If your women mistreat you, 't'ain't no [babe you like] ( I lke this)
If your women mistreat Y', 't'ain't no babe you like (seems to start to say you, or ye)
I didn't find me nobody, WOULD NOT HAVE A MAN (triple negative?)
I'm sure Chris will have some better suggestions. You're right, it's pretty whupped.
Wax
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Also, in Poor Me, the second time he sings:
I ain't got ME nobody, take pity on poor me
Wax
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My babe got a heart like a piece of railroad steel
my baby got a heart like a piece of railroad steel
passed by me this morning never said"daddy how do you feel?"
I was evil at the crossroad when the train pass by
she blowed for the corner then she start to fly.
and the morning sun was begin to rise
yes,I went to the sea and I been to land
yes,I went to the sea and I been to land,
I didn`t find me nobody did not have a man.
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Thanks very much for the fix to "Poor Me", Wax, I have made that change. And thanks to you and Lyndvs for the suggested fixes to "Heart Like Railroad Steel". I'm going to have to listen a bunch more to that one before I settle on any changes there. Thanks!
All best,
Johnm
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Could it be "bye-a-bye" for Poor Me?
My best interpretation for "Heart Like Railroad Steel"
My babe's got a heart like a piece of railroad steel
My baby got a heart like a piece of railroad steel
Passed by me this mornin', never sayin', "Dad how do you feel?"
I was even at the crossbar, when the train passed by
I was even at the crossbar, when the train passed by
She blowed for the crossbar, then she started to fly
I got up this mornin', somethin' after five
I got up this mornin', somethin' after five
And the morning sun, Lord, was begin' to rise
I will cut your wood, baby
Cut your wood, baby, I'll make your fire
I will tote your water, from the boggy bayou
That last verse is very difficult, the Revenant box has the following;
It's a whale in the sea, babe, gettin' up in the land
It's a whale in the sea, gettin' up in the land
I didn't find me nobody, did not have a man
Makes no sense, I prefer what John and Wax have. The third line is probably correct.
EDITED; Made some minor corrections verse 1 and 3
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Actually I like what Lyndvs has for that last verse, except I hear:
Yes, I went to the CITY and up in the land (like 'town and country' as opposed to 'sea and shore'. I mean, he is looking for a woman, not a sailor.)
Yes, I went to the CI'Y and up in the land (he does make a little glottal stop for the 'T' in 'city')
I didn't find me nobody, WOULD not have a man
Wax
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Also, listening again, I think in v2.3 it is 'he' not 'she'. When you hear a riverboat blow, that's usually a 'she', but a train whistle is very connected to the individual engineer, like a signature. Also the engineer is very visible on a train and it is clear 'he' blows the whistle, or decides to pick up speed. I don't really hear an 'S' at the beginning.
Wax
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It's pretty clear "she" on the second "she". It's possibly "she" on the first one.
Charley could still be singing about his babe eloborating on the first verse. "She started/tried to fly"
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Since I have the Revenant set, I thought I'd type out what John Fahey and Dick Spottswood transcribed as an FYI:
John Fahey 1970:
My babe’s got a heart like a piece of railroad steel. (2X)
If I leave you this morning, never say, “Dad, how do you feel?”
I will leave her at the crossing when the train pass by. (2X)
She blowed for the crossing, then she started to fly.
I got up this morning, something after five. (2X)
And the morning sun well, was beginning to rise.
I will cut your wood, Baby.
Cut your wood, Baby, I will make your fire.
I will tote your water, from the boggy bayou.
(? .)
I didn’t find me nobody, did not have a man.
Dick Spottswood 2001:
My babe got a heart like a piece of railroad steel (2X)
Aft(er) I leave this mornin’ don’t say, “Dad, how do you feel?”
I were leavin’ at the crossroad when the train pass by (2X)
She blowed for the crossin’, then she started ta fly
I got up this mornin’, somethin’ after five
I got up before day, somethin’ after five
And the mornin’ sun, Lord, was lookin’ to rise
I will cut your wood, baby
Cut your wood, baby, I’ll make your fire
I will tote your water from the boggy bayou.
It’s a whale in the sea, babe, getting’ up in the lan’
It’s a whale in the sea, getting’ up in the lan’
I didn’ find me nobody did not have a man
I suppose one could force an interpretation of the "whale" line as an image of futility, but I wouldn't bet any money on it.
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It's pretty clear "she" on the second "she". It's possibly "she" on the first one.
Charley could still be singing about his babe eloborating on the first verse. "She started/tried to fly"
I find the second "she" to be pretty indistinct and could be almost anything with an "eh" sound and a bit of a fricative to start. I actually like "just" pronounce more like "jes" better. Johnm's call.
Wax
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Hi all,
I have settled on lyrics for "Heart Like Railroad Steel". I expect there are things there for everyone to disagree with! Thanks very much to waxwing, Lyndvs and Harry for their suggestions--I got something from everybody. It's really weird how you can think you hear something, and it makes some sense, and then a suggestion comes in which fits the scansion and phonetics so much better than what you had that the line is suddenly clearly in focus. I suppose at some point I'll stop being surprised by that phenomenon, but it still brings me up short when it happens. Thanks to you all.
All best,
Johnm
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I think you did great job on Heart Like Railroad Steel, John. I'd like to ask you to consider verse 1.1, though. I'm with waxwing in hearing "My babe, got a heart LIKE A, piece of railroad steel" there. That long held "a" seems as obvious to me there as it does in the next line.
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Thanks, dj. I re-listened at your suggestion, and I agree with you and Wax, and have made that change. I also changed "would tote your water . . ." to "WILL tote your water . . . ".
All best,
Johnm
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I'm sure Chris will have some better suggestions. You're right, it's pretty whupped.
Was away from the computer all weekend but will be glad to take a look at this later today with some headphones on – looks like you all did the heavy lifting already!
Chris
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That last verse is almost inaudible to me (first 2 lines especially). I don't hear "woman" at all in the last line.
It could be "been to the land". I don't hear a "yes" either. Sounds more like "if" or "it's".
Yes, I went to the sea, babe, and I went been to the land
Yes, I went to the sea, and I went been to the land
I didn't find me woman nobody, did not have a man
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Hi Harry,
Thanks for your suggestions. I do hear "yes" at the front end of the first two lines, but I agree with changing "went" to "been" in the second half of the first two lines, and changing "no woman" to "nobody" in the tagline, and have made those changes. Thanks!
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Dry Well Blues
Could be my favorite Patton song. The song picks up speed 'til the end.
Charley Patton – Vocals, Guitar
Willie Brown – Guitar
August 1930
Grafton, Wisconsin
https://www.youtube.com/watch?v=yCpprdzU6X4
When I live in Lula, I’m livin' at ease
When I'm livin' in Lula, I’m livin' at ease
Lord, the drought come and caught us, and, parched up all our trees
Aw, it just stayed over in Lula, ‘til it bid the old town goodbye
Stayed, Lula, biddin' you the town goodbye
Well, when it come to know the day, Lord the uh, Lula well was gone dry
Lord, the citizens around Lula, all were doin' very well
Citizens around Lula, all were doin' very well
Lord, they all got together, and, they done bored a well
I ain't got no money, and I, sure ain't got no home
Lord, I ain't got no money, and I have, sure ain't got no home
The hot weather done come in, scorched all the cotton and corn
Oh, look down the country, Lord, it'll make you cry
Whole country, Lord, it'll make you cry
Most everybody, Lord, have a water bar'
Lord, the Lula womens all, puttin' the Lula mens down
Lula w’men, all puttin' the Lula men down
Lord, you oughta been there, Lord, see the womens all leavin' town
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This has always been a rough one and we can probably argue back and forth on some of these, but I think this is a really good transcription, Harry.
Just a couple of typos I'll mention, weather of course and the last line should be "oughta" instead of "outta."
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Thanks Chris, for the correction of the typos.
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I hear verse 5.3 as "Most everybody, Lord, have a water bar' ", where bar' is "barrel", but Charlie swallows the last syllable. In other words, the wells have gone dry, so people have to bring in water in barrels.
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That is really good thinking, dj! And I know that lots of folks back then (and still do) have rain barrels. That would be especially important during dry spells, so that when the dry spell finally broke you wouldn't lose the precious rain water via run-off.
All best,
Johnm
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A few more suggestions:
1.1 and 1.2: I'm fairly sure the first word in both these lines is "Well", not "When". The second half of both these lines is also not correct. Where you have "I'm livin' at ease", Patton sings an extra syllable. I hear "I'm livin' at (2 syllables, possibly a place name, or possibly "(unknown word) here")" or "I'm livin' out at (one syllable, possibly a place name, or possibly "here").
1.3: "Lord the drought came and caught us..." I also hear an extra syllable after the word you have as "caught". I think it's either "Lord, the drought came and caught on us" or, the reading I'd prefer, "Lord, the drought came and called on us". I like this second reading because it personifies the drought and also adds a bit of wry humor.
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Thanks for the suggestions dj.
But I disagree with all of them. I hear "when" pretty clearly on 1.2. So it's probably "when" on 1.1 although I thought I heard "baby" at one point on 1.1.
Re-listening it could be "When I live in at Lula"
I'm not sure on "at ease" but it's the closest I can get.
I hear 1.3 "Lord, the drought come and caught us, and, parched up all our trees" like I have it.
2.1 could be I just stayed over in Lula instead of "Aw, it just stayed over in Lula"
It's Charley Patton, very hard to hear stuff. We'll probably never get it 100 % accurate.
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Just my two cents, but, Harry I think you are closer with "Baby"
I get
1.1 & 1.2 Babe, ‘n’ I(‘m) livin’ at Lula, ah, li-vin’ at ease
or written out: Babe, and I'm living at Lula, ah, living at ease
I think he elides through the m of "I'm". He never closes his lips. but there is a softening of the "I" before "living" that wouldn't be there if he wasn't thinking "I'm living". I hear them all as "living", not "live" anywhere.
dj, I tried really hard to hear "come and called on us" but it sounds like "caught" to me
Wax
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Hi Harry,
That seems like a really good transcription to me. The only thing I have heard listening through that I might change is the first two lines of the first verse, where I hear him singing:
When I WAS livin' in Lula, I WAS livin' at ease
When I WAS livin' in Lula, I WAS livin' at ease
All best,
Johnm
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Thanks John and Johnm for the suggestions.
But I keep everything like I had it, except for the first "I'm" in 1.2 and made that change.
I think the song is about ready to enter Weeniepedia, but it's your call, Johnm, and I'll respect any changes you want to make on the final transcription,
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I see the song is up in Weeniepedia. I have made some more changes though. This song keeps haunting me for some reason,
2.3 Well, when it come to another day know the day, Lord the uh, Lula well was gone dry
It could be "Well, we have come to know the day, Lord the uh, Lula well was gone dry"
4.3 The hot weather done come in, parched scorched all the cotton and corn
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Hi Harry,
I like the first change on "know the day", and also "scorched" and will make those changes in Weeniepedia.
All best,
John
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Stone Pony Blues
Charley Patton – Vocals, Guitar
New York City, New York
January 30, 1934
E Position
Standard Tuning
https://www.youtube.com/watch?v=9sBIwZXMHLA
I got me a stone pony and I, don't ride Shetlands no more
I got me a stone pony, don't ride Shetlands no more
You can find my stone pony, hooked to my rider's door
Vicksburg's my pony, Greenville is my grey mare
Vicksburg's my pony, Greenville, Lord, is my grey mare
You can find my stone pony, down in Lula town somewhere
And I got me a stone pony, don't ride Shetlands no more
Got a lil’ stone pony, don't ride Shetlands no more
And I can't feel welcome, rider, nowhere I go
Vicksburg's on a high hill and, Natchez just below
Vicksburg on a high hill, Natchez just below
And I can't feel welcome, rider, nowhere I go
Well, I didn't come here, steal nobody's brown
Didn't come here, to steal nobody's brown
I just stopped by here, well to, keep you from stealing mine
Hello, Central, ‘t's a matter with your line?
Hello, Central, ‘t's a matter, now, with your line?
Come a storm last night, and, and tore the wire down
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Hi Blues Vintage,
That seems really accurate. The only different thing I think I'm hearing is "and" twice consecutively in the tagline to the last verse, separated by a comma. See you what you think.
All best,
Johnm
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I thought I heard something after "night" too but couldn't make sense of it. I guessed he just slurred "night" a bit.
But I'll make that change.
I read a interview with Son House once where he said it should be "storm pony" not "stone pony".
Maybe Charley sang "storm" on earlier versions, although unlikely, I do think it is "stone".
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Yup, I agree it is "stone". I think anything Son House said about Charlie Patton should be taken with a grain of salt.
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Moon Going Down
Tom Feldmann just released a lesson of this song on his YouTube channel transposing it to A position, standard tuning. He made the arrangement for one guitar, mixing the original two guitar parts together. Very cool, check it out. He also transcribed the lyrics noting the “Taylor” whistle in verse 4. All other sources got “Helena” whistle. The Revenant set got the name “Rosietta” instead of “Rosetta” in verse 1. Rosetta was the name of Charlie’s daughter but not sure if this really matters in any way. Shoot a comment if you got a suggestion.
Charley Patton – Vocals, Guitar
Willie Brown – Guitar
Ca. May 28, 1930
Grafton, Wisconsin
Spanish tuning (Charlie)
Standard tuning (Willie)
https://www.youtube.com/watch?v=d8F08XeQ9QA
Oh, the moon is goin’ down, baby, North Star's bound to shine
Oh, the moon goin’ down, baby, North Star's bound to shine
Rosetta Henry told me, "Lord I, don't want you hangin’ ‘round"
Oh well, where were you now, baby, Clarksdale mill burned down?
Oh well, where were you now, babe, Clarksdale mill burned down? (Spoken: Boy, you know where I was)
I were way down Sunflower with my, face all full of frown
It’s a house over yonder, painted all over green
It’s a house over yonder, painted all over green (Spoken: Boy, you know I know it’s over there)
Some ‘f the finest young women, Lord-a, man most ever seen
Lord, I think I heard that, Helena whistle, Helena whistle, Helena whistle blow
Lord, I think I heard that, Helena whistle blow (Spoken: Man, I hear it blowin’ now)
Lord, I ain't gonna stop walkin' 'til I, get in my rider's door
Lord, the smokestack is black and the bell it shine like, bell it shine like, bell it shine like gold
Oh, the smokestack is black and the, bell it shine like gold (Spoken: Doesn’t it, boy, you know it looks good to me)
Lord, I ain't gon’ walk there, ah, baby, ain't 'round no more
Ahh, I even was at midnight, 'til I heard the local blow
Ahh, was even out at night when I, heard the local blow (Spoken: Boy, I was getting lonesome, blues had me)
I got to see my rider, when she's gettin' on board
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BV here's some suggestions on Moon Goin' Down – with Patton it's always a challenge:
1.1 and 1.2 ...NORTH STAR's about to shine
3.2 I think here he starts with THERE'S (pronounced THEY'S)
4.2 I think 'fraid should be "MAN"
5.2 I don't think it's "Doesn't it" but I can't offer much of a suggestion. I've seen it transcribed as shuckin' but I don't think that makes much sense
5.3 Lord I ain't gon' walk HERE, BABE ain't 'round no more (or BABY ROUND)
6.1 AHHH I EVEN was at midnight, WHEN I heard the local blow
6.2 AHHH was EVEN at night, when I heard the local blow (Spoken: Boy, I was getting lonesome, BLUES HAD ME)
Chris
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Thanks Chris, I made a few changes based on your suggestions. I don't hear the "north star" suggestion.
I'm coming back to this one (tough one) in a few days.
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The "north star" is easier to hear if you change the "about" that follows it to "'bout".
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I'll keep listening. I thought I heard it at one point for 1.1.
Is the North Star (Polaris) visible when the moon goes down?
Apparently this poet heard it too.
POETRY ON THE LOOSE - Moon Goin' Down
http://williamseaton.blogspot.com/2013/05/moon-goin-down-charley-patton.html (http://williamseaton.blogspot.com/2013/05/moon-goin-down-charley-patton.html)
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I hear “North Star” too. Not sure if it’s followed by “‘bout” or “bound”.
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Thanks for the link, Blues Vintage. It's interesting. There's a lot of commonality between people who live in different places and at different times. I wonder if he found his way to Patton through Sam Charter's The Poetry of the Blues which was quite popular back in the day. His Chinese references are interesting as well. When it comes to poetic license, it's all fair game. Don't put any artificial limitations on yourself when composing poetry or otherwise, as a late friend and poet used to say.
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Like Mark C, I hear "...North Star bound..."
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I'll keep listening. I thought I heard it at one point for 1.1.
Is the North Star (Polaris) visible when the moon goes down?
Apparently this poet heard it too.
POETRY ON THE LOOSE - Moon Goin' Down
http://williamseaton.blogspot.com/2013/05/moon-goin-down-charley-patton.html (http://williamseaton.blogspot.com/2013/05/moon-goin-down-charley-patton.html)
It's not quite explained by the text in the link. Polaris is always directly above the North Pole and therefore as the earth spins on its axis the stars in the sky seem to spin around it. For anyone in the northern hemisphere, it always remains in the same place in the sky, night and day actually, due north and at a height above the horizon determined by your latitude. The moon is carried around with the rest of the stars, dropping back about 15 degrees each night (a littleness than 13 degrees, really). If the moon is somewhat large and waning it goes down in the hours after midnight and before dawn. While a bright moon is in the sky, the stars, including Polaris, will be somewhat dimmed, especially if it is a muggy night with a lot of haze, pretty common in the delta. But once the moon sets, the stars shine bright.
The North Star is particularly important to those descended from slaves in America because when slaves were attempting to escape, being uneducated and therefor ignorant of maps and directions, they would look for the little dipper constellation which has Polaris at the tip of its handle, and 'follow the dipper' to freedom, navigating like a sailor. Charley may only be mentioning the fact that it is easier to navigate the flat delta when the moon is down and the stars are bright.
Wax
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Great post, Wax.
I made some more changes and keep listening. I got my hands on a cleaner version. Send me a pm and I'll send it.
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Re-listened to "Moon Going Down" again and again. Incorporated a few suggestions.
I think we're pretty close now, if anybody still wants to make another change let me know.
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After listening about 40 times in a row now, and many more times over the past 8 years or so since my first swipe at it, I think this is pretty close for Dry Well. This is one of Patton’s most coherent narratives thematically, and it mirrors High Water as a firsthand account of a specific and real life natural disaster in the delta.
I think he’s telling the world the story, so he stays on topic.
The first verse is speaking generally, saying it’s hard living in this Lula heat, ‘lately’. He could be saying ‘Baby’, but I just can’t be sure. I don’t think he’s addressing his ‘baby’ about something interpersonal. He’s reporting a dire situation to his total audience. He’s telling you through the use of the word ‘our’ trees that he is a Lula resident himself. I don’t think he’s trying to communicate that he was living ‘at ease’ in Lula, even though as an opening line it COULD be used as a comparison to his current situation, the rest of the song clearly describes distress due to the heat and drought, and I think it starts on that theme. Plus, I simply don’t hear ‘at ease’.
Second verse I interpret as his personal complaint. He left another town to live in Lula, and decided to stay in Lula, giving up his living situation in the ‘other town’, and thus, bidding it goodbye. Presumably, just prior to the drought hitting or becoming critically serious. He bemoans his luck for having made that decision and is complaining that, beyond his ability to foresee, he’s come to see the day the Lula well had gone dry. Poor Charlie! What timing! 😩
The third verse is a report of a call for help from the citizens of
Lula, who presumably asked for help to save their poor well (perhaps from the lord, on Sunday? I definitely hear ‘Sunday’, which is
where and when the town would get together naturally, so this really works, IMO). If it’s not ‘Sunday’ as the first word of the last line, then it’s probably ‘So they’ all got together…
Fourth verse goes back to Charlie’s personal situation and complaint. He’s got no money, and now, with the drought and lack of water, no viable home in Lula, (and he bid the other town goodbye of course!) He mentions the ‘hot weather’ again, and this supports the possible earlier use of ‘Hot Weather’ as a phrase in the 2nd verse. I also think he says that most anybody doesn’t have any water, even on the bayou, (pronounced bye). This pronunciation is what Skip James used later on in the 60’s (March 30, 1968 Bloomington, IN) during a live version of ‘Devil Got My Woman’: “and I would tote all of her water, away from the boggy bayou (bye)…”
Fifth verse could either be ‘look down the’ or ‘they tell me’ the country. I support ‘They tell me the country’ because I hear it that way, and ‘look down the’, would make the word ‘the’ pronounced ‘thee’ which I think is awkward and he wouldn’t/didn’t do. I think it’s a short ‘e’, on ‘the’ pronounced ‘thuh’, with the long ‘e’ sound -which is present- being in the word ‘me’, which is much more natural.
Last verse is pretty straightforward, and a wonderful image. I do think he made a booboo and meant to say Lula WOmen in the second line, but just rolled with it. What’s one syllable among a smashing delta blues masterpiece? 😝
Dry Well Blues
Lately livin' at Lula, hard livin', that heat
Lately livin' at Lula, hard livin', that heat
Lord, the drought come and caught us an,
Parched up all our trees.
I just stayed over in Lula, bid another town goodbye,
Stayed, Lula, bid the other, town goodbye,
How would I (could be ‘Hot weather’?) come to know the day, lord, the ah,
Lula well has gone dry?
Lord the citizens 'round Lula, all was doin' very well,
Citizens 'round Lula, all was doin' very well
Sunday, all got together, an’ said, “save our po-or well!”
I ain't got no money, an I, sho' ain't got no home,
Lord I ain't got no money and, sho' ain't got no home,
The hot weather done come in, scorched all the cotton and corn.
Well, they tell me the country, lord, it'll make you cry,
Whole, country, lord, it'll make you cry,
Most anybody, lord, haven't any water on the bayou.
Lord, the Lula womens all, puttin' the Lula men down,
Lula mens, all put the Lula men down.
Lord, you oughta been there, lord
See the womens all leavin’ town.
https://youtu.be/fgFEJfsalvk?si=eJ91tb5nmg7-KsPt
https://youtu.be/fgFEJfsalvk
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I did this one about 3 ago.
I don't hear a lot of the changes you made on the first hearings.
In 6.2 he does sings "mens" but meant to sings "womens" as noted.
I'll keep listening, maybe the song needs to be re-examined.
Can you put the YouTube link above the lyrics?
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Of course one can never be totally sure with Dry Well, but I’ve listened to it… QUITE a bit, and hundreds of those times with the express and singular purpose of trying to decipher the lyrics. I’m confident, if not certain about several of my suggestions. It’s one of my favorite songs, as it is yours as well :) One day we will get it! 😎