Topic: Miller's Breakdown

[Johnm]

Hi all,
Any takers for the Georgia Slim and Tommy Griffin puzzlers?  Come one, come all if you have answers you'd like to propose.
All best,
Johnm

[Old Man Ned]

Just had time to look at the Georgia Slim tune so far.  Here's my take:
E standard, but a half step up.

Where did he fret the ascending run from :06--:07?
Open 5th str then up to 1st and 2nd fret.  Repeat the B on the 2nd fret then open 4th str, to 1st and 2nd fret, then open 6th.

Where did he fret the last three bars of his opening solo, from :21--:27?
Something close to:
4th str 1 - 2 - 1 - 2 - -0 - - - -
5th str - - - - - - - - 2 - - -2 - -
6th str -- - - - - - - - - - 4 - - 0
then goes down
2nd str - 3 - 2 - 1-
3rd str - 4 - 3 - 2 -
always hitting the open first string, finishing up on an E 7th

Hopefully, get to spend some time on the Tomyt Griffin tune tomorrow

[David Kaatz]

I'm going to start with the basics.
Georgia Slim is playing in E position, actual key of F.
I didn't figure out the moves enough to write them in detail. I think Old Man Ned is pretty much right on the ascending run.

Tommy Griffin is playing in C position.

[Prof Scratchy]

The questions on "I've Been Mistreated" are:
   * What playing position/tuning did Georgia Slim use to play the song? - E capo 1

   * Where did he fret the ascending run from :06--:07? - 5/0>1>2>2  4/0>1>2 6/0

   * Where did he fret the last three bars of his opening solo, from :21--:27? - 4/1>2>1>2  5/1>2>1>2 6>0, then xxx430>xxx320>xxx210>E chord


The questions on "Dream Book Blues" are:
   * What playing position/tuning did Tommy Griffin use to play the song? - C standard

   * Here did Tommy Griffin fret the beginning of his intro, from :00--:06?
- 1/0>2>3>1 2/3 3>3b 2/0 3/0 1/0>1>2>3 24b 1/0 2/1 3/2 2/1>1


  * Where does he fret the ascending line he plays under the opening line of his second verse, from :40--:46?
- 5/3 4/0>1>2 repeat

   * Where does he fret the opening of his solo, from 1:39--1:46?
2/4b 1/3 repeat

[Johnm]

Hi all,
It looks as though everyone who intended to respond to the Georgia Slim and Tommy Griffin puzzlers has done so by now, so I'll post the answers:
For Georgia Slim's "I've Been Mistreated":
   * His playing position was E position in standard tuning.  Every responder had this right--well done!
   * His ascending run from :06--:07 was just as Old Man Ned and Prof Scratchy had it.  Starting on beat two of a bar, Georgia Slim played a triplet on the fifth string going from the open fifth string to the first and then the second fret.  On beat 3+ of the bar he played the second fret of the fifth string twice (very lightly on the + of the beat).  On beat 4, he played an ascending triplet on the fourth string going from the open string to the first and then the second fret.  He resolved to the open sixth string on the downbeat of the next measure.
   * He played the last three bars of his opening solo, from :21--:27 like so:  In the 10th bar of the form on 1+ and 2+ he went from the first fret of the fourth string to the second fret of the fourth string twice.  On beats 3+ and 4+ he went from the first fret of the fifth string to the second fret of the fifth string twice.  In the eleventh bar of the form, he hit the open sixth string on beat 1, and on the + of beat 1 lightly brushed the third fret of the second string and the open first string.  On beat 2+ he brushed the third fret of the second fret and the open first string twice, on beat 3+ he brushed the second fret of the second string and the open first string twice, and on beat 4+ he brushed the first fret of the second string and the open first string twice.  In the twelfth bar of the form, he brushed the top three strings with the third string fretted at the first fret and the first two strings open on 1+, on 2+ brushed the third string first fret, second string third fret and open first string on the beat, then brushing the third string at the first fret and the first two strings open on the + of the beat.  On beats 3 and 4, he brushed the top three strings with the third string fretted at the first fret and the top two strings open.

Everyone's responses on this song were right on the money.  Georgia Slim certainly sounds as though he had been listening to Peetie Wheatstraw's singing a lot before recording "I've Been Mistreated", even to the extent of emulating Peetie's vocal tone.  He sounded pretty darn good doing it, too, I think.

For Tommy Griffin's "Dream Book Blues":
   * His playing position was C position in standard tuning, as Dave and Prof Scratchy had it.  Every assessment of tuning/playing positions that was posted on these two puzzlers was correct, and you can't do better than that!
   * For his intro, from :00--:06, Tommy Griffin played this:  He sounds as though he was flat-picking, though he may have been using a thumb pick like a flatpick.  His intro starts on the + of beat 3, preceding the final four bars of the form, and he brushes the fourth fret of the second string and the open first string there.  On beat 4+, he brushes the open second string and the first fret of the first string on beat 4 and the second fret of the first string on the + of beat 4.  On 1+ of the next measure he goes from the third fret of the first string to the first fret of the first string.  On beat 2+, he goes from the third fret of the second string to the third fret of the third string.  On 3+, he goes from open second string to the open third string.  On beat 4, he brushes the open second string and the third fret of the first string.  In the next measure, on 1+ he brushes the fourth fret of the second string and the open first string on the beat and picks the first fret of the first string on the + of the beat.  On 2+, he goes from the second fret of the first string to the third fret of the first string.  On 3+, he bends the fourth fret of the second string twice.  On beat 4, he plays a triplet, going from the first fret of the second string to the second fret of the third string and back.  In the next bar, on 1+ and 2+, he goes from the first fret of the second string to the second fret of the third string twice.  On beat 3+, he goes from the first fret of the second string to the open third string.  On beat 4+, he goes from the first fret of the fourth string to the second fret of the fourth string.  On beat 1 of the next bar, he resolves to the third fret of the fifth string, brushing the top of a G chord on beat 2+.
   * For the opening of his second verse, from :40--:46, he played a version of the ascending bass line from "Big Road Blues", converted to C position.  In the first two bars, he plays four triplets, devoting one triplet apiece to the following four pitches--fifth string, third fret, open fourth string, first fret of the fourth string, and second fret of the fourth string.  In the third bar, he plays the same triplets on beats 1, 2, and 3 as he did in the first two bars.  On beat 4, he plays a triplet hitting the second fret of the fourth string twice, then resolving to the third fret of the fifth string.  In the fourth bar, he plays a triplet on beat 1 going from the second fret of the fourth string to the third fret of the fifth string and back.  On beat 2, he plays a triplet going from the third fret of the fifth string to the second fret of the fourth string and back.  On beat 3, he plays a triplet going from the second fret of the fourth string to the third fret of the fifth string, continuing on to the open fifth string.  On beat 4, he plays a triplet, walking up the fifth string from the first fret to the second fret to the third fret.
   * For the opening of his solo, from 1:39--1:46, he uses the Lemon Jefferson technique of brushing the fourth fret of the second string and the open first string, bouncing the finger he uses to fret the second string so that that note is damped on the back end.  He resolves that brush stroke on the + of his beats either to the third fret of the first string as Prof Scratchy had it, or to the first fret of the second string.

I know nothing about Tommy Griffin in the biographical sense, of even if he was the guitarist on the track.  Does anyone have session information on his recordings?  It's possible that he may have been the featured vocalist but was not a player, and was accompanied by a session guitarist and pianist.  I just assumed he was the guitarist on the track, but that may not have been the case.  I would welcome any information about Tommy Griffin and his sessions.

EDITED TO ADD:  Prof Scratchy has provided information that Tommy Griffin, in fact, only sang on his recordings, and was accompanied on "Dream Book Blues" by Earnest "44" Johnson on piano and Walter Jacobs (Vinson) on guitar.  Thanks, Prof!

Thanks to Old Man Ned, Dave and Prof Scratchy for participating.  All of the answers were pretty much spot on, and the most important determination, tuning/playing position was right in every case, which is great to see.  I will look for some more puzzlers to post.

All best,
Johnm   
   

[Johnm]

Hi all,
I have two new puzzlers for you.  The first is from Cecil Barfield, his "Georgia Blues".  Barfield, who sometimes recorded or identified himself as William Robertson, had a sound that was distinctive to himself, and at a pretty distant remove especially from other Georgia blues musicians who have been recorded.  Here is his "Georgia Blues":



SPOKEN:  Let's see now, what I'm gonna do here now

Tell me, baby, why did you love poor man?
Tell me, fair brown, girl, why did you love poor man?
If you not with another man, rider, you oughta come and love with me

Love me, baby, just like I love you
Well, the way I been lovin' you, rider,
I declare I 'clined  feelin' a shame

Takin' my little money, babe, all my love go, too
Well, my money now, havin' that, like my lovin', too

Gal I been lovin', one I crave to see
Yes, the girl I'm lovin', God knows, in love with some other man

See the way you're lovin', girl, I declare it will never do
Can't love me, baby, and love some other man, too

(SPOKEN:  Lord have mercy.  That's what I say about your way of lovin'.)

Looky-here, rider, somethin' going on wrong
Well, it ain't nothin' I heard, girl, I can tell by the way, baby, you're doin'

Followin' my baby, just can't help myself
Pullin' my rider, just can't help myself
Yes, I been lovin' you, fair brown, lovin' you no one else

Going away, baby, wear you off my mind
Going away, fair brown, to wear you off my mind
Well, the way my baby treats me, make me not want to live long

The questions on "Georgia Blues" are:
   * What playing position/tuning did Cecil Barfield use to play the song?
   * Where does he finger his recurring bass signature lick, a six-note figure that he plays twice consecutively from 1:53--1:57?

The second song is from K. C. Douglas, his "Make Your Coffee".  Douglas moved from Mississippi to California as a young man, but like Shirley Griffith, who re-located from Mississippi to Indianapolis, retained a strong influence of the players he heard in his youth, like Tommy Johnson and Ishmon Bracey.  Here is "Make Your Coffee":



INTRO

Says, I'll cut your kindling, baby, honey, and I'll build your fire
Says, I'll cut your kindling, baby, and I'll build your fire
Says, I'll pack your water, honey, from down on the boggy bayou

You know, I'll make your coffee, bring it to your bed
Says, I'll make your coffee, honey, and bring it to your bed
You know, I'll take my comb, honey, and scratch dandruff from your head

SOLO

I'll put money in your pocket, fill your mouth with gold
Says, I'll put money in your pocket, fill your mouth with gold
If you stay here, mama honey, until I get my roll

I'll wash your dishes, baby, and I'll wax your floor
Says, I'll wash your dishes, honey, and I'll wax your floor
If you got another man, honey, you have to let him go

The questions on "Make Your Coffee" are:
   * What playing position/tuning did K. C. Douglas use to play the song?
   * Where does K. C. Douglas fret his V7 chord that he plays in his opening solo?
   * Where does he finger, and what does he play under the opening vocal line in each of his verses?

Please use only your ears and instruments to arrive at your answers to the questions, and please don't post any answers until 8:00 AM your time on Monday morning, November 30.  Thanks for your participation and I hope you enjoy the songs.

All best,
Johnm

[Johnm]

Hi all,
Any takers for the Cecil Barfield and K. C. Douglas puzzlers?  Come one, come all!
All best,
Johnm

[Prof Scratchy]

OK I'll make a start:
* What playing position/tuning did Cecil Barfield use to play the song? Em standard tuning
   * Where does he finger his recurring bass signature lick, a six-note figure that he plays twice consecutively from 1:53--1:57?
6/0 4/2>0>2 5/0>1h>2h>0>1h>2h>0 6/3>0


  * What playing position/tuning did K. C. Douglas use to play the song? A standard
   * Where does K. C. Douglas fret his V7 chord that he plays in his opening solo? 776750
   * Where does he finger, and what does he play under the opening vocal line in each of his verses? xxx898>xxx9109slide x3

[Johnm]

Hi all,
Anyone else care to join Prof Scratchy in answering the Cecil Barfield and K. C. Douglas puzzlers?  Come one, come all!
All best,
Johnm

[Prof Scratchy]

Hope so! Don't let me sit on the bench of shame alone!!

Sent from my KFARWI using Tapatalk

[One-Eyed Ross]

The only one I had time for was Make Your Coffee, and all I got was I think it is in A...I think the V7 chord is a C7 shape at 5th fret....but that's a guess, and as far as I got.

(Between family, birthdays [grandkids and mine] and BBF tunes, I been busy.  LOL)

[Johnm]

Hi all,
It looks as though everyone who intended to respond to the Cecil Barfield and K. C. Douglas puzzlers has done so by now, so I'll post the answers.

For Cecil Barfield's "Georgia Blues":
   * His playing position/tuning is E position in standard tuning, as Prof Scratchy had it.  Well done, Prof!
   * His 6-note bass signature lick that he plays twice consecutively, starting at 1:53 is this:  Open sixth string, open fourth string, third fret of the sixth string, second fret of the fourth string, open fourth string, open fifth string.  It has an odd sort of disjunct sound.
In re-listening to "Georgia Blues", I noticed that the only notes that Cecil Barfield frets in the course of "Georgia Blues" are all located on the second or third frets of the strings on which they're played.  The only fretted notes he plays are:  third fret of the second string, second and third frets of the third string, second fret of the fourth string and third fret of the sixth string.  In the left hand this makes for extreme economy of motion--if he fretted all the second fret notes with his index finger, he could use his second finger for the third frets of the third and sixth strings.  In fact, in the picture that accompanies the video of "Georgia Blues", his left hand is poised in precisely that position.  The resulting sounds strongly emphasize the I and IV chord roots and avoid the V chord altogether; because it never ventures too far away from the I chord and only suggests the IV chord, the song has a sort of unresolved sound, despite hanging around the I note a great deal.  Cecil Barfield is a player who is yet to have been studied any where near adequately, I think.  He's coming from such a different place in terms of his vocal tone and over-all sound, and people may just not know what to make of him.

For K. C. Douglas's "Make Your Coffee":
   * His playing position is A position in standard tuning, as both Prof Scratchy and Ross had it--well done!
   * The V7 chord that Douglas plays in his opening solo is a C7 shape moved up the neck four frets to sound at E, which is exactly what Prof and Ross had--right again!
   * Under the opening line of each of his verses, K. C. Douglas borrows a page from Blind Lemon, and as Prof Scratchy had it, slides a D shape up the neck, sliding into the ninth fret of the first string and resolving to the tenth fret of the second string.  What gives his way of playing this phrase a bit more of a distinctive sound is that under this A phrase in the treble, he hits the open D string in his bass.  That bit of starting a song with the I chord in the treble but the IV root in the bass is a sound that Ed Bell used on "Mamlish Blues" and "Squabblin' Blues".  It's pretty cool, because when the song resolves to the IV chord, it's as though the other shoe drops.

Thanks to Prof Scratchy and Ross for participating and I hope folks enjoyed the songs.  People have really been doing well lately in picking the playing position/tuning, and that's great to see.

All best,
Johnm 

[Johnm]

Hi all,
I have been working on transcribing Cecil Barfield's lyrics to "Georgia Blues" and would appreciate some help, especially with the tagline to the second verse.  The song is located at:  http://weeniecampbell.com/yabbse/index.php?topic=10188.msg95823#msg95823 .  Thanks for any assistance.
All best,
Johnm

[Johnm]

Hi all,
I have a couple of new puzzlers for interested parties.  The first is JB Lenoir's "I Want To Go", from his "Alabama Blues!" album.  Here it is:



My name is J B Lenoir, and this the way my song go
Everything must be done, down here on the county farm
Just make me want to go

Everything must be done, down on the county farm
Sleepin' here behind the wall, and bein' treated just like a dog
Just make me want to go

Spoken: A-where I don't know.  I want to leave here and I don't care where I go.

Hey there, little old girl, set down on my knee
I just want to tell you how you been sendin' me
Just make me want to go

Down on the county farm, people, this is a natch'l fact
Eleven-foot cotton sack, hangin' heavy down on my back
Just make me want to go

The questions on "I Want To Go" are:
   * What playing position/tuning did JB play the song out of?
   * Where does he fret the lick he plays from :15--:20 and what strings is he sounding when he plays the lick?

The second puzzler is Bill Williams' "Was That The Human Thing To Do?"  Here it is:



The question for "Was That The Human Thing to Do?" is:
   * What playing position/tuning did Bill Williams use to play the song?

The third song is Teddy Darby's "My Laona".  Here is his rendition:



The questions on "My Laona" are:
   * What playing position/tuning did Teddy Darby use to play the song?
   * In the first two bars, under his vocal, how does Teddy Darby change what he plays in the second bar from what he played in the first bar?
   * Why is the song called "My Laona"?

Please use only your ears to arrive at your answers, and please don't post any answers before 8:00 AM on Friday, December 11.  Thanks for your participation and I hope you enjoy the songs.

All best,
Johnm

 

[Old Man Ned]

JB Lenoir's "I Want To Go" for the playing position/tuning I'm going for G in open G tuning and fretting the lick he plays from :15--:20 on the top 2 strings at the 12th fret then dropping down to the 10 fret.

For "Was That The Human Thing to Do?" I'm going with D out of dropped D tuning and Bill Williams sounds about a half step up.

For Teddy Darby as far as I got is with A, standard.  As usual, not enough time to spend on these tunes to do them justice, but just wanted to take a stab at it before I head off for the weekend.