Topic: Mae Glover Lyrics

[GhostRider]

Howdy:

Just to compliment the discussion in the Country Blue Instruction section, I thought I'd post the lyrics. The song contains numerous asides, those spoken by Byrd are in bold, those by Glover are in italics.

I have some problems with parts of verses 6 and 7.



I Ain't Givin' Nobody None
Mae Glover and John Byrd

1929
Standard Tuning, Key of G
Capo III

1) (instrumental line)
My man left me, left me feelin' bad (x2)
(spoken: I know I did, mama)
He's the best kind papa that I ever had

2) I'm gonna send you a ticket, hoping you will come
(spoken: I'm gonna ride them rods.)
I'm gonna send you a ticket, hoping you will come
Come back home, never more to roam.

3) If you come back home baby, tell you what I'll do
(spoken: You jokin'
No I ain't, papa)
If you come back home baby, tell you what I'll do
I'll quit my kidman, try to live true to you
(spoken: Will you mama, 'shore 'nuff
Give it all to you ,papa)

4) Instrumental verse
(spoken: Aw, pick it papa, pick it.)
(sung: Yeeheehee)
(spoken: I ain't givin none of this sweet jellyroll away)

5) Since you've been gone daddy, listen what I've done
(spoken: What'd you do?)
Since you've been gone papa, listen what I've done
I've made a lot of money, but I ain't give nobody none
(spoken: I mean, none of this jellyroll)

6) I'll wash your clothes in the morning, cook jelly roll at night
 I'll wash your clothes in the morning, bake jelly roll at night
When you come home, try to be so doggone tight

7) I drink so much coffee, the grounds are in my feet (x2)
I don't care how I do, you s'doggone hard to please.

Thanks,
Alex

Note: picked up corrections fron BBQ John and Johnm below.

[attachment deleted by admin]

[waxwing]

Here's what I get for verse 6. Can't make any imp[rovement on 7.

6) I'll wash your clothes in the morning, cook jelly roll at night
I'll wash your clothes in the morning, bake jelly roll at night
When you come home, try ta be so doggone tight

All for now.
John C.

[GhostRider]

BJ:

After relistening to this, I'm sure your changes are right.

And I think the end word on tne first and second lines of Verse 7 is "feet". The last word in line 3 is???

I've made the changes in the version above.

alex

[moedecker]

Great song. Really liked it a lot

[GhostRider]

Moe:

Me too. A fun one.

And not that tough to play. The monotonic bass on the 12 string is unusual and effective.

Alex

[chipmonk doug]

Alex,

What is the progression?  I'm the worst at working out that stuff and once I get the basic progression I"m ok at figuring out the lick.

I want to work that up with my wife.  Should be some more fun dirty blues for us to do.

BTW I think in verse 3 it's "I'll quit my cribbin" that makes more sense.  But it does sound the way you have it written out.

Thanks,
doug

[GhostRider]

C. Doug:

The progression (which I'm stealing from Pan's post in a parallel thread) is

G/G/G/G-G7
C/Cm7/G/G
D/run(D)/run(G)/G

There is a thread in the Country Blues Licks and Instruction section of the Forum where a gentleman from Finland, Pan, does a great analysis of the licks in this tune:

http://weeniecampbell.com/yabbse/index.php?amp;Itemid=74&topic=1908.0

Remember the song is capoed up three frets. The progression I've written out is the positions as if there was no capo. To play along with the record, play these chords but Capo III.

The runs (which vary slightly in tempo) in Bars 10 and 11 are the same notes. The bracketed chord is what I think Mae Glover is singing in.

I'm almost sure "kidman" is right. The word has come up in a few blues I've/we've transcribed. Johnm turned me on to the term when we were working out Travelin' Mama Blues by Joe Calicott.

If your wife will sing this one with you, I like her already.

Anything a kidman do's, that'll be's alright,
Alex

[chipmonk doug]

Thanks Alex,

With that and what is in the other thread I should be able to play something that works. 

My wife does this verse in Wild About My Lovin'

Oh, I ain't no walrus scruber, Nor a walrus scrubber's lass
IF you want your walrus scrubbed, You can damn well kiss my ass
I'm wild about my loving, like to have my fun
If you wanna be a man of mine,  Bring it with you when you come

I'm not much in to trying to copy the way they done it (cause I ain't good enough) but in trying to play it like I learned it from them and then made it mine and played it in the next juke joint down the road.

Here we are
http://www.stone-soup.com/northleft/

Thanks again,  Doug

[chipmonk doug]

For Alex,

If your wife will sing this one with you, I like her already.

Not finished but she's getting it. 

Here she is doing it. 
http://www.stone-soup.com/northleft/mp3/Iaintgivingnobodynone.mp3

[GhostRider]

C. Doug:

Yikes, but your wife has a beautiful voice!

I see you've kind of "folkified" the tune. Definately different.

I might try to increase the tempo of it as bit, might make the vocal phrasing a bit easier.

Alex

[Johnm]

Hi Alex,
I realize it's a while since this topic has been posted to, but since I've been listening to John Byrd, I returned to it.  The transcription looks good, except in the first two lines of the fifth verse, where it should be:

   Since you've BEEN gone, daddy, . . .
   Since you've BEEN gone, papa, . . .
This is a really nice tune, and Mae Glover and John Byrd sound great together.
All best,
Johnm

[GhostRider]

John:

You're right of course. I made the changes.

Thanks,
Alex

[Johnm]

Hi all,
Mae Glover and John Byrd collaborated on another number, "Shake It Daddy". John Byrd backed Mae Glover out of G position in standard tuning, and he had such a strong pulse and attack on the 12-string guitar, his playing is always a treat to hear.  Mae Glover had a very bright-toned voice and was a strong singer.  She really sells her spoken comments behind John Byrd's solos.  The lyrics start out utilizing a straight AAB format, but then switch to a sort of chorus blues format, though without the chorus.  This song would probably work really well as a recreation for performance.  Here is "Shake It Daddy":



You used to be sweet milk, but you done turned sour on me
You used to be sweet milk, you done turned sour on me
If you want me to love you, hum like a honey bee

My baby took me to the milkshake stand,
For he can shake it like the milkshake man (Spoken, Byrd: Lord, I'm gonna shake it!)
Oh, can't nobody shake it like Papa So-and-So can
Cain't nobody shake it like my daddy can

He shakes it in the morning, he shakes it at midnight
Keep on shakin' it, daddy, 'til you know you're shakin' it right
Lord, the way you shake it'll make me lose my appetite
The way you shake it will make me lose my appetite

SOLO (Spoken, Glover: Aw, shake it, papa!  Shake it, daddy, shake it!)  (Spoken, Byrd: I ain't gon' break it!) (Spoken, Glover: Ah, twirl it, papa, twirl it, mmm, twirl it, twirl it, twirl it)

Now, the old folks shakes it, the young folks too
Cain't nobody shake it like the way my daddy do
Lord, the way he shakes it will make me lose my appetite
Can't nobody shake it like Papa So-and-So can

He shakes it in the morning, he shake it at midnight
Keep on shakin' it, daddy, 'til you know you shakin' it right
'Cause the way you shake it'll make me lose my appetite
Oh, the way you shake it, makes me do things right

SOLO: (Spoken, Glover: Aw, shake it, papa, just shake it. Keep on shakin' that thing, boy) (Spoken, Byrd: I ain't gon break it.) (Spoken, Glover: Oh, oh, papa, shake it)

Oh, the way you shake it makes me lose my appetite

All best,
Johnm

[Johnm]

Hi all,
Mae Glover and John Byrd combined for "Gas Man Blues", a sort of "skit blues" of the sort that Funny Papa Smith did with Dessa Foster, like "Tell It To the Judge, Parts 1 and 2".  Mae Glover plays the part of the financially strapped gas customer and John Byrd plays Mr. Gas Man.  John Byrd accompanies the duo out of G position in standard tuning, and it is impressive how strongly he maintains the time in what must have been a very distracting recording situation (though fun, I would guess).  The performance starts with talking before moving into singing back and forth with occasional spoken comments.  I'd appreciate help with a couple of bent bracketed passages, and I'll attach the performance to help with that.



SOUND OF KNOCKING
SPOKEN: Mae: Who is that?
John: Gasman, lady
Mae: Aw, pshaw, Mr. Gas Man, I ain't got no money today.
John: Very sorry, lady, but I have orders to cut your gas off today.
Mae: Not today, Mr. Gas Man, surely.  How could you treat a poor gal so cruel?

SUNG:  Mae: Mr. Gas Man, please don't turn my gas off today
John: Oh yes, pretty mama, got no money to pay

Mae: But the wind is blowing and the snow begins to fall (Spoken, Mae: Have a heart, man, have a heart)
John: Better git you a wood-chopper, to back up in your door

Mae: But Mr. Gas Man, this cold wind certainly will give me a chill
John: You better go to the doctor, get you a c.c. pill (Spoken, Mae: I ain't got no money, spoken, John: That's funny)

Mae: Mr. Gas Man, come into my parlor, I want to ask you to close the door
John: I've been in, pretty mama, and I won't be back no more (Spoken, Mae: If you come in this time, you'll come back some more)

Mae: Mr. Gas Man, will you please call 'round after dark?
John: If I call around, mama, will you let me park? (Spoken, Mae: If my kid man don't happen to be here, you may park)

Mae: Are you coming in, Mr. Gas Man?  I want to tell you something right quick
John: Quit arguin', woman, Gas Man got nothin' that he wants fixed (Spoken, Mae: Now listen here, man)
 
Mae: I want to get you early at the Sunday toll
John: I can't help you woman, Gas Man got no jellyroll (Spoken, Mae: I know you ain't got no jellyroll, but your lovin' mama got all that jellyroll, and it's got sugar between it, too!)

Mae: Mr. Gas Man, you got that old hot bankroll over there in your pants, and I want some of it, too
John: I can't help you, pretty mama, the Gas Man don't take no chance (Spoken, Mae: It won't be a chance here, brother, I'm tellin' you.)

Edited 4/10 to pick up corrections from dj

All best,
Johnm
 
 

[dj]

Hi, John,

In verse 6 line 2 I hear "quit arguin' woman" the same as you do.

The first line of verse 7 I hear as "I want to get you early AT the Sunday TOLL", i.e. when the church bells are ringing on Sunday morning. 

[Johnm]

Thanks very much for the help, dj.  "At the Sunday toll" makes sense, and also rhymes with "jellyroll" in the next line, so it is a winner.  I will make the changes.  Thanks!
All best,
Johnm

[Johnm]

Hi all,
Mae Glover, accompanied by John Byrd, recorded "Pig Meat Mama" at the July 29, 1929 session in Richmond, Indiana at which all of their duo titles were recorded. John Byrd accompanied Mae Glover out of C position in standard tuning. Mae Glover had a wonderfully clear, bright voice and the most unusual aspect of the performance is certainly her yodeling, which she did beautifully. The yodeling was probably an attempt to capitalize on the popularity of Jimmie Rodgers, for the song uses the same melody as his "Blue Yodels". Here is "Pig Meat Mama":



INTRO

I'm a pig meat mama, pig meat's all I crave
I'm a pig meat mama, pig meat's all I crave
Pig meat's gonna carry me, carry me to my gra-ave
YODELED REFRAIN: Oh lay-di, oh lay-di, oh lay-di

Some women like their pork chop, some women like their wine
Some women like their pork chop, some women like their wine
But I'm a pig meat mama, give it to me all the ti-ime
YODELED REFRAIN: Oh lay-di, oh lay-di, oh lay-di

I got pig meat in Texas, pig meat in Tennessee
It's pig meat in Texas, pig meat in Tennessee
My pig meat in Virginia, Lord, he's wild about me-ee
YODELED REFRAIN: Oh lay-di, di-oh lay-di, oh lay-di

Tell all you women, what you'd better do
I want to tell all you women, what you'd better do
You better lay off my pig meat, or it won't be good for you
YODELED REFRAIN: Oh lay-di, di-oh lay-di, oh lay-di

Pig meat for breakfast, pig meat when I'm in bed
It's pig meat for breakfast, pig meat when I'm in bed
If I don't get my pig meat, Lord, I'd rather be dead
YODELED REFRAIN: Oh lay-di, di-oh lay-di, oh lay-di
Ah yi oh lay-di, ah yi oh lay-di, di-oh lay-di, oh lay-di

All best,
Johnm