Topic: Miller's Breakdown

[Forgetful Jones]

Arzo Youngblood "Goin' Up the Country Blues"
I think he's in Standard Tuning down a step or so, playing in G Position
Riff: 3rd fret 1st string, 3rd fret 2nd string, open 1st string, 3rd fret 3rd string, Open 2nd string, Open 3rd string

Cecil Barfield "Georgia Blues"
I think he's in Standard tuning down a bit, E Position (but no 3rd)
Bass line: Open 6th, 2nd fret 4th string, 3rd fret 6th string, 2nd fret 4th string, open 4th, (open 5th as he plays the riff on 3rd string)

5 fretted notes:
3rd fret 6th string
2nd fret 4th string
2nd & 3rd frets 3rd string
3rd fret 2nd string

[Forgetful Jones]

Old Man Ned- How do you get that TAB layout all lined up?

[Old Man Ned]

Nothing fancy. I just used the hyphon key --- , a number and start a new line for each string.

All the best,
Ned

[blueshome]

For some reason I get them both in E standard. Same fingering as Ned.

[Johnm]

Hi all,
It has been a little while since there have been any new responses to the Arzo Youngblood and Cecil Barfield puzzlers so I'll post the answers.

For Arzo Youngblood's "Goin' Up The Country Blues":
   * his playing position/tuning was G position in standard tuning, as Forgetful Jones had it. You can tell because he uses a C7 shape voicing for both his V7 chord and his IV7 chord, and if he had played it in E position in standard tuning, that sound would not have been plausibly available, in terms of execution. Also, his signature lick is a G position give-away.
   * His signature lick from :09--:13 and throughout the song was fretted as follows: It starts on the + of beat one at the third fret of the first string, on 2+ it goes from the first fret of the first string to the third fret of the second string, on 3+ it goes from the open first string to the third fret of the third string, and on 4+ it goes from the open second string to the open third string. It sits beautifully for the fretting hand in G position and you can play the whole thing using the little finger for the third frets and the index for the first fret. One way you can tell it is in G position is that you can hear him cross strings when he goes from the third fret of the second string to the open first string, and when he goes from the third fret of the third string to the open second string.

That signature lick is quite similar to the signature lick that John Jackson played for his "Bear Cat Blues', which he also played out of G position. You can hear that song in the John Jackson Lyrics thread.

For Cecil Barfield's "Georgia Blues":
   * His playing position was E position in standard tuning
   *  In re-listening to Cecil Barfield's bass run that he plays twice from :27--:31, I realized that he does not play the line the same way both times. The first time he goes from the open sixth string, leaves a rhythmic space, then goes from the third fret of the sixth string to the second fret of the fourth string to the open fourth to the open fifth string. The second time he plays the line he fills the rhythmic space, playing open sixth, open fourth, third fret sixth, second fret fourth, open fourth, open fifth. It's a wonderfully ambiguous line in terms of establishing a key center--it starts on the low E that the song in in the key of, but ends on the IV note, A. It ends up being resolved in the treble, though, with a slippery little run that ends on the E note at the second fret of the fourth string before the bass line repeats. The way that Cecil Barfield consistently found new sounds which still spoke in the musical language of the blues reminds me of Robert Pete Williams.
   * Forgetful Jones nailed the five places where Cecil Barfield fretted the guitar the course of playing "Georgia Blues": third fret of the sixth string, second fret of the fourth string, second and third frets of the third string and third fret of the second string. Well done!

Both of these performances, by Arzo Youngblood and Cecil Barfield, just seem to have so much juice and vitality to me. I really appreciate the extent to which they appear to be playing just what they hear. I hope that people enjoyed the songs and thanks to Old Man Ned, Forgetful Jones and blueshome for participating.

All best,
Johnm

[Johnm]

Hi all,
It's been a little while since we've had any new puzzlers, so for those who are interested, here are a couple. For these ones, we'll just be looking for the playing position/tuning. The first is from Eugene Powell, and it is his "Police in Mississippi Blues", elsewhere called ".44 Blues". Here it is:



What playing position/tuning did Eugene Powell use to play "Police In Mississippi Blues"?

The second song is also by Eugene Powell, and it is his "So Cold In China". Here it is:



What playing position/tuning did Eugene Powell use to play "So Cold In China"?

Please use only your ears and your guitars to arrive at your answers and please don't post any responses before 8:00 AM your time on Tuesday, December 13. Thanks for your participation and I hope that you enjoy the songs.

All best,
Johnm

[banjochris]

Wow, he really sounds like Hacksaw Harney on that "So Cold in China" – both of those are great cuts, John, thanks for sharing!
Chris

[lindy]

Wow, he really sounds like Hacksaw Harney on that "So Cold in China" – both of those are great cuts, John, thanks for sharing!
Chris

I thought the same thing, Chris. I only discovered this evening that Powell and Harney were good buds:
https://melaniesaxtonmedia.com/hacksaw-harney/
Lindy

[Johnm]

Hi all,
I've been trying to transcribe the lyrics for Sylvester Cotton's "Pay Day Blues", at https://weeniecampbell.com/yabbse/index.php?topic=10188.msg113953#msg113953 in this thread, and would very much appreciate help with a couple of bent bracketed places. Thanks for any assistance.
All best,
Johnm 

[Blues Vintage]

Man, that's tough, I got some suggestions for the third verse first,

3.1 Now, now, woman, now girl you made me work hard on --

3.3 Well if I


I'm kinda guessing at this point not really hearing,

For the first mystery line,   So we can be way out there, baby, the to see so far ?
Second one let a poor man have his way

[banjochris]

4.3 So we can be way out there, baby, THE CITY'S [STUFF/DONE/WA'N'T] GOIN' NOWHERE
not sure of that one word

6.3 Now bye, little woman, LET POOR ME HAVE [TOO]
is as close as I can come.

Chris

[Johnm]

Thanks for the suggestions, Blues Vintage and banjochris. I incorporated some of each of your suggestions. I ended up hearing the space in 4.3 as:
    So we can be way out there, baby, the city folk won't know us

and 7.3 as:
   Now bye, little woman, Lord, poor me have to go

I'm pretty sure that what I have for 7.3 is correct, considerably less sure about what I have for the end of 4.3, though the phonetics sure seem right. If I'm way off base, I figure you'll let me know.

[banjochris]

Those both sound right on to me, John! A nice group effort on that one
Chris

[Blues Vintage]

I don't hear "us" at all. I keep listening but now I'm leaning towards (but far from sure);

4.3 So we can be way out there, baby, the city folks won't know why or the city folks wonder why


Some further suggestions;

2.3 you won't have to fix me nothin' to eat

4.2 I'm gonna build me a house

5.1 Now, maybe then, baby, maybe I can get some rest

I think he does sing "from you" real fast and swallowed in 7.2

7.2 Hey, hey, wom', I'm goin' so far away f' you

[Johnm]

Thanks for the additional suggestions, Blues Vintage. I think 4.3 does end "won't know why". I also heard the 2.3 and 5.1 suggestions, but not 4.2, where he says "gon'" in the first two lines the very same way.  I think in 7.2 he says "from" at the end of the line and stops it there. I think this one is done. Thanks to you and Chris, a team effort as he said.