Topic: Johnny Temple Lyrics

[jpeters609]

I don't think it would have occurred to me that "Hattie Mae" is a cover of "Louise Louise Blues", apart from the name change.  That's pretty neat.  Andrew Dunham's sound is so strong and unusual it tends to sweep everything else out of my mind when I hear him.

Hi John,
And to make things even a bit more strange, Andrew Dunham also has a version of "Rocky Mountain" (your other current puzzler, that one by Jim Brewer)! Dunham's was not originally released, but you can hear it below. It has the Dunham sound all over it. To be fair, it may not be quite the same song as Brewer's, but the coincidence is fun...

[Johnm]

Thanks for that, Lightnin'.  Have you ever sung "Louise"?  I think that could be a real good vocal number for you.
All best,
Johnm

[Johnm]

Hi Jeff,
Yes, I know the Dunham "Rocky Mountain" and considered posting two versions of "Rocky Mountain", but felt like "Hattie Mae" got at something in terms of hearing and identifying playing position that I wanted folks to give a listen.  I do love the Dunham version of "Rocky Mountain" though.
All best,
Johnm

[frankie]

I think once I started transcribing Johnny Temple lyrics I just figured you have to do "Louise Louise".

Temple's singing on this is incredibly good - what a tone! This song would make a pretty interesting SOTM topic, given the variety of covers and spin-offs in both professional and field recordings...  just saying...

[Johnm]

Hi all,
For "Roomin' House Blues", Johnny Temple was backed by a pianist, a discreet drummer and a very suave clarinetist.  The focus here is all on Johnny's vocal, and it merits all of one's attention.  His control over the way he cracked his voice was really spectacular.  The song has an interesting paranoid fantasy going--Johnny's imagination is working in ways that are not helping him feel better.  Here is the track:



INTRO

I was worried last night, didn't know what I was worried about
I was worried last night, didn't know what I was worried about
I looked up at a roomin' house, whoo-oo, saw my baby walkin' out

I said, "Look-a-here, baby, what you doin' in this rooming house?"
I said, "Look-a-here, baby, what you doin' in this roomin' house?"
She said, "Baby, my friend lives there, whoo-oo, you don't know what it's all about."

"Well, I see if you open the door, I saw two men walkin' in
I seed if you open the door, I saw two men walkin' in
And see if you have the nerve to tell me, whoo-oo, that was Lula's friend."

When she opened that roomin' house, "I told you, I want you to keep out.
When she opened that roomin' house, "I told you, I wanted you to keep out.
Because it's place like that, baby, whoo-oo, Lord, I know what it's all about."

"I have been watchin' you here of late, runnin' over to this roomin' house."
"I have been watchin' you here of late, runnin' over to this roomin' house.
When you walk in, I seed your girlfriend peepin' out."

All best,
Johnm
   

[Johnm]

Hi all,
For "Hoodoo Women", Johnny Temple was accompanied by the Harlem Hamfats on piano, bass, drums, guitar and clarinet, and their uptown approach really suited both the song and Johnny's singing.  Not to sound like a hanging record, but boy, could he sing!  Here is their performance:



INTRO

Well, I went out on the mountain, looked over in Jerusalem
Well, I went out on the mountain, looked over in Jerusalem
Well, I seed them hoodoo women, whoo-Lord, makin' up their low-down plans

Well, I'm goin' to Newport, just to see Aunt Caroline Dye
Well, I'm goin' to Newport, just to see Aunt Caroline Dye
She's a fortune-teller, whoo-Lord, she sure don't tell no lie

And she told my fortune, as I walked through her door
And she told my fortune, as I walked through her door
Said, "I'm sorry for you, buddy, whoo-Lord, your woman don't want you no more."

Well, I turned around, said, "I believe I'll go downtown."
Well, I turned around, said, "I believe I'll go downtown,
To Chicago River, whoo-Lord, and jump overboard and drown."

The hoodoo said, 'Son, please don't act no clown."
The hoodoo said, 'Son, please don't act no clown.
Because it's a many more women, whoo-Lord, lyin' 'round in this no-good town."

A hoodoo is all right, in their low-down plans
The hoodoo is all right, in their low-down plans
But they will take your woman, whoo-Lord, and put her with another man

All best,
Johnm

[Johnm]

Hi all,
For "Chain Gang Blues", Johnny Temple was backed by a larger ensemble than usual, with piano, drums, tenor saxophone, cornet, and possibly bass.  The sax player sounds to have been a devotee of the playing of Lester Young, and his smooth approach works especially well against Johnny's very raw singing and shouting.  Here is the song:



INTRO

Lord, these women is the cause of me wearin' a block and chain
Yes, these women is the cause of me wearin' a block and chain
They put bad ideas in my head, I declare, and they know that crime don't pay

When I get out of this chain gang, I don't want no more woman in my home
Oh, when I get out of this chain gang, I don't want no more woman in my home
I been thinkin' about the way I was treated, I declare, and back to the chain gang I'm goin'

SAX SOLO

Oh, she knew I was in this chain gang, I didn't have one lousy dime
Yes, she knew I was in this chain gang, and I didn't have one lousy dime
Well, she had four hundred dollar, I declare, and she wouldn't even, not come and pay my fine

Lord, you say you want some money, baby, you say you wanted you a diamond ring
Yes, you say you wanted some money, you say you wanted you a diamond ring
Well, but when I got caught, baby, you declared I was a no-good man

Edited 6/3 to pick up corrections from dj and Johnm

All best,
Johnm

[dj]

Verse 1.3 of Chain Gang Blues should be "... and they know THAT crime don't pay"

Chain Gang Blues is a really interesting song, in that it sounds like Johnny Temple got it from someone else and didn't understand all the words.  The phrase "block and chain" in the first verse would make more sense as "lock and chain", and "money" in verse 2 is really oddly pronounced and doesn't really make sense in terms of the song.  In fact, in the context of the verse, it would make more sense, and fit the accenting of the two syllables better, if Temple sang "to be" instead of "money". 

Does anyone know if there's an earlier version of Chain Gang Blues?

[Johnm]

Thanks for the catch on 1.3, dj.  I will fix that.  I agree that "money" is strange in verse two, and I re-listened, and it now sounds like:
    When I get out of this chain gang, I don't want no Mormon in my home
which fits the sound, but is even odder.  I think what he is actually singing is
   When I get out of this chain gang, I don't want no more woman in my home
with "more" and "woman" smeared together.  I will make those changes.  Thanks for your careful listening.
All best,
Johnm

[Johnm]

Hi all,
For "What Is That She Got", Johnny Temple was accompanied by a very adroit pianist, and a guitarist strumming "straight fours", closed chord positions, four-to-the-bar, a la Freddie Green with the Count Basie Orchestra.  It's been said before of other singers, but I would be happy to hear Johnny Temple sing the phone book.  Here is his performance:



INTRO

I went to my baby like a lion, came away like a doggone lamb
I went to my baby like a lion, came away like a doggone lamb
Lord, I wondered at what is that she got, Lord, that make me be so calm

I looked at my woman like a lion, ready to tear her down
I looked at my woman like a lion, Lord, ready to tear her down
She says, "Come here, baby, I declare let's lay back down."

Better come here, somebody, help me to find my way back home
Lord, come here, somebody, help me to find my way back home
I was cruel to my woman, but I declare I know that I was wrong

SOLO

My baby left me this morning, I walked the street like a tiger in the woods
My baby left me this morning, I walked the street like a tiger in the woods
If my baby come back to me, I declare now I'll always be good

All best,
Johnm

[Johnm]

Hi all,
I found Johnny Temple's very catchy "Jinx Lee Blues" posted on youtube today.  He is joined by the very expert Horace Malcom on piano and a guitarist on it, and for the guitarist I would suspect Teddy Bunn.  Temple was certainly a wonderful singer.  Here is the song:



INTRO

I've got a little woman and her name is Jinky Lee
Well, I've got a little woman and her name is Jinky Lee
The reason why I like her, she keeps the jinx off of me

She's the jinkin'est thing that ever walked down the street
She's the jinkin'est little thing that ever walked down the street
Reason why I like her, she can ease my misery

PIANO SOLO

Jinky Lee, Jinky Lee, can't you hear me callin' you?
Jinky Lee, Jinky Lee, can't you hear me callin' you?
You don't have to leave me to do what you want to do

Jinky Lee, Jinky Lee, baby, whyn't you hurry home?
Jinky Lee, Jinky Lee, baby, why don't you hurry home?
That jinx been on me ever since Jinky Lee been gone

PIANO SOLO

Well, the jinx this morning, they knocked upon my door
Well, the jinx this morning, they knocked upon my door
"If Jinky Lee ain't there, buddy, you got to go."

PIANO SOLO

All best,
Johnm

[Johnm]

Hi all,
I found Johnny Temple's "My Pony" on the discontinued "The Essential" series on Document.  He recorded the song with a small jazz ensemble with piano, bass, clarinet, trumpet and drums.  The group takes turns playing fills behind Johnny's singing, but as was most often the case on his records, no space was left for instrumental solos.  I sound like a broken record saying the same thing over and over, but boy, did he sing well!  Here is "My Pony" with apologies to non-U.S. Weenies who may not be able to play the video:



INTRO

I'm gon' saddle up my pony, hitch up my bay mare
I'm gon' saddle up my pony and hitch up my bay mare
Tell, me and my baby's gon' take a roll down the road somewhere

When you hear my pony comin', please give me the lane
When you hear my pony comin', please give me the lane
If I ain't drunk off of whiskey, I declare I'm drinkin' my champagne

I got a horse there in Texas, pony already trained
I got a horse there in Texas, pony already trained
I got a gal in Chicago with hair just like his mane

She's the prettiest thing that ever went down the line
She's the prettiest thing that ever went down the line
Well, my pony is crippled, but I rides her just the same

If you see my pony, please start her home
If you see my pony, please start her home
Well, I ain't had no ridin', since my pony been gone

All best,
Johnm

[Johnm]

Hi all,
Johnny Temple was one of very few blues musicians who recorded covers of Skip James songs.  Johnny did a really nice job with "Cherry Ball", for which he was joined by a pianist, clarinetist and an expert guitarist.  It would be interesting to know whether the different verses that Johnny sang on this recording were his own inventions or if they were verses that Skip sang in performance but didn't include on his Paramount recording.  I don't think there is any way of finding out at this point.  Here is Johnny Temple's "Cherry Ball":



INTRO

I love my Cherry Ball better than I love myself
I love my Cherry Ball better than I love myself
When my Cherry Ball quit me, I didn't want nobody else

When my Cherry Ball quit me, she quit me really nice, quiet way
When my Cherry Ball quit me, she quit me really nice, quiet way
I wouldn't mind it so bad, but she taken my whole payday

My Cherry Ball, she left me, standin' in the back door, cryin'
My Cherry Ball, she left me, standin' in the back door, cryin'
Sayin', "You've got a home, daddy, ooo-baby, long as I got mine."

My Cherry Ball, she's sweet, sweet as she can be
My Cherry Ball, she's sweet, sweet as she can be
Ain't but one thing I hope: my Cherry Ball come back to me

I take care of my Cherry Ball, if I don't take care of myself
I take care of my Cherry Ball, if I don't take care of myself
And the reason why I do it, I don't want to have nobody else

All best,
Johnm

[Johnm]

Hi all,
Another interesting track from "The Essential Johnny Temple" is "Better Not Let My Good Gal Catch You Here", which turns out to be a sort of evolutionary transitional stage between Ishmon Bracey's "Saturday Blues" and Frankie Lee Sims' "Lucy Mae".  I had previously thought that "Lucy Mae" was based on "Saturday Blues", but it now seems more likely it was based on the Johnny Temple song.  He has a really expert pianist and guitarist backing him, and I don't know who either one of them was because this Document series had nothing in the way of session information.  The song has a really tricky scansion, and I've inserted commas to indicate where Johnny Temple did little pauses in his delivery of the lines.  It reads oddly, but sung that way, it grooves like crazy.  Here is "Better Not Let My Good Gal Catch You Here", with apologies to non-U.S. Weenies who may not be able to view the video.



INTRO

My regular woman, she bring me the daily news, my, Monday woman, she buys my socks and shoes
REFRAIN: Now you, better not let my, good gal catch you here
Oooh, it ain't no tellin', what she might do

She may cut you, she may, shoot you, too, she may break your back in two
REFRAIN: Now you, better not let my, good gal catch you here
Oooh, it ain't no tellin', what she might do

My Thursday brown, she holds my pocket change, my, Wednesday brown, she wants to do the same
REFRAIN: Now you, better not let my, good gal catch you here
Oooh, it ain't no tellin', what she might do

She got a razor, she got a Gatling gun, she cut you if you stand, she shoot you, if you run
REFRAIN: You better not let my, good gal catch you here
Oooh, it ain't no tellin', what my gal may do

When my Friday brown knock up, on my door, my Thursday brown, well, she, have to go
REFRAIN: Now you, better not let my, good gal catch you here
Oooh, it ain't no tellin', what she might do

I got, three, four puppies, I got one, shaggy hound, takes, all them dogs to run my, women down
REFRAIN: You, better not let my, good gal catch you here
Well, it ain't no tellin', what she might do

All best,
Johnm
 

[alyoung]

"prob Sam Price, pno, prob Teddy Bunn, gtr, unkn sb" -- from Blues and Gospel Records 1890-1943 (but also on my copy of DOCD-5239; the session info is on the inside of the front sleeve -- the format is a bit convoluted, but it's there).