Topic: Freddie Spruell Lyrics

[Johnm]

Hi all,
Freddie Spruell recorded "Tom Cat Blues" at a session in Chicago, around July in 1928.  A transplanted Mississippian, Spruell was one of the earliest Country Bluesman to record, with a session in 1926.  Uncharacteristically for a Mississippian (apart from John Byrd), he accompanied himself on a 12-string guitar.  For "Tom Cat Blues", he accompanied himself out of A position in standard tuning, a position not commonly employed by delta blues players of his era.  One of the licks he uses in the course of the song sounded simultaneously familiar and yet different than I was accustomed to hearing it.  I finally realized he was playing the notes Lemon employed in one of his signature licks when playing in A, C-C#-E-C-C#-E-C-C#, which Lemon played at the eighth, ninth and twelfth frets of the first string, but Spruell was playing the notes an octave lower than Lemon played them, finding them at the first and second frets of the second string and the open first string.
Vocally, Freddie Spruell sounds like he may have been an older man when he recorded, for he employs the wide vibrato that some of the singers of the pre-Blues generation, like Frank Stokes, used.  I don't believe much is known about him biographically.  I think one of his widows may have been located in Chicago in the 1950s or '60s, but that she refused to talk about him.  "Tom Cat Blues" can be found on The JSP set, "Paramount Masters" or on Document 5158, "Mississippi Blues", which has his complete recordings.  Here is "Tom Cat Blues":



   GUITAR SOLO

   It was late last night, I tried so hard to sleep (2)
   When a mean old tom cat started on his midnight creep

   Tom cats in my window, tom cats all around my door (2)
   I never heard so much moanin' and whinin' in my life before

   I don't trust a tom cat, he's got such an evil eye
   I don't trust a tom cat, got such an evil eye
   He's sneakin' and mistreatin', dirty and that ain't no lie

   A tom cat man is tryin' to break up my home (2)
   That's why it makes me mad when I hear a tom cat moan

   Ow, Mr. Tom cat, get somebody of your own (2)
   For you will lose your nine lives if you don't leave my babe alone

All best,
John

       

[Johnm]

Hi all,
Freddie Spruell recorded "Low-Down Mississippi Bottom Man" at the same July, 1928 session in Chicago that yielded "Tom Cat Blues", and like "Tom Cat Blues", it can be found on the JSP "Paramount Masters" set.  Freddie Spruell accompanies himself out of E position in standard tuning here.  His treatment of time is very distinctive and original.  He varies the use of his thumb in the right hand quite a lot, sometimes employing a heavy stop-time with forceful brush strokes on the first and third beats of a measure behind his singing, and then switching to a monotonic four-to-the bar bass for the instrumental response to his vocal phrase.  Sometimes he just hits the downbeat of a measure and follows it with free-handed runs in the treble.  His approach is especially effective on the 12-string, and makes a really strong use of its chunky chordal texture.  He uses the very dark V minor chord, the B minor 7, to great advantage.
If Spruell was indeed originally from the Mississippi delta, as his lyrics indicate, one gets the feeling that he left the area a good while before recording this number, because his playing bears no resemblance to that of his contemporaries who stayed behind in the delta after he left.  On some of his other tracks, he sounds somewhat akin musically to Garfield Akers, who was from northern Mississippi, but in the main, his playing doesn't sound like that of other Mississippians from the era.  Here is "Low-Down Mississippi Bottom Man":



   In the long lands of Mississippi, that's where I were born (2)
   Way down in the sunny south, long lands of cotton and corn

   I lived down in the dalta, that's where I long to be
   Way down in the delta, that's where I long to be
   There's a delta bottom woman who's sure goin' crazy over me

   I'm lookin' for a low-down woman who is lookin' for a low-down man
   I'm lookin' for a woman who is lookin' for a low-down man
   Ain't nobody in town, get no low-down than I can

   SOLO

   I likes low-down music, I likes to barrelhouse and get drunk, too (2)
   I'm just a low-down man, always feelin' low-down and blue

Edited 8/10, to pick up correction from dingwall

All best,
Johnm


   
 

     

[Johnm]

Hi all,
Freddie Spruell recorded "4A Highway" with the backing of Carl Martin on second guitar at a session in Chicago on April 12, 1935.  Both players are working out of E position in standard tuning, and their duo sound is beautifully worked out.  Freddie Spruell shows a fondness for a move also employed by Little Hat Jones:  he moves from an E7 played on the top three strings in the first bar of the form, 0-X-X-4-3-4, then takes the shape down one fret for the second bar and switches the bass to the open fifth string, winding up with a very rasty-sounding A7 flat9:  X-0-X-3-2-3.  In general, Spruell handles the time-keeping and bass runs, while Carl Martin riffs in the treble, with increasingly wild ideas as the song progresses.  I would love to have heard what Martin would have played if the take could have gone on for about six minutes, because everything he's playing is sensational.  This is stellar Country Blues duet playing, and well worth seeking out, especially since Freddie Spruell's songs are almost never covered.  In the last verse, it sounds like Freddie is currently without his car.  The cut can be found on the recent JSP "Mississippi Blues" set as well as the Document CD cited earlier, which has Freddie Spruell's complete recorded output.  Here is "4! Highway":



   My baby woke me up this mornin', she told me she's Joliet bound
   My baby, woke me up this mornin', she told me she was Joliet bound
   She want to find 4A highway, that's the main highway out of town

   She wouldn't even talk with me, wouldn't even have a word to say (2)
   She's askin' all her friends around now, where she find number 4A highway

   Number 4A highway, that's the main highway out of town (2)
   If she leave out on that highway, I'm sure gon' trail my baby down

   I feel like takin' my suitcase, settin' down on the side of that lonesome highway
   I feel like takin' my suitcase, settin' down on the side that lonesome highway
   If she leaves there between now and midnight, I'll overtake her just 'fore day

   If I had my machine, I wouldn't worry 'bout leavin' town (2)
   I'd get on that 4A highway, God knows I'd roll that highway down

Edited 8/10, to pick up corrections from dingwall

All best,
Johnm 

[Johnm]

Hi all,
"Mr. Freddie's Kokomo Blues" was recorded at the same session as "4A Highway" with the same personnel, and with Freddie Spruell and Carl Martin likewise playing out of E position in standard tuning.  The song is in the "Kokomo Blues/Sweet Home Chicago" family, and operates as a loosely structured chorus blues until the final verse, where it switches to conventional AAB phrasing.  Mr. Freddie's 8-bar "Mary had a little lamb" break is kind of a shocker--where did that come from?  I particularly like his use of phrases like "I declare" and Mary 'lowed"; they add a real kind of conversational emphasis to what he is singing.  I'm not sure that the bent bracketed phrase is correct, and would welcome any help with it.  Kokomo is in Indiana, not Michigan.  EDITED TO ADD:  MTJ3 has pointed out that Freddie pronounces "Kokomo", "Kokimo" or "Kokeemo", from beginning to end in the song.  I think I've figured out the formerly bent bracketed phrase.  I believe Freddie is saying that the women in Kokomo are bellying up to the bar, putting their foot on the rail and drinking with the men.  Here is "Mr. Freddie's Kokomo Blues":



   INTRO SOLO, 4 BARS +

   Won't you come on, baby, come on, baby, and let's go back to Kokomo
   That's a small town way up in Michigan, tell daddy don't you want to go?

   Now these women 'round Chicago screamin', holl'in' 'bout the times so hard
   And the women in Kokomo, baby, they drinkin' liquor from rail 'cross the bar
   Why don't you come on, baby, come on, and let's go back to Kokomo
   Yes, I'm leavin' here tomorrow mornin', tell me, baby, don't you want to go?

   Kokomo is about the best city, I declare that I have ever saw
   You can break 'em down both night and day, and won't be worried and bothered with no law
   Why don't you come on, baby come on, and let's go back to Kokomo
   Yes, I'm leavin' here tomorrow mornin', now tell Daddy, don't you want to go?

   Now I'll tell you all about that city, I declare it ain't no great large town
   But everywhere you go in Kokomo, baby, you find the womens there breakin' 'em down
   Why don't you come on and go with me, baby, I declare I'm goin' back to Kokomo
   Yes, I'm leavin' here tomorrow mornin', baby, tell me, don't you want to go?

   Listen now, Mary had a little lamb, I mean, it's fleece was white as snow
   Mary take that little lamb with her to 'most every place that she go
   She went down to the depot agent, said, "Give me a ticket back to Kokomo."
   Depot agent looked down at Mary's lamb, said, "Mary, I declare your lamb can't go."
   She 'lowed, "Yes, come on, baby, come on, I declare I'm goin' back to Kokomo
   Why don't you come on, baby, come on, listen, tell me, don't you want to go"
   
   I'm gonna buy you a ticket, baby, only cost us $19.75
   I have buyed you a ticket, baby, only cost us $19.75
   When that train leave tomorrow mornin', I wants to catch that mornin' train and ride.

Edited 7/21 to pick up correction from MTJ3
Edited 8/10 to pick up corrections from dingwall

All best,
Johnm
   
   

[Johnm]

Hi all,
Freddie Spruell and Carl Martin recorded "Let's Go Riding" on April 12, 1935, in Chicago.  The song was my introduction to Freddie's music, and was the title cut for the old Origin Jazz Library anthology, "Let's Go Riding!".  The song is a superlative raggy romp with an unusual 8-bar form:

   |    C    |    E7    |    A7    |    A7    |

   |    D7   |    D7   |    G7    |    G7    |

It's nifty the way the form ends on a V chord, automatically sending you back into the next pass.  Instrumentally, the song is quite different from any other Freddie Spruell song, and suggests other possible areas of repertoire that he never got a chance to record.  All of his others songs are played out of E position or A position in standard tuning, but "Let's Go Riding" is in C.  Carl Martin's flat-picked leads (if, in fact, Carl Martin was playing them) are sensational, and he really sounds more like a precursor of Jazz great Charlie Christian than he does like other Chicago Blues lead guitarists of the era, like Bill Broonzy or Tampa Red.  The time on this cut is beautifully infectious, it just puts a smile on your face, and it would be a great jam tune.

Freddie sort of sings/chants the lyrics, occasionally breaking into scat singing.  I never appreciated how garrulous the lyrics were until starting this transcription.  Freddie is definitely giving the ride a hard sell!  Here is "Let's Go Riding":



   SOLO:  2 PASSES

   Now, it's come on girls, let's go out and have some fun
   Want to go out ridin', I can tell you how it's done
   We can go out and have a very good time
   I'll tell you all about it, now bear it in mind

   Want to go ridin', don't have to go far
   You fix the blow-outs, I'll drive the car
   Dow-dee-dah, dee-dah-doh
   Now explain it to me and tell me, would you like to go?

   SOLO

   Now, I told you that I would explain to you how it's done
   Now, wouldn't you like to go out ridin', and have some fun?
   Now, in case you want to go now, let me know
   Here now, tell me, wouldn't you really like to go?

   Now, if you want to go with me ridin', we could really have some fun
   If you buy the hot dogs, I've got the buns
   Now dear, now, can't you go?
   Now listen, could you explain it to me, tell me, did you know?

   SOLO

   Now you don't have to worry, we ain't so old
   Now, if you got the line, I got the pole
   Now, tell me, dear, don't you know
   We can go out for a good time, would you like to go?

   SOLO

   Now, if you ever tell me, 'bout the no [sic]
   Tell me, wouldn't you like to go?
   Now, you don't have to worry about bein' gone so long
   Now we're gon' have a good time, let's take a blanket along

   SOLO--2 bars
   Ban, beep-bop-bo, beep-bop-bo
   Now, explain it to me baby, now tell me, would you like to go?

   Soap and towels are included, too
   No tellin' what goes on if you don't take that with you
   Now listen, tell me dear, what you mean to do
   I'll go out ridin' if you will too, sayin'

   Weep-wo-wo, weep-bop-bo-bo
   guitar finishes pass

   Now, come on, baby, we can go out and have some really fun
   I told you, you'll get the hot dogs, I'll get the buns
   Now dear, that's what I mean to say
   Now, would you go out ridin' with me and have a good time today?  Sayin' now,

   Weep-wo-wo, weep-wop-wo-wo
   Guitar
   Ban, beep-bop-bo, beep-bop-buh-buh
   Guitar

Edited 8/10 to pick up corrections from dingwall

All best,
Johnm

   

   
   
   

[Johnm]

Hi all,
Yet another cut from the productive April 12, 1935 session is "Don't Cry Baby", which finds both Freddie Spruell and Carl Martin playing out of A in standard tuning.  In some ways, the cut has sort of a "no frills" feel instrumentally, but it is beautifully played.  The outstanding feature is Freddie's rock solid rhythm; the slow medium tempo of the song is flattered by his heavy time.  Freddie Spruell in this session likes to make his first vocal entrance at the fifth bar of the form, with the arrival of the IV chord.  So it is that for several of his songs, the first verse, and only the first verse has an AB form rather than the more conventional AAB form.  Here is "Don't Cry Baby":



   GUITAR INTRO

   Don't worry, baby, daddy be gone so long
   I don't want you worried all about me, 'cause you know that I'm coming back home

   Don't cry, baby, daddy be home someday (2)
   You know good and well when I left you, baby, I did not leave to stay

   She cried all night last night, baby, cried all the night before
   Cried all night last night, cried all the night before
   I'm goin' back home to my baby so she won't have to cry no more

   Don't worry, baby, don't you weep and moan (2)
   Don't you be noways uneasy about me, someday I'm comin' back home

   Baby, baby, you understand what I say? (2)
   Don't you be worried and bothered 'bout me, 'cause I'm comin' back home someday

   Don't cry, baby, daddy be home someday (2)
   You know good and well when I left you, baby, I did not leave to stay

All best,
Johnm
   

[Johnm]

Hi all,
"Your Good Man is Gone" dates from the April 12, 1935 session in Chicago, too, and for it both Freddie Spruell and Carl Martin played out of E position in standard tuning.  There are no real instrumental fireworks here, but Carl Martin shows himself once again to be an adroit flat-picking accompanist.
The most striking feature of the song is the lyric concept, a morbid fantasy with Freddie imagining his own death and last send-off.  It's sort of like a "Dying Crapshooter" sort of idea, but with an actual rather than fictionalized singer.  I'm not sure I have the word in bent brackets right, and any help would be appreciated.  He enters the first verse on the IV chord.  Here is "Your Good Man Is Gone":



   INTRO

   I feel like takin' my suitcase, settin' down by that railroad side
   If I happen to get killed baby, don't tell nobody howr I died

   Baby, please don't tell my mother reasons, please don't let my sister know
   Baby, please don't tell my mother, please don't let my sister know
   Show as you 'preciate my death, baby, will you please hang crepe upon your door?

   When you walk into the undertakers, look over on your right-hand side (2)
   You could ask the undertakers about me, they may tell you howr I died
   
   Baby, baby, don't you worry, sugar, don't you weep and moan
   Baby, please don't you worry, sugar, don't you weep and moan
   You may know by that now, baby, that your Freddie's dead and gone

   Buy me some flowers, see how they put my body away (2)
   You can tell all your friends around, baby, you heard the last word I had to say

   When you go to the cemetery, they begin to lowerin' my body down
   When they go to the cemetery, they begin to lowerin' my body down
   Just say, "That's the last of my good man, 'cause they puttin' him in the cold, cold ground."

Edited 8/10 to pick up corrections from dingwall

All best,
Johnm

   
   

   



     

[Johnm]

Hi all,
Freddie Spruell recorded "Muddy Water Blues" at his second session, in Chicago on November 11, 1926.  He sounded like a veteran musician at that very early date, and accompanied himself out of A position in standard tuning.  "Muddy Water Blues" has a complicated sort of narrative flow.  It starts with Freddie singing in the first person singular, but from the third verse on, his partner is singing (speaking) the lyrics.  If Leroy Carr could fit in more syllables in a particular amount of musical space than most singers could, I suspect Freddie Spruell could even fit in more syllables than could Leroy, for Freddie was especially loquacious. 
Is there an earlier appearance in blues lyrics of the "muddy water/hollow log" theme?  It seems like there must be, for it has the ring of the work of a pop music lyricist.  Perhaps one of the Classics Blues singers had a hit with the lyric.  I'm very weak on that material, but would be interested to know.  Here is "Muddy Water Blues":



   FULL SOLO

   I know you heard the story, listen now people, I know you heard the song (2)
   I mean I drank muddy water, mean, shivered, now, the whole night long

   I'd rather drink muddy water, rather sleep in a real hollow log (2)
   Baby, now before I'd stay with you, and let you treat me like you drive your dog

   "Now daddy, daddy, daddy, listen, turn your lights down low."
   She 'lowed as, "Daddy, daddy, daddy, now listen, turn your lights down low."
   "I got somethin' good to tell you", she 'lowed as, "Daddy, just before you go."

   "Put your hat on my dresser and put your shoes, daddy, now, under my bed." (2)
   "Use your arm for my pillow, daddy, just to hold your little old worried head."

   Listen to, "Hooo, baby, now how long, how long?"
   "Baby, hoooo", listen to, "Baby, now how long, how long?"
   "I mean I'd rather drink muddy water, baby, 'cause you know you sure have done me wrong."

   "I'd rather drink muddy water, I'd rather wade muddy water, too."
   "I'd rather drink muddy water, and I'd rather wade muddy water, too."
   "Now, before that I'd stay with you, and take these low-down dirty things you do."

   4-BAR SOLO

Edited 8/10 to pick up corrections from dingwall

All best,
Johnm


   

[Johnm]

Hi all,
Freddie Spruell recorded "Milk Cow Blues" at his first session, in Chicago on June 25, 1926.  The song begins with an unknown character, Freddie's Biggest Fan, and Freddie carrying on a fairly lengthy exchange.  When Freddie finally launches in "Milk Cow Blues", it turns out to have a very strong "Hernando A" sound, and in fact, it is quite a lot like Robert Wilkins's "Get Away Blues", instrumentally.  Freddie sounds very poised, especially considering that, as far as we know, this was his first time in a recording studio.  He sounds the consummate professional.  The first verse enters on the IV chord, as was Freddie's preference.  The way Freddie used the word "real" is odd, as in a "real" milk cow, or a "real" hollow log--as opposed to what?  Here is "Milk Cow Blues":



   FREDDIE'S BIGGEST FAN:  Hoo!  By the way, here's old Freddie.  Boys, you know somepin?  I sure has been want' to see you a long time. Yep.  You know why?  Yep.

   FREDDIE:  Why, boy?

   FBF:  I want to hear you play them old blues like you used to play down home, you know, and when I was way down to Duluth this mornin', boy, I heard your guitar just a-ringin', and I knowed that was you 'cause nobody else can play them blues like you, Freddie.  Now, listen:  I want to hear some more of 'em.  Play 'em for me, Freddie, please.

   FREDDIE:  Yeah, boy, I'm ready to play 'em for you.

   Listen to my story, now, please listen to my song
   Can't you imagine how I feel, now, have mercy, my real milk cow gone

   She's a full-blood Jersey, I'm gon' tell you boys the way I know
   Yes, she's a full-blood Jersey, I'm gon' tell you boys the way I know
   People just screamin' for my milk cow, I don't care where my Jersey go

   I've been on 35th, listen, boys, I've been on 39th
   I've been on 35th, listen, boys, I've been on 39th
   I rambled the whole South Side o' town tryin' to find this real milk cowr of mine

   She's a full-blood Jersey, I'm gonna tell you boys the way I know
   She's a full-blood Jersey, I'm gonna tell you boys the way I know
   People just screamin' for my milk cow, I don't care where my milk cow go

   Sayin', my bed seem lonesome, my pillow, now it sure won't do
   Sayin', my bed seem lonesome, my pillow, babe, it sure won't do
   I wakes up hours of midnight, I really had those milk cow blues

   SOLO--4 BARS
   Uhh, baby, listen, hoo-hoo-hoo
   Can't you look in my face now, brown, and tell I've got those milk cow blues

   Listen, Hiiii, sugar, listen, hiii-hii-hii
   Listen, Hiiii, sugar, listen, hiii-hii-hii
   Can't you imagine how I feel now, I done told my real milk cow bye-bye

Edited 8/10 to pick up corrections from dingwall

All best,
Johnm

   
   

[blueshome]

Don't know about "real", but it's the image of him wandering Chicago looking for a cow that tickles me - country boy come to town.

[dingwall]

Some suggestions, all in capitals.   I hope some prove useful.

TOM CAT BLUES

  GUITAR SOLO

   It was late last night, I tried so hard to sleep (2)
   When a mean old tom cat started on his midnight creep

   Tom cats in my window, tom cats all around my door (2)
   I never heard so much moanin' and whinin' in my life before

   I don't trust a tom cat, he's got such an evil eye
   I don't trust a tom cat, got such an evil eye
   He's sneakin' and mistreatin', dirty and that ain't no lie

   A tom cat man is tryin' to break up my home (2)
   That's why it makes me mad when I hear a tom cat moan

   Ow, Mr. Tom cat, get somebody(or SOME PUSSY to rhyme with FUSSY?) of your own (2)
   For you will lose your nine lives if you don't leave my babe alone


LOW-DOWN MISSISSIPPI BOTTOM MAN

   In the long lands of Mississippi, that's where I were born (2)
   Way down in the sunny south, long lands of cotton and corn

   I lived down in the dElta, that's where I long to be
   Way down in the delta, that's where I long to be
   There's a delta bottom woman who's sure goin' crazy over me

   I'm lookin' for a low-down woman who is lookin' for a low-down man
   I'm lookin' for a woman who is lookin' for a low-down man
   Ain't nobody in town, get no low-down than I can

   SOLO

   I likes low-down music, I likes to barrelhouse and dip snuff(or, AND GET DRUNK??), too (2)
   I'm just a low-down man, always feelin' low-down and blue

4A HIGHWAY

   My baby woke me up this mornin', she told me she's Joliet bound
   My baby, woke me up this mornin', she told me she was Joliet bound
   She want to find 4A highway, that's the main highway out of town

   She wouldn't even talk with me, wouldn't even have a word to say (2)
   She's askin' all her friends around now, where she find number 4A highway

   Number 4A highway, that's the main highway out of town (2)
   AND If she leave out on that highway, I'm sure gon' trail my baby down

   I feel like takin' my suitcase, settin' down on the side of that lonesome highway
   I feel Like takin' my suitcase, settin' down on the side that lonesome highway
   If she leaves THERE 'TWEEN now and midnight, I'll overtake her just 'fore day

   If I had my machine, I wouldn't worry 'bout leavin' town (2)
   I'D GET on that 4A highway, God knows I'd roll that highway down

MR. FREDDIE'S KOKOMO BLUES

   INTRO SOLO, 4 BARS +

   Won't you come on, baby, come on, BABY, and let's go back to Kokomo
   That's a small town way up in Michigan, tell daddy don't you want to go?

   Now these women 'round Chicago screamin', holl'in'(HOLLERIN'?) 'bout the times so hard
   YET the women in Kokomo, baby, they drinkin' liquor from (A??) rail 'cross the bar
   Why don't you come on, baby, come on, and let's go back to Kokomo
   Yes, I'm leavin' here tomorrow mornin', tell me, baby, don't you want to go?

   Kokomo is about the best city, I declare that I have ever saw
   You can break 'em down both night and day, and won't be worried and bothered with no law
   Why don't you come on, baby come on, and let's go back to Kokomo
   Yes, I'm leavin' here tomorrow mornin', now, tell daddy, don't you want to go?

   Now I'll tell you all about that city, I declare it ain't no great large town
   But everywhere you go in Kokomo, baby, you find the womens there breakin' 'em down
   Why don't you come on AND GO WITH ME, baby, I DECLARE I'M GOIN' back to Kokomo
   Yes, I'm leavin' here tomorrow mornin', baby, tell me, don't you want to go?

   Listen now, Mary had a little lamb, I mean, it's fleece was white as snow
   Mary take that little lamb with her to 'most every place that she go
   She went down to the depot agent, said, "GIMME a ticket back to Kokomo."
   Depot agent looked down at Mary's lamb, said, "Mary, I declare your lamb can't go."
   She 'lowed(or, rapidly, "SHE AIN'T ALLOWED") Yes(or JUST??), come on, baby, come ON, I declare I'm goin' back to Kokomo
   Why don't you come on, baby, come on, listen, tell me, don't you want to go"

   I WILL BUY you a ticket, baby, only cost us $19.75 (2)
   When that train LEAVES tomorrow mornin', I wants to catch that mornin' train and ride.

LET'S GO RIDING

   SOLO:  2 PASSES

   Now, it's come on GIRL, let's go out and have some fun
   Want to go out ridin', I CAN tell you how it's done
   We can go out and have a very good time
   I'll tell you all about it, now bear it in mind

   Want to go ridin', don't have to go far
   You fix the blow-outs, I'll drive the car
   Dow-dee-dah, dee-dah-doh
   Now explain it to me AND tell me, would you like to go?

   SOLO

   Now, I told you that I would explain to you how it's done
   Now, wouldn't you like to go out ridin', and have some fun?
   Now, in case you want to go now, let me know
   Here now, tell me, wouldn't you really like to go?

   Now, if you want to go with me ridin', we COULD really have some fun
   If YOU BUY the hot dogs, I've(or I) got the buns
   Now dear, now, can't you go?
   Now listen, could you explain it to me, AND tell me, did you know?

   SOLO

   Now you don't have to worry, we ain't so old
   Now, if you got the line, I got the pole
   Now, tell me, dear, don't you know
   We can go out FOR a good time, would you like to go?

   SOLO

   Now dear, now tell me, 'bout the no [sic]
   (or NOW, IF YOU EVER TELL ME, BROWN SAID "NO"?)
   Tell me, wouldn't you like to go?
   Now, you don't have to worry about bein' gone so long
   Now we're gon' have a good time, let's take a blanket along

   SOLO--2 bars
   Ban, beep-bop-bo, beep-bop-bo
   Now, explain it to me baby, now tell me, would you like to go?

   Soap and towels are included, too
   No tellin' what goes on if you don't take that with you
   Now listen, tell me dear, what DO you mean to do
   I'll go out ridin' if you will too, sayin'

   Weep-wo-wo, weep-bop-bo-bo
   guitar finishes pass

   Now, come on, baby, we can go out and have some really fun
   I told you, you'll get the hot dogs, I'll get the buns
   Now dear, that's what I mean to say
   I WANT YOU TO go out ridin' with me and have a good time today?  Sayin' now,

   Weep-wo-wo, weep-wop-wo-wo
   Guitar
   Ban, beep-bop-bo, beep-bop-buh-buh
   Guitar

 DON'T CRY BABY

   GUITAR INTRO

   Don't worry, baby, daddy be HERE 'FORE long
   I don't want you worried all about me, 'cause you know that I'm coming back home

   Don't cry, baby, daddy be home someday (2)
   You know good and well when I left you, baby, I did not leave to stay

   She cried all night last night, baby, cried all the night before
   Cried all night last night, cried all the night before
   I'm goin' back home to my baby so she won't have to cry no more

   Don't worry, baby, don't you weep and moan (2)
   Don't you be noways uneasy about me, someday I'm comin' back home

   Baby, baby, you understand what I say? (2)
   Don't you be WORRYIN' BAD ABOUT me, 'cause I'm comin' back home someday

   Don't cry, baby, daddy be home someday (2)
   You know good and well when I left you, baby, I did not leave to stay


YOUR GOOD MAN IS GONE

   INTRO

   I feel like takin' my suitcase, settin' down by that railroad side
   If I happen to get killed baby, don't tell nobody howr I died

   Baby, please don't tell my mother, BABY, AND please don't let my sister know
   Baby, please don't tell my mother, please don't let my sister know
   Show as(or THAT?) you 'preciate my death, baby, will you please hang crepe upon your door?

   When you walk into the undertakerS, look over on your right-hand side (2)
   You COULD ask the undertakers about me, they may tell you howr I died
   
   Baby, baby, don't you worry, sugar, don't you weep and moan
   Baby, please don't you worry, sugar, don't you weep and moan
   You may know by that, NOW, baby, that your FRED IS dead and gone

   Buy me some flowers, see how they put my body away (2)
   You can tell all your friends around, baby, you heard the last word I had to say

   When you go to the cemetery, they begin to lowerin' my body down
   When they go to the cemetery, they begin to lowerin' my body down
   Just say, "That's the last of my good man, 'cause they puttin' him in the cold, cold ground."


MUDDY WATER BLUES
 
   FULL SOLO

   I know you heard the story, listen now people, I know you heard the song (2)
   I mean I drank muddy water, mean, shivered, now, the whole night long

   I'd rather drink muddy water RATHER to sleep in a real hollow log (2)
   Baby, now before I'd stay with you, AND let you treat me like you drive your dog

   "Now daddy, daddy, daddy, listen, turn your lights down low."
   SHE'LL UNDERSTAND IT'S, "Daddy, daddy, daddy, now listen, turn your lights down low."
   "I got somethin' good to tell you, SHALL I JUST START IT just before you go."

   "Put your hat on my dresser and put your shoes, daddy, now, under my bed." (2)
   "Use your arm for my pillow, daddy, just to hold your little old worried head."

   Listen to, "Hooo, baby, now how long, how long?"
   "Baby, hoooo", listen to, "Baby, now how long, how long?"
   "I mean I'd rather drink muddy water, baby, 'cause you know you sure have done me wrong."

   "I'd rather drink muddy water, I'd rather wade IN muddy water, too." (2)
   "Now, BEFORE THAT I'd stay with you AND take these low-down dirty things you do."

   4-BAR SOLO


        MILK COW BLUES
                     
   FREDDIE'S BIGGEST FAN:   HOO!  By the way, here's old Freddie.  BoyS, you know somepin?  I sure HAS BEEN WANTIN' to see you a long time.  YIP.   You know why?   YIP.

   FREDDIE:  Why, boy?

   FBF:  I want to hear you play them old blues like you used to play down home, you know, and when I was way down DULUTH THIS MORNIN', boy, I heard THIS OLD guitar just a-ringin', and I knowed that was you 'cause nobody else can play them blues like you, Freddie.  Now, listen:  I want to hear some more of 'em.  Play 'em for me, Freddie, please.

   FREDDIE:  Yeah, boy, I'M READY TO play 'em for you.

   Listen to my story, now, please listen to my song
   Can't you imagine how I feel, now, have mercy, my real milk cow gone

   She's a full-blood Jersey, I'm gon' tell you boys the way I know
   Yes, she's a full-blood Jersey, I'm gon' tell you boys the way I know
   People just screamin' for my milk cow, I don't care where my Jersey go

   I'VE BEEN on 35th, listen, boys, I'VE been on 39th
   I'VE been on 35th, listen, boys, I'VE been on 39th
   I RAMBLED the whole South Side OF TOWN tryin' to find this real milk cow of mine

   She's a full-blood Jersey, I'm gonna tell you boys the way I know (2)
   People just screamin' for my milk cow, I don't care where my milk cow go

   SAYIN', my bed seem lonesome, my pillow, now it SURE won't do
   SAYIN, my bed IS lonesome, my pillow, babe, it SURE won't do
   I WAKES up hours of midnight, I really had those milk cow blues

   SOLO--4 BARS
   Uhh, baby, listen, hoo-hoo-hoo
   Can't you look in my face now, brown, and tell I've got those milk cow blues

   Listen, Hiiii, sugar, listen, hiii-hii-hii (2)
   Can't you imagine how I feel now, I DONE told my real milk cow BYE BYE

[MTJ3]

"Mr. Freddie's Kokomo Blues" I believe Freddie is saying that the women in Kokomo are bellying up to the bar, putting their foot on the rail and drinking with the men.

 'And the women in Kokomo, baby, they drinkin' liquor from rail 'cross the bar'
    

Johnm, You noted elsewhere Freddie's use of "real" as an intensifier.  It seems to me that here "rail" could be "real" used as a mamlish intensifier.

[Johnm]

Hi all,
Thanks, blueshome, dingwall, and MTJ3 for your posts re Freddie Spruell's lyrics.  Your comments are especially welcome since Freddie didn't seem to be generating much interest or comments early on in the thread.  I am not in a place now, dingwall, where I can listen to all the cuts and compare what I have transcribed with your suggestions, but will do so in a couple of days when I get back to my stuff.  I like your suggestion of "rail" being Freddie's use of his pet intensifier "real", a la "mamlish", for the lyric in ""Kokomo", MTJ3.  I will give it a listen when I get back and see if the phonetics match.  It is certainly an awkward locution, whatever Freddie said!
Incidentally, if any of you (or anyone else) would care to post the lyrics for the one remaining Freddie Spruell title for which no lyrics have yet been posted in this thread, "Way Back Down Home", please feel free to have a go.  The copies I have on LP/CD are pretty darn whupped, and that, combined with a momentary burn-out of transcription energy, has kept me from posting the lyrics for that tune yet.  Please feel welcome to post the lyrics here if you wish.
All best,
Johnm   

[dingwall]

WAY BACK DOWN HOME (MILK COW BLUES)



I went to the Western Union just to send off a telephone.
I went to the Western Union just to send off a telephone.
I phoned to tell her stay in Memphis, I really mean now we's back down home.

Some people say that I'm right now, and some say I'm wrong.
Some people say that I'm right now, listen, some say I'm wrong.
You know, I can't have a job steady, boy, and I begin to think about what it's like down home.

I mean, I'm used to drinkin' and I'm used to seein' a very good time.
I mean, I'm used to drinkin' and I'm used to seein' a very good time.
Things happen away back down home, now, I declare they sure runs across my mind.

Now, the ticket agent, she told me, when the Western Union agent give me my number wrong.
I mean, the ticket agent, she told me, the Western Union give my number wrong.
You sure can get your number, but you can't call to hear my words back down home.

Tell me now, what's the matter, oh, darlin', somethin' must a-be goin' on wrong.
Tell me now, what's the matter, oh, darlin', somethin' must a-be goin' on wrong.
I just like to get a little curious, I really mean, now, from way back down home.

Hey, and listen, now, baby, now, don't you tell me wrong.
Hey, listen, now, baby, now, don't you tell me wrong.
I musta didn't have your right number when I went to the Western Unions for the telephone.

[Johnm]

Thanks very much for posting those lyrics, dingwall.  That is one song I was happy to hand off; I had lots of gaps in my initial effort, so your own work is much appreciated.
All best,
Johnm