Topic: Carl Martin Lyrics

[MuddyBuddy]

State Street Pimp #2  - Carl Martin 
(Crow Jane Blues - Testament Records)



Don't come to me runnin' telling me your bad luck news.
Don't come to me runnin' telling me your bad luck news.
You wouldn't act right when I had you, ther's nothing else that I can do.

You took all my money gave it to your State Street pimp.
You took all my money gave it to your State Street pimp.
You had the nerve to tell me that I was just a small time simp. (fool, simpleton)

I don't need a woman that always likes to fuss and fight.
I don't need a woman that always likes to fuss and fight.
Goes to see her boyfriend and makes up morning, noon, and night.

When I met you baby you didn't even have a dime.
When I met you baby you didn't even have a dime.
Told me that you loved me, you were lying all the time.

Ain't no need in cryin', cryin' will not change my mind.
Ain't no need in cryin', cryin' will not change my mind.
What's the use of cryin', you are only wasting time.

Next time when you see me driving in my Cadillac.
Next time when you see me driving in my Cadillac.
Remember what I told you, you can't even scratch my back.

[Johnm]

Hi all,
I was listening to the old Yazoo anthology, "Guitar Wizards", for the first time in many years and came across Carl Martin's recording from 1935, "Joe Louis Blues".  What a terrific number!  He is seconded by a flat-picking guitarist who is identified as probably being Willie B. James.  Martin and James generate a tremendous rhythmic impetus for this blues in E. 
The lyrics are really the high point here, an homage to the "Brown Bomber".  After the opening verse, which has a conventional 12-bar phrasing structure, all of the subsequent verses start with an 8-bar lyric break, just hanging on the I chord and vamping behind the vocal.  If the lyrics were Carl Martin's own, and there's no reason to think they weren't, he was a real wordsmith, with some of the quality of Chuck Berry's writing, being perfectly natural in the vernacular and having the words scan so well that they make everything extra punchy.  What's more, he sounds like a genuine fight fan.  This would be a really fun number to work up and sing.



   Now, listen all you prizefighters who don't want to meet defeat
   Listen all you prizefighters who don't want to meet defeat
   Take a tip from me, stay off Joe Louis's beat

   Now, he's won all his fights, twenty-three or four
   And left twenty of his opponents lying on the floor
   They all tried to win, but the task was too hard
   When he laid that hambone up against them boys
   Listen all you prizefighters, don't play him too cheap
   If he lands with either hand, he'll sure put you to sleep

   SOLO:  (Spoken, during solo:  He's a real fighter.  I bet on him.  He knows just what to do.
   I'm talking to you!)

   Now, he packs that might in his left, he carries a punishin' right
   Either one will make you groggy or as high as a kite
   He charges on his opponents from the beginning of the gong
   He batters them into submission, then they all sing a song
   I bet on the Brown Bomber, boy, he knows his stuff
   And lays it on his opponents until they-ey (falsetto) get enough

   Now, he's a natural-born fighter, who'd like to fight them all
   "The bigger they come,", he said, "the harder they fall."
   That terrific left, boys, is all he needs
   But that six-inch right come with lightning speed
   Listen all you prizefighters, don't play him too cheap
   Take a tip from me, stay off Joe Louis's beat.

Edited 5/14, to pick up correction from Stuart

All best,
Johnm

     

[Rivers]

I agree, great tune to drop into a Sunday morning song circle.

When he laid that hambone up against that [board]

I hear "boy", or at least I think I do.

[Stuart]

John:

"Guitar Wizards" has been a favorite of mine for decades--just great stuff. Where you hear "that [board]," I am hearing "them boys."


For anyone else, if you are not familiar with this tune (and you should be), it can be downloaded from the Juneberry78s.com site:

http://juneberry78s.com/

If you're not registered, you'll have to e-mail Norm for a password.

[Johnm]

Hi Mark and Stuart,
Thanks for the help.  "Them boys" certainly sounds right to me.  It's perfectly clear now, of course.  I will make the change.  Thanks!
All best,
Johnm

[MuddyBuddy]

Here is a new one I just transcribed, which has lots of Carl Martin mandolin signature licks. 

Gravedigger Blues - Carl Martin  on CROW JANE BLUES, Testament Records



I woke up this morning, blues all around my bed
I woke up this morning, blues all around my bed
I had a dream last night that the woman I love was dead.

Well I went to the graveyard, fell down on my knees
I went to the graveyard, and I fell down on my knees
Well I asked the gravedigger for to give me back my good girl please.

Well now the gravedigger he sit back and he looked me in the eye
Well the gravedigger he sit back and he looked me in the eye
He said I?m sorry my son but your girl done said her last goodbye.

[Johnm]

Hi all,
Carl Martin did "Old Time Blues", an 8-bar blues, out of E position in standard tuning, just screamingly fast.  It is very much a set piece rendition, but boy, does it pack a lot of information into 8 bars!  I first heard it on the old Yazoo "East Coast Blues" anthology, and it really made an impression on me.  I like how the lyrics bounce back and forth between bragging about bad behavior and self-pity and excuse-making.  Here is his performance:



SOLO

You promised me that you would treat me right
Now you won't do nothin', honey, but fuss and fight

My Mama, she told me, when I left my home,
"Son, be a good boy and leave bad women 'lone."

Now my Mama, she's dead, Papa won't allow me home
I ain't got nobody, teach me right from wrong

SOLO

I was young and foolish, I was easy led
I been mistreated ever since, Mama, she's been dead

Sometimes it seems like the whole world is down on me
If I've been a bad boy, I did not intend to be

Tell me, pretty mama, who can your good man be?
If you ain't got nobody, honey, won't you please take me?

I've got three women, yellow, black and brown
When I go to see one, tell the other two I'm out of town

SOLO

I want all you women to strictly understand
Every man you meet sure ain't no monkeyman

When I had money, friends from miles around
Now I done lost all my money, friends can't even be found

I'm gon' leave here walkin', comin' back 'til Fall
My, it's luck won't change I won't be back at all

SOLO

Tell me, pretty mama, who can your good man be?
You ain't got nobody, honey, won't you please take me

I'm goin' to Florida, where I can have my fun
Set down in the green grass and look up at the sun

I'm weary now, but I won't be worried long
Takes a worried man to sing this weary song

SOLO

Edited 1/29 to pick up correction from ScottN

All best,
Johnm

[ScottN]

Hi John,

In verse 7.2 When I go TO see one

In verse 10.2 I dont hear it clearly but maybe "something" instead of "it's luck"?

Thanks,
           Scott

[Johnm]

Thanks for the catch on "to", Scott, I've made the change.  The other one I'm pretty certain is luck, because the line turns up in other songs.  I think Carl Martin came very close to losing it altogether there, but snatched it back.
All best,
Johnm

[Johnm]

Hi all,
Carl Martin performed "Frankie and Johnny" on mandolin on his Testament album, "Crow Jane Blues", and was joined by Johnny Young on guitar.  The duo gets a nice groove, though  Johnny Young seems a bit unsure of the chord changes as the song starts.  It's interesting how many versions of this song skip the verse where Frankie shoots Albert/Johnny--is this some delicacy in operation, the choice to omit that verse?



Frankie and Johnny were lovers, Lordy, how they could love
And they swore to be true to each other, just as true as the stars above
He was her man, but he done her wrong

Frankie went down to the barroom, get her a stein of beer
She said, "Looky-here, Mr. bartender, has my Johnny been here?
He's my man, but he's doin' me wrong."

"I ain't gonna tell you no story, ain't gonna tell you no lie.
Yes, your Johnny's down here 'bout an hour ago, with a girl he called Nellie Blye.
He's your man, yes, but he's doin' you wrong."

SOLO

Frankie went down to the hardware, didn't go there for fun
Yes, she went down to that hardware to get herself a gun
To shoot her man, because he was doin' her wrong

SOLO

"Well, turn me over easy, turn me over slow.
Turn me over easy, because I'm hurting so
I'm your man, but I've done you wrong."

SOLO

All best,
Johnm

[Johnm]

Hi all,
Carl Martin recorded "Farewell To You Baby" in 1936, accompanying himself out of A position in standard tuning and joined by a bass player.  He does a neat thing with his phrasing on his last two verses:  he goes into a lyrics break over the first four bars of the form, re-sings the first half of the break over the IV chord and re-sings the second half of the break over the V7 chord.  As with most of his tracks from this period, his playing is stellar on this track.  Here it is:



I'm leavin' you, baby, just because you won't be true
I'm leavin' you, baby, just because you won't be true
Lord, you don't love me, after all I've done for you

You know, I worked hard all winter, when the snow was on the ground
You know, I worked hard all winter, when the snow was on the ground
You mistreated me then, baby, still I wouldn't throw you down

You made mistakes, baby, after you made your vow
You made mistakes, baby, after you made your vow
But your mistake-making is all over now

SOLO

You're goin' to miss your daddy, some old lonesome day
And you're going to be sorry, you did me this way
You're gonna miss me some old lonesome day
And you goin' to be sorry that you did me this a-way

Now, I'm leavin' you, baby, with my clothes in my hand
Farewell to you, baby, get yourself a monkey man
Now, I'm leavin', with my clothes in my hand
Farewell to you, get yourself a monkey man

All best,
Johnm

[Johnm]

Hi all,
For "Let's Have A Good Deal", Carl Martin was joined by Willie B. James on second guitar (or, at least that is what is surmised on the JSP set, "Ain't Times Hard".  The song's title is a bit mysterious, considering the fact that Carl Martin sings "Let's Have a New Deal" from beginning to end.  Both Martin and his seconding guitarist are working out of E position in standard tuning, and Carl Martin certainly shows his customary expertise, though the guitars are not featured prominently in the song's arrangement.



Now, everybody's cryin', "Lets have a New Deal".
Police station's loaded down, I know just how you feel
REFRAIN: Everybody's cryin', "Let's have a New Deal".
'Cause I've got to make a living, if I have to rob and steal

Now, I'm getting mighty tired of sitting around
I ain't makin' a dime just wearin' my shoe's sole down
REFRAIN: Everybody's cryin', "Let's have a New Deal".
'Cause I've got to make a living, if I have to rob and steal

Now, I woke up this mornin', doggone my soul
My flour barrel was empty, swear I didn't have no coal
REFRAIN: Everybody's cryin', "Let's have a New Deal".
'Cause I've got to make a living, if I have to rob and steal

Now, you go to your work and put in your complaints
Eight times out of ten, you know, they'll say, "I can't."
REFRAIN: So everybody's cryin', "Let's have a New Deal".
'Cause I've got to make a living, if I have to rob and steal

They don't want to give you no dough, don't hardly pay your rent
And it ain't costin' them one doggone cent
REFRAIN: Everybody's cryin', "Let's have a New Deal".
'Cause I've got to make a living, if I have to rob and steal

Now, I ain't made a dime since they closed down the mill (spoken: Yeah!)
I'm sitting right here waiting on that brand New Deal
REFRAIN: Everybody's cryin', "Let's have a New Deal".
'Cause I've got to make a living, if I have to rob and steal

All best,
Johnm

[Rivers]

The song's title is a bit mysterious, considering the fact that Carl Martin sings "Let's Have a New Deal" from beginning to end.

Considered by the powers above to be too political a title to go out under their banner. I am surmising here. The lyrics are very political by any measure, revolutionary in fact.

[Johnm]

Good call, Mark.  Since the "New Deal" was an approach to dealing with the Depression specifically associated with FDR, and coined by him, the record label probably thought it was too partisan in its associations in the minds of the record-buying public.  I'd be right surprised if anyone who bought the record demanded his money back because of its mention of the New Deal!
All best,
Johnm

[Johnm]

Hi all,
For "Kid Man Blues", recorded in 1934, Carl Martin used exactly the same accompaniment in E position, standard tuning  as he used for "Good Morning Judge" and Crow Jane".  It seems as though, at that time in his career, at least, he was pretty much a set piece player.  This is not to say that he didn't play terrifically well, just that he knew exactly what he was going for in his recordings.  Here is "Kid Man Blues":



SOLO

I asked a married woman to let me be her kid
I asked a married woman to let me be her kid
She said, "I might get buggish, and I just can't keep it hid."

SOLO

If you would be my rider, I'll tell you what I will do
If you'll be my rider, I'll tell you what I will do
I'll make payday, baby, and bring it all home to you

SOLO

I love you pretty mama, dream of you each night
I love you pretty mama, whoo, dream of you each night
If you let me be your kid man I'll always treat you right

All best,
Johnm

[MuddyBuddy]

Some of you might be interested in my take on Kid Man Blues, which I recorded in 2011 and is my album of the same name. This song is a standard one in my repertoire, using blues mandolin, although he recorded it playing guitar on the album I have.

https://soundcloud.com/bertdeivert/kid-man-blues?in=bertdeivert/sets/kid-man-blues-album

[Johnm]

Hi all,
Carl Martin accompanied himself out of A position in standard tuning for "That New Kind Of Stuff".  His playing from his 1934 sessions reminds me a little of Buddy Moss's playing; not that Carl Martin played the same licks Buddy did or was otherwise derivative of Buddy's playing, but rather that his playing just had a sparkle and sheen as did Buddy's.  Here is the song:



INTRO

(Spoken) Now listen here, boys, this ain't no joke
I been out all night long, so this morning I'm broke
REFRAIN (Sung):  I been buyin' that new kind of stuff
Oh, that new kind of stuff
And when you get it, you just can't get enough

I know you will like it, it's the talk of the town
It'll make you go back home and smack your old lady down
REFRAIN: Now, that new kind of stuff
Ooooo ooooo, that new kind of stuff
And when you get it, you just can't get enough

There was an old man, 'bout the age of seventy-eight
He went in walkin' bow-legged, he came out walkin' straight
REFRAIN: He been buyin' that new kind of stuff
Oooooo ooooo, that new kind of stuff
And when you get it, you just can't get enough

SOLO

If you meet her on the street and you want to have some fun
Just pay off in front and she will sell you some
REFRAIN: Of that new kind of stuff
Ooooo ooooo, that new kind of stuff
And when you get it, you just can't get enough

Now, I'm gonna play at policy, four-eleven-forty-four
And when I hit, I'm goin' back and buy some more
REFRAIN: Of that new kind of stuff
Ooooo ooooo, that new kind of stuff
And when you get it, you just can't get enough

All best,
Johnm

[MuddyBuddy]

Thanks for all the postings John. Carl Martin has some wonderful signature licks!

[Johnm]

Hi all,
I'm glad you're enjoying the Carl Martin songs, Bert.  Carl Martin accompanied himself out of E position in standard tuning for "You Can Go Your Way", using a simpler, more strummy right hand approach than he used on most of his songs.  He leaves the IV chord early, returning to the I chord at the end of his sixth bar.  Here is the song--sorry for the sound quality:



INTRO SOLO

You say you're going to leave me 'cause you found a better man
I did all I could, still you keep raisin' sand
REFRAIN: You can go your way, you can go your way
You can go your way, but you'll need my help someday

I love you, woman, but you won't do right
I'd rather see you getting out of my sight
REFRAIN: You can go your way, you can go your way
You can go your way, but you'll need my help someday

I give you all my love and my money, too
What more, baby, can a poor man do?
REFRAIN: You can go your way, you can go your way
You can go your way, but you'll need my help someday

SOLO

I took you in, baby, when you didn't have a dime
You won't stay, come up and see my some time
REFRAIN: You can go your way, you can go your way
You can go your way, but you'll need my help someday

If you would treat me right like you treat me wrong
We could be together in a happy home, but
REFRAIN: You can go your way, you can go your way
You can go your way, but you'll need my help someday

SOLO

Just before you go, come and shake my hand
That' all right, baby you just don't understand
REFRAIN: You can go your way, you can go your way
You can go your way, but you'll need my help someday

All best,
Johnm

[MuddyBuddy]

Yes some of his stuff is quite idiosyncratic, going back to the 1 early here, and that is the charm of his music. i found that Kid Man Blues was quite hard for my fellow musicians to learn because of the seemingly simple signature lick on the IV chord, and going to the I chord instead of the V after the IV. Actually very cool!

[Johnm]

Hi all,
Carl Martin accompanied himself out of A position in standard tuning for "You Can't Play Me Cheap".  If one operates on the assumption that Carl Martin's lyrics actually bore some relation to his life as he lived it, he had contentious relationships with women.  He utilizes a lot of ideas in his accompaniment that he used elsewhere on A tunes;  like a lot of players in the style he made sure to get a lot of mileage out of his ideas.  He sounds as though he changes the tail end of the first line of the refrain as he makes his way through the song.  Here is the song:



INTRO SOLO

Now listen here, baby, violence on my mind
My eves are wide open, I'm warning you this time
REFRAIN: That's all right babe, how much I'm seein'
You'll soon find out that you can't play me cheap

Just because I gets my money and let you have your way
Don't think one time, darling, that everything is okay
REFRAIN: That's all right babe, how much I bleed
You'll soon find out that you can't play me cheap

SOLO

I'm tired of that jive, baby, you goin' to the store
Leavin' home at ten, comin' back at four
REFRAIN: But that's all right babe, some day you'll weep
But not until you've found that you can't play me cheap

I know plenty women that would give me a break
But, I'll play along with you, darlin', as long as you go straight
REFRAIN: That's all right babe, how much I'll keep
You can always bear in mind that you can't play me cheap

All best,
Johnm

[Johnm]

Hi all,
For "High Water Flood Blues", Carl Martin was accompanied by piano and saxophone.. Carl Martin's guitar is very far back in the mix, almost inaudible.  Here is his performance of the song:



INTRO

Well, it rained, it rained, and the rivers began to rise,
Banks began to overflow thousands lost their lives
REFRAIN: So what a terrible flowing, flowing on and on
There's thousands of people, have done lost their happy homes

Well, the whistles began blowing, and the bells began to ring,
People running and screaming, but they couldn't do a thing
REFRAIN: 'Cause the water kept on flowing, flowing on and on
There's thousand of people, have done lost their happy homes

PIANO/SAXOPHONE SOLO

Well, the downtown floods out, the people, in an awful fix
Something like that flood started in Pittsburgh, in 1936
REFRAIN: The water kept on flowing, flowing on and on
There's thousands of people, have done lost their happy homes

Well, high water's here, high water's everywhere
High water's here, high water's everywhere
I believe if you go to China, you'd find high water there

Edited 1/24 to pick up correction from harry

All best,
Johnm
 

 

[Blues Vintage]

Well, the weather began blowing, and the bells began to ring,

I think it's whistle John.

[Johnm]

Hi all,
For "I'm Gonna Have My Fun", Carl Martin is once again joined by a pianist, and once again his guitar is almost inaudible.  He begins each verse with an 8-bar lyric break, a device of which he was fond.  Here is the song:



When I get my bonus, tell you what I'm gon' do
Get me another woman and quit foolin' 'round with you
You can't spend my money, 'cause you don't treat me right
Go out with your boyfriends, come in high as a kite
REFRAIN: So when I get my bonus, I'm sure gon' have my fun
I'm just sitting here, waiting, waiting until my bonus comes

Just like I found you, baby, I can find someone else
That's why, baby, I'm gonna put you on the shelf
You've been spendin' my money and doin' the mess-around
So if you're planning on my bonus, that's the coldest stuff in town
REFRAIN: Because when I get my bonus, I'm sure gon' have my fun
I'm just sitting here, waiting, waiting until my bonus comes

PIANO SOLO

Now listen all you veteran soldiers, who live in this town
Let's take off our hats, thanks to Uncle Sam
Lots of you are crippled, yes, blind and can not see
But we came back home with the victory
REFRAIN: So when I get my bonus, I'm sure gon' have my fun
I'm just sitting here, waiting, waiting until my bonus comes

Ain't gon drink no moonshine, nothin' but bottled in bond
Kick up my heels, pitch a boogie-woogie, boys, from sun 'til sun
Ain't had no good times, since 1929
Times have been so tight, couldn't save a lousy dime
REFRAIN: So when I get my bonus, I'm sure gon' have my fun
I'm just sitting here, waiting, waiting until my bonus comes

All best,
Johnm

[Johnm]

Thanks for the catch, Harry.  I think it is "whistles", in the plural.  I've made the change.
All best,
Johnm

[Johnm]

Hi all,
Carl Martin played "Good Morning, Judge" out of E position in standard tuning, using the same accompaniment he used for "Crow Jane" and "Kid Man Blues".  His finger-snapping during the course of his accompaniment was a pretty cool trick.  The lyrics are unusual in that they are all addressed to the judge.  Here is his performance of the song:



INTRO SOLO

(SPOKEN: Boys, ain't it hard when your best girl gets a tough break?  I'm goin' down, see the judge before the trial comes on.)

"They arrested my baby, accused her of sellin' moon.
They arrested my baby, accused her of sellin' moon.
Judge, they found whiskey, but it wasn't even in her room."

SOLO

"Now, good morning, Judge.  Judge, how do you do?
Good morning, Judge.  Judge, how do you do?
I just came here to have a few words with you."

SOLO (Spoken, during solo:  My baby's in, Judge, she didn't do any wrong.)

"Please, kind Judge, listen to my plea.
Please, kind Judge, listen to my plea,
And let my baby go back home with me."

All best,
Johnm





 

[Johnm]

Hi all,
I was surprised to find that Carl Martin's version of "Crow Jane" had never had its lyrics transcribed here.  Here is his performance of the song, followed by his lyrics:



INTRO SOLO

Crow Jane, Crow Jane, don't hold your head so high
Crow Jane, Crow Jane, don't hold your head so high
For you must remember, you've got to come down and die

SOLO

If you don't want me, baby, just give me your right hand
If you don't want me, baby, just give me your right hand
I'll go back to my woman, you go back to your man

SOLO

My Mama she told me, when she shook my hand
My Mama she told me, when she shook my hand
"If you get in trouble, son, do the best you can."

SOLO

All best,
Johnm

[MuddyBuddy]

Hi John, I transcribed Crow Jane when I recorded it in 2006, the version that Carl Martin does on the album done in 1966 on Testament. Some added verses.

Carl Martin: Crow Jane Blues

 

 Crow Jane Crow Jane, don’t  hold your head so high
Well you must remember got to come down and die

I woke up this morning, blues all around my bed
Went to eat my breakfast,  blues all in my bed
 
My mamma she told me when she shook my hand
If you get in trouble try and do the best you can

My mamma, she dead, pappa won’t allow me home
Ain’t got nobody teach me right from wrong

When you see me coming, hide your window high
When you see me leaving, hang your head and cry

Crow Jane Crow Jane, don’t  hold your head so high
Well you must remember to come down and die

[JoeCigueno]

Nobody Knows You When You're Down and Out (parody)



I've giving credit to Carl Martin because I transcribed it from his version, on Martin, Bogan and Armstrong's 2nd album.  Nobody Knows You When You're Down and Out was written in the early 20's by Jimmie Cox, but this version adds 3 extra verses. MB&A sang a few well-known songs with extra verses, not sure what to call them, maybe someone else knows. These lyrics are half recited and half sung. They expand on the original lyrics in amusing ways, and all three songs BM&A did were really well-crafted.  In addition to Nobody Knows You, they also had extra verses like this in The Sweetheart of Sigma Chi and That Old Gang of Mine.  I'm calling them parody lyrics, because in Sweetheart they are a straight-up parody. The ones added to Nobody Knows You (the middle three verses) take the theme of the song to a comical level of cynicism and self-pity. I have no idea who wrote them, but Carl Martin sang the tune, so I'm giving him nominal credit. What's below pretty close. There's a bracketed bit where Carl Martin drops a line.  Anything others know about lyrics in this tradition, I would love to be educated.  I assume professional songwriters or parodists created these versions, maybe in the 20s when the tunes were widely known and still popular in their original versions. I don't know how they made money from what seems like a lot of work. 

There's an unrelated but fascinating African-American tradition dating back to early in the century, where the singer extensively expands upon a well-known song, like Stack O'Lee, into a sort of story-poem. From what I've read, these versions were a part of the 'hustler' lifestyle, which well describes the character of our friend Stack.  These creations are violent, profane and obscene, more of a spoken work or “toast” while retaining the cadence of a song lyric, and were performed in the kinds of establishments where patrons might appreciate poetry steeped in toxic masculinity. Nick Cave was aware of this tradition when he did his 'Bucket of Blood' version of Staggerlee - worth a look on YT.  I promise not to transcribe that one.  If anyone is interested in that musical tradition, you can read about it on Paul Slade's website: http://www.planetslade.com/stagger-lee.html


Nobody Knows You When You’re Down and Out

Once I lived a life /  Of a millionaire
Spending my money   / I didn’t care
Taking my friends out  / Having a good time
Drinking corn whiskey / Champagne and sometimes wine
Boys but when I fell  / Yes I fell so low
I couldn’t find a friend / No place I’d go
If I ever get my hands / On a dollar again
I’m gonna hold on to it / Until the eagle grins

Because nobody knows you / When you’re down and out
I search my pockets / Had not one penny
I look for my good friends / Gee but I had not any
Oh but if I ever get lucky again just again / And get up on my feet
All of my good friends then (or there) / I know I'm bound to meet
Gee but it’s hard / Without a doubt
Nobody knows you / When you’re down and out
   I mean when you are down and out.

Now there comes cold, rain / sleet and snow
The rent man he keeps knocking / On your front door
The weather’s cold / Its below zero
You know how it is in Chicago if you ain’t for that money / Out on the street you go
You can be blind, lame / And cannot see
Both your legs can be cut off / Up above your knee
You can have (the?) tuberculosis / Or the German flu
Death can be on your body / Playing yankee doodley doo

Lord there's nobody knows you / When you’re down and out
Your friends will all tell you / That you been a good old scout
But what was it to them because you played dumb / And got tapped out
When you ask one for a dime, just a dime / He’ll point right to the dust
Show you right where the good book says / That alone In God We Trust
But when I had my money / Boys it was a perfect handout
Now I’m broke, I’m busted / I’m down, I’m out

Nobody knows you / When you’re down and out
Aunties, sisters, cousins, brothers / Treat you all alike
Treat you just like you’re a stepchild / And try to drive you from their sight
Boys when you get old / You know and you just have to hobble around
All of your old time friends then / They can’t be found
If you should see one on the corner / With his weekly pay
If he see you first (he) curves / And goes some other way

Nobody knows you / When you’re down and out
[Dropped line]. / Yes!  Have not one penny
You look for your good friends / Boys but I had not any
But if I ever get lucky again just again / And get up on my feet
All of my friends / I know I’m bound to meet
Gee but it’s hard / Without a doubt
Nobody knows you / When you’re down and out
     I mean when you're down and out

[Johnm]

Thanks for the post of the performance and the transcription, JoeCigueno. The transcription needs a lot of work in order to reflect accurately what Carl Martin sang. The first bent bracketed phrase is
   AUNTIES, sisters, cousins, brothers
All best,
Johnm

[JoeCigueno]

OK I went back through it and made mods so it is accurate to what he sings.  If I missed anything specific, let me know. I couldn't make out 'aunties' - thanks for that.

[Johnm]

Hi all,
When Carl Martin recorded "Crow Jane" in 1935, he gave it the same accompaniment in E position, standard tuning that he had used for "Good Morning Judge", recorded less than a month earlier. For the "Crow Jane Blues", recorded for his Testament album of the same name in the mid-'60s, he used instead the accompaniment he had used for "Old Time Blues", which was recorded at the same session as "Crow Jane" in 1935. The "Old Time Blues" accompaniment is actually closer to the way that most people have played "Crow Jane", as an 8-bar blues in E position, standard tuning that goes to B7 in the second bar. His '60s version of "Crow Jane Blues" doesn't have the pedal-to-the-metal super-fast tempo that "Old Time Blues" had, but it's a bit swingier, and he just sounded great. Here is "Crow Jane Blues":



INTRO SOLO

Crow Jane, Crow Jane, don't hold your head so high
For you must remember, got to come down and die

SOLO

I woke up, this morning, blues all 'round my bed
Went to eat my breakfast, blues all in my bed

SOLO

My mama, she told me, when she shook my hand,
"If you get in trouble, son, do the best you can."

SOLO

My mama, she dead, papa won't allow me home
I ain't got nobody, teach me right from wrong

SOLO X 2

When you see, me comin', heist your window high
When you see me leavin', hang your head and cry

Crow Jane, Crow Jane, don't hold your head so high
Say you must remember, got to come down and die

SOLO

All best,
Johnm