Topic: Blind Boy Fuller Lyrics

[Johnm]

Hi all,
Blind Boy Fuller recorded "Big Leg Woman Gets My Pay" at a session in Memphis on July 12, 1939, accompanying himself out of E position in standard tuning and joined by Bull City Red (Oh Red) on washboard. It is a sensational performance, and a very unusual East Coast blues in that it never goes to a V7 chord. In some ways, it is more like a Mississippi blues. Fuller's intro solo is just ripping--wow! And his even-numbered verses, where he perseverates in his E chord down at the base of the neck are just rhythm-athons with Bull City Red clicking away on the washboard.  As far as I'm concerned, this is "die-happy" stuff. Here is "Big Leg Woman Gets My Pay":



INTRO SOLO

My hook's in the water and my cork's on top
My hook's in the water and my cork's on top
How in the world can I lose, yeah, with the help I've got?

Lord-Lord, Lord-Lord
Yeah-ha, yeah-ha, pshaw!
Whoa-ho, yeah, Lord, Lord

Reason why, these men, whoa-ho, don't draw no pay
Why-y, they sure don't draw no pay
Tell me why these men, they sure don't draw no pay
Let these big leg woman come and take thei' pay away

Yes, they do, Lord-Lord, Lord-Lord
Well-hell, well Lord, pshaw!
Hey-ey-ey, come and draw thei' pay away

Better stop your woman from grinnin' in my face
Better stop your woman from grinnin' in my face
Wake up some of these mornin's, babe's got up, he done took your place

Yes, I will, Lord-Lord (Yeah!), Lord-Lord
Well-hell, well Lord, pshaw!
Wake up some of these mornin's, boy, he done took your place

May be your woman, but she come to see me sometimes
May be your woman, but she come to see me sometimes
Be 'round me so often, I begin to think she's mine

Yes, I do, Lord-Lord, Lord-Lord, (Yeah!) Lord-Lord, Lord-Lord
Lord-Lord, Lord-Lord, pshaw!
Say, Lord-Lord, Lordy-Lord, Lord

All best,
Johnm

 
 

[Johnm]

Hi all,
Blind Boy Fuller was joined by Sonny Terry on harmonica and Bull City Red on washboard for "Somebody's Been Talkin'", an up-tempo 8-bar blues for which Fuller accompanied himself out of A position in standard tuning. This is a hugely exciting cut, and I don't think Sonny Terry ever sounded better than he does on this cut--he's completely locked in with Fuller's vocal and responding to everything Fuller does, as well as playing time like a really energetic and inventive drummer.  Fuller sounds completely happy and confident in his vocal, too.  This is the kind of take you always hope you'll get in the studio but so seldom do.  Here is "Somebody's Been Talkin'":



INTRO SOLO

Well-ell, well-ell, well, aw, pshaw!
Mmm, yeah, Lordy, Lordy, Lord

I hate to see that rising sun go down
It make me believe my woman's got me on my last go-round

She used to be mine, but look who's got her now
She didn't mean me no good, God knows I couldn't keep her, nohow

Well-ell, yeah-eah, well-ll, pshaw!
Mmm, Lord, Lordy, Lordy, Lord

Say, tell me, mama, who in the world been tellin' you?
You don't even treat me nothing like you used to do

Well-hell, yeah-eah, mmmm-hmm
Well, yes, Lordy, Lordy, Lord

Says it may be a week, and it could be a month or two
'Cause when I get lucky, gal, I'm comin' right back to you

Say the woman, I love, she rolls all over the bed
She got the kind of lovin' make me talk out of my head

Whoa-ho, yeah-eah, ohhhhhh, pshaw!
Mmm, yes, Lordy, Lordy, Lord

She got coal-black eyes, she got long, black curly hair
My baby got something will lead me most anywhere (Sonny: Whoa!) (Fuller, spoken: Play it for me now!)

Whoa-ho, yeah-eah, mmmm-hmm
Mmm, yeah, Lordy, Lordy, Lord

SOLO

I hate to see that rising sun go down
'Cause I got the notion my woman's gone and left this town

Ah-ha, yeah-eah, welll-ll, pshaw!
Mmm, yeah, my woman's gone and left this town

CODA

All best,
Johnm

[Johnm]

Hi all,
Blind Boy Fuller recorded "You Got To Have Your Dollar" at a session in New York City on June 19, 1940. He is backed by Sonny Terry on the song, and Fuller accompanied himself out of E position in standard tuning for the session. Here is "You Got To Have Your Dollar":



When I had money, I had women and friends for miles around
When I had money, had women and friends for miles around
Yeah, now I'm broke, women and friends, they can't be found

Says I'm talkin' 'bout a dollar, I mean, a dollar bill
Says I'm talkin' 'bout a dollar, I mean, a dollar bill
Yeah, now if you've got your dollar, you sure can get your order filled (Spoken: Play it for me now, boy! Play it 'til my rider gets here.)

SOLO

Said, if I could only read, read my little woman's mind
Said, if I could only read, read my little woman's mind
Yes, I wouldn't be here, worried, and stayed blue all the time

My baby keep me guessin', 'bout things I want to know
Said, my baby keep me guessin', 'bout things I wants to know
Yeah, she's got me doin' things, that I never did before

Edited 8/5 to pick up correction from harry

All best,
Johnm

[David Kaatz]

Hi all,
I just entered Blind Boy Fuller's "Blacksnakin' Jiver" in Weeniepedia.  It had been transcribed several years ago, and it wasn't a Fuller tune that I remembered at all.  You can listen to it below.  I guess my question is, can you think of any 12-bar blues that crams in more lyrics than this song? 
Johnm

A very unusual 12 bars though!
Goes something like this: | I I7 | IV I | ii | V | ii | V | I | VI | II | V | I and turnaround over two bars

[Blues Vintage]

I think the second line got tangled up somehow.

1.2 When I had money, had women and friend soft miles away  friends for miles around

[Johnm]

You're right, Harry, thanks for the catch.  I'll make the change, thanks!

[eric]

I've listened to Big Leg Woman about a dozen times now (my partner Deb can confirm this), man what a great side.  In a lot of old blues literature, he was kind of described as a Rev. Davis also ran, but he's such a great player in his own right.

[Johnm]

I couldn't agree more, Eric. I much prefer Fuller's playing and singing of blues, in particular, to Davis's.  And so did the record-buying public of his day.
All best,
Johnm

[Johnm]

Hi all,
Blind Boy Fuller recorded "I Don't Care How Long" at a session in Memphis on July 12, 1939, accompanying himself with a slide in Vestapol tuning and backed by Sonny Terry on harmonica.  It's kind of a shame he (Fuller) didn't record more slide performances, because he was really good at it.  Here is "I Don't Care How Long":



INTRO SOLO

Says I used to call you "sweet mama", can't call you sweet no more
Says I used to call you sweet, can't call you sweet no more
'Cause every time I come to your house, there's some man hangin' 'round my door

Says I can't eat every mornin', sure can't rest at night
Says I can't eat every morning, sure can't sleep at night (Spoken: Why, boy?)
'Cause that old woman that I'm lovin', yeah, she just won't treat me right

I don't care when you go, baby, don't care how long you stay
I don't care when you go, mama, don't care how long you stay
'Cause that old good kind treatment, yeah, that bring you back home to me, someday (Spoken: Ah, play it now, boy, play it for me!)

SOLO (Spoken: Yeah!)

Baby, it's hard to try lovin', when you can't get it in your mind
Ain't it hard to try lovin', can't get it in your mind
But I'm gonna find me some woman, yeah, to treat me nice and kind

All best,
Johnm

[banjochris]

From those first and last verses of "I Don't Care How Long," it's pretty clear that Fuller had been listening to "Who's Been Tellin' You Buddy Brown" by Sleepy John!
Chris

[Johnm]

Hi all,
Blind Boy Fuller recorded "I Don't Want No Skinny Woman" at a session in New York City on June 19, 1940, and was joined by Sonny Terry on harmonica and Bull City Red on washboard on the cut. Fuller accompanied himself out of E position in standard tuning for the track.  Here is "I Don't Want No Skinny Woman":



INTRO

Little lean woman can't draw my pay, she haven't got a thing to drive my blues away
Little lean woman, sure can't draw my pay
'Cause she haven't got nothin' to drive my blues away

When I come home at night, you know I wants to play, but I ain't got nothin' drive my blues away
I said, little lean woman, stay 'way from my door (Spoken: Why?)
I got a big fat woman and I can't use little lean woman no more (Spoken: Play it for me now!)

SOLO

I got a big fat woman, meat shakin' on her bones, every time she shakes some lean woman lose her home
I says, little lean woman, stay 'way from my door
I got a big fat woman and I can't use little lean woman no more

When I was on my way to school, met a big fat woman made me lose my mama's rule
I said, little lean woman, stay 'way from my door
I got a big fat woman and I can't use little lean woman no more ( Spoken: Play it for me now! Play it 'til my rider comes!)

SOLO

Now, if that's your woman, you better pin her to your side, pulls up her thumb I'm gwonna sure let her ride
I said, little lean woman, stay 'way from my door
I got a big fat woman and I can't use little lean woman no more

CODA

All best,
Johnm

[Johnm]

Hi all,
Blind Boy Fuller recorded "Boots And Shoes" at a session in New York City on February 8, 1937 and was joined by Floyd Council, on seconding guitar for the track (though the JSP set credits only Fuller on the song, a second guitarist is plainly audible, and Council played on the song immediately prior to this one in the session, as well). Fuller is capoed up, playing out of E position in standard tuning, and Council would then be playing out of A position, standard tuning, without a capo. The duo really shines here, and Council's seconding is inventive and rhythmically exciting from beginning to end. The song is a re-working of Buddy Moss's "Hey Lawdy Mama", and Fuller is very much working the same musical territory as did Buddy.  I have to admit, I sort of miss the little "mini-chorus" response line at the end of the first line of each verse.  Here is "Boots And Shoes":



INTRO SOLO

Goin' in the bottom, you can, bring my boots and shoes
Yeah, hey, bring my boots and shoes
You can tell by that, gal, got no time to lose

Now it's a mean old engine, took my gal and left me standing here
Hey, hey mama, left me standing here
Got no one to love me, have no one to care

Sun gwonna shine in, my back door someday
Hey, hey, my back door someday
And that wind's gwine rise and blow my troubles away (Spoken: Yeah!)

SOLO

Told you, gal, when, you was treatin' me mean
Hey, hey, you was treat'n' me mean
I'm gwonna leave you here and goin' back to New Orleans

I'm gon' tell you something, mama, you don't know
Yeah, hey, mama, you don't know (Spoken: Boy, you don't)
When I quit you this time, says I don't need you no more (Spoken: Yeah!)

SOLO

The woman I love, she got dimples in her jaw
Yeah, hey, she got, dimples in her jaw
Say, she carry the kind of lovin', make a little man fall

All best,
Johnm




 

[Johnm]

Hi all,
Blind Boy Fuller recorded "Hungry Calf Blues" at a session in New York City on December 15, 1937, accompanying himself out of A position in standard tuning. Boy, did he play well in A position! Not to be argumentative, but in verse two, a calf that is sixteen years old could hardly be described as "new"! Here is "Hungry Calf Blues":



Your calf is hungry, mama, I believe he needs a suck
I say your calf is hungry, mama, and I believe he needs a suck
Yes, your milk is turning blue, I believe he's out of luck

Says, I found out now, mama, reason why I can't satisfy you to save my soul
I say, hey, hey, can't satisfy you to save my soul
Yes, you've got a new calf, he's sixteen years old

But I'm gwonna see my jelly, mama, gonna bring it right on home to you
I say, hey, hey, gon' bring it right home to you
You can't find no young calf, roll jelly like this old one do

Says, I got a new way of rollin', mama, I think it must be best
I say, hey, hey, yes, I think it must be best
Says, these here North Carolina womens, just won't let Blind Boy Fuller rest

Mmmm, just won't let me rest
I said, hmm-mmm, just won't let me rest
Said, I got the kind of lovin', yes, Lord, I think it must be best

Says I roll jelly early in the mornin', and I also roll at night
I say, hey, hey, I also roll at night
Then I don't stop rollin', 'til I know I rolled that jelly just right

All best,
Johnm

 

[banjochris]

Not to be argumentative, but in verse two, a calf that is sixteen years old could hardly be described as "new"!

I think he means "new" to her!
Chris

[Johnm]

I was kidding, Chris, just doing my imitation of a dopey literalist blues scholar.