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Country Blues => Country Blues Lyrics => Topic started by: blueshome on March 17, 2009, 04:38:41 AM
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I'm on a Buddy Boy trip at the moment and wondered if anyone had any of his lyrics down (i know you do Prof S!).
As a starter, here's my take on Shaggy Dog Blues recorded in Chicago in 1927. I notice on his later recordings he capoes quite a bit lower and changes his style slightly. His songs are short by standards of the day, coming in between 2.30 and 2.50 mostly as against the normal 3.00 minutes.
I'm goin up on the mountain, I'm gonna roost just like a hawk
I say, I'm goin up on the mountain, tryin to roost just like a hawk
Because the women round here treat a good man like a dog
Scat verse
Say, I'd rather be shaggy, mama just like a dog
I say, I'd rather be shaggy, mama just like a dog
Than to hear my jet black woman say "Buddy Boy", she don't need me no more
When you see two old jet black women standing up talkin so long
When you see two old black women standing up talkin so long
Sp: How come I say that!
Bet your life there's something going on wrong
My mama told me, my papa told me too
I say, my mama told me, my daddy told me too
Sp: What she told you now?
These women round here just simply won't do
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Snatch it Back Blues was recorded in Chicago in 1927. He manages to make it the full 3 minutes on this occasion. I have the Document cd and some is very unclear both from the accent and the distortion. (Edited with changes from dj & JM.)
Sp:
Listen here people, these are my blues, I brought them all the way from Birmingham.
You know when it feels good to me it's bound to feel good to you
I'm goin to see how'd you like that?
I'm gonna lay my head out on some lonesome railroad track
I say, I'm gonna lay my head, mama, ah out on some railroad track
Well when that train come along, I'm gonna snatch it back
Tell me brownskin mama where did you stay last night?
I said, tell me mama where did you stay last night?
With your hair all down, your face ain't ever wiped
I say I love you pretty mama, ah'ou'ah don't care what you do
I say I love you pretty , ah'ou'ah don't care what you do
You go to your black man mama, I stick to my gal
I say if you don't need your black woman you gonna have to carry some heavy stall
If you don't want me mama you got to carry some heavy stall
Sp: How come I say that?
Because I can get more jet black women than a freight train can haul
Scat/hummed verse
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I don't have time to listen really closely right now, but here are a few suggestions:
Intro:
You know when it feels good to me IT'S BOUND TO feel good to you
Verse 3:
You go to your black man mama, I'LL STICK to my gal
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Thanks dj I've popped them in.
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With your hair all damp[?], your face ain't ever [....]
I Hear:
"With your hair all down, your face ain't never washed"
Sound good?
Lefty
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A few more suggestions:
Last line of intro:
I'M GON' SEE HOW you like that. The "gon'" or "goin'" or "gonna" os pretty garbled, coming out more like "awn"
Last line of verse 2:
With your hair all DOWN, your face ain't ever WIPED. Incidentally, the second line of this verse omits "brownskin".
Verse 3:
Second line omits "mama".
Verse 4:
I say if you don't need your black woman you GONNA HAVE TO CARRY SOME HEAVY STONE
If you don't want me mama you GOT TO CARRY SOME HEAVY STONE
I'm not sure about "stone in these two lines. Could be "stones", could possibly be something else. I want to hear "load" but there's an "s" on the front of whatever the word is.
I hope this helps.
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Hi dj,
I think the last word in the line you cite is not "stone" but "stall", in this context referring to putting the brakes on somebody's moves. I've heard the rhyme used elsewhere in the same context.
All best,
Johnm
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Working on the Railroad was recorded in Chicago in September 1927. Buddy Boy is now capoes much lower than at the previous session where he was up at Eb/E in Spanish and has changed his accompaniment style slightly.
Edited to include suggestions from banjochris,dj&UBud.
Working on the railroad, boys sure will give you the blues
I'm talking about working on that railroad bend, it sure will give you the blues
Just walk up and slide the track, until you wear out your shoes.
Now when you hear the captain call "you men, let's move that rail"
You can hear the captain call "you men, let's move that rail"
And if you don't do what he says, you have to get somebody else to go your bail
My black woman she needs the money that's why I work so hard
Oh, my black woman she needs the money that's why I work so hard
And if I don't keep on rolling, she'll have another black man in my yard
When your black woman says bring it home partner, railroad is all you know
When your woman says bring it home Buddy Boy, railroad is all you know
Just get out on the hot track and work your hands to the crow
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Here's my suggestions for "Working on the Railroad." Also, just to remind everyone, somewhere on the forum we already transcribed the spoken part of "A Rag Blues"; hopefully that'll save someone the effort.
1.1 "sure will" not will surely
1.2 ...railroad bend, it sure will...
1.3 Just walk up and 'side the track, until you wear out your shoes.
2.3 take out "got"
4.1 When your black woman says "bring it home, partner," railroad is all you know
4.2 When a woman says "bring it home, Buddy Boy," railroad is all you know
4.3 I think the missing word is "coal."
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Thanks Chris, changes in except for "coal" - it sounds as if it could be but doesn't really make any sense. "bone" would be the obvious word from normal usage but it doesn't sound like that at all.
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That questionable last word of the final verse might be "close" as in "work until the end of the day".
And the last line of the first verse might be "Just walk up and s' line the track...", where the work being performed is lining track, and Buddy Boy either starts to sing the wrong word or heavily elides a "just" in front of "line". Could also be "slide the track", i.e. be on the crew that puts the rails in place to be spiked on new construction. At any rate, I hear a bit of an L in there.
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dj
I've listened again and I still can't be sure whether we've got it as written or "inside" instead of "an' side" or "slide".
I think I've got another copy of the recording, I'll listen if that's any clearer.
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Just pointing out that the last verse is as Chris has it:
4.1 When your black woman SAYS "Bring it home, partner" etc.
4.2 When a woman SAYS "Bring it home, Buddy Boy" etc.
That last word in 4.3 sure sounds like "coal" to me as well, though the meaning of that certainly isn't clear to me.
Also, in 1.2 there's an IT missing. "IT sure will..."
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I put the song on Transcribe!, slowed it way down, and the mystery word at the end of the fourth verse definitely starts with a "cr" sound, which brings everything into focus. The verse is:
Just get out on the hot track and work your hands to the CROW
Of course! The crow is the long prybar used to move the rails into position when laying track.
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After further listening to verse 1 at various speeds, my preferred interpretation is:
Just walk up and SLIDE the track, until you wear out your shoes.
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Thanks UB, Chris and DJ. I now fancy "claws" as the last word. It makes a bit more sense than "coal".
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I agree that last word of the last verse is problematic, although it doesn't sound like "claws" to me. I think dj's suggestion of crow could be right; I thought it was coal (slightly mispronounced), and thought he was switching from talking about laying track to either loading coal for a train or doing fireman work, i.e. shoveling coal for the boiler.
I'm pretty sure it's walk up and 'side the track, with 'side being for "beside," not "inside."
Chris
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OK I've gone with those.
Scratchy, you've got a couple of BBH on your youtube - how about the lyrics?
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Somebody can help me to find the lyrics of "Snatch it and grab it" I don't have nothing, i understand only a few words.
Thanks
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In shaggy dog,
In the opening line "roost like a hawk" makes sense as he's on the mountain but I can't tell whether this is the line or "root like a hog" which doesn't fit the scene so well but is more in country blues in general...
I hear it like that but it could be either for me...
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I think you're right, David, and "root like a hog" makes the rhyme as well. Sounds more like 'root' than 'roost' to me.
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I Found this test on web, but is no good, isn't complete
write me something thaks
How Come Mama Blues
How come you do me like you do baby : how come you do me like you do
How come you try to make me feel so blue : mama you know I ain't done nothing unto you
Now you know you left poor me at seven : come back at eight
You got another big fat man : slam up to my gate
You know you hug and kissed him : said daddy you sure is fat
I stuck my head out the window : man and hollered who in the world is that
I bought a pistol : I bought it today
Now I got the undertaker with me : just to haul you away
You know you kept on talking : about that you want to get my goat
I had a brand new razor woman : just to slit your throat
A nickel is a nickel : a dime is a dime
A woman get tired of one man : all the time
You try to give these women : everything they need
You have to make them : one of your G B V Ds
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Voice Throwin Blues (....) ??? ??? ??? ??? No Comment is something impossible ....
Come in at dawn : stay out late
If I call you : don't you hesitate
Tell me how long : does I have to wait
Can I get you now honey : [or must I hesitate]
I ain't no miller : [no miller's son] ???
Can be your miller : [till your miller come] ???
Tell me how long : does I have to wait
Can I get you now honey : [or must I hesitate]
I might think it's funny : ???
Make me mad : think ???
Tell me how long : does I have to wait
Can I get you now honey : [or must I hesitate]
*Ain't yellow evil* : ??? *too*
The reason fair brown : ???
Tell me how long : does I have to wait
Can I get you now honey : [or must I hesitate]
???? : ?????
If i call you : ???
Tell me how long : does I have to wait
Can I get you now honey : [or must I hesitate]
Mama told me : daddy told me too
*Womens* ??? : and it'll be end of you
Tell me how long : does I have to wait
Can I get you now honey : [or must I hesitate]
I ain't no doctor : doctor's son
Ease your pain : ?????
Tell me how long : does I have to wait
Can I get you now honey : [or must I hesitate]
I don't want no sugar : in my tea
The woman I got : sweet enough for me
Tell me how long : does I have to wait
Can I get you now honey : [or must I hesitate]
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Would any possibly help me out with the lyrics for either Snatch and Grab it or Vice Throwing blues? There are some words Buddy sings that I cant understand. Thanks
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Hi gfreeman247,
Welcome to Weenie Campbell! Standard procedure in these parts when requesting lyrics is for requesters to post what they have so far, and then people can pitch in and help from that point onward. We look forward to seeing what you have thus far.
All best,
Johnm
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Catchy tune; Hard to make out, though. :P
"Snatch it and Grab It"
I bought my gal a hobble skirt
Boy she dressed up like a blitheful bud
Now everytime me and her starts out
Boy she would slide down in the mud
I said look here black gal now don't go too far
She better start walking around and drift away
Cause there ain't but the one thing I'm gonna do:
I'm gonna keep my hobble skirt!
I'm gonna snatch it, grab it, anyway I can get it
I'm gonna carry it back unto it's home
Cause now you know, gal, that I'm your pal
A hands-off kind of a "dolt"???
Now all you women dressing up and looking neat
Now you ain't got a pair of shoes on your feet
I'm gonna snatch it, grab it, anyway I can get it
I'm gonna carry it back to it's home
I'm gonna take it back to it's home
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You try to give these women : everything they need
You have to make them : one of your G B V Ds
This last line goes, "You'll have to make the winter in your BVD's". He's probably making another weight joke at the expense of her fat lover. The "G" or "D" prefix on it probably notes the size of the underwear that her lover is freezing in.
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Voice Throwin Blues (....)
Come in at dawn, stay out late
If I call you don't you hesitate
Tell me how long does I have to wait
Can I get you now honey, or must I hesitate
I ain't no miller no miller's son
Can be your miller your miller come
Tell me how long does I have to wait
Can I get you now honey or must I hesitate
I might sing this verse, and a tune
Maybe nothing, later on
Tell me how long : will I have to wait
Can I get you now honey or must I hesitate
High yellow evil, brown evil too,
The reason fair brown I don't need you
Tell me how long will I have to wait
Can I get you now honey or must I hesitate
Come in at dawn stay out late
If I call you don't hesitate
Tell me how long will I have to wait
Can I get you now honey or must I hesitate
Mama told me daddy told me too
Women round here gonna be the death of you
Tell me how long does I have to wait
Can I get you now honey or must I hesitate
I ain't no doctor, doctor's son
Ease your pain till your doctor come
Tell me how long will I have to wait
Can I get you now honey or must I hesitate
I don't want no sugar in my tea
The woman I got sweet enough for me
Tell me how long will I have to wait
Can I get you now honey or must I hesitate
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I reckon what was bought for the gal in "Snatch It and Grab It" was a "hobble skirt".
All best,
Johnm
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High yellow evil, high nigger too,
The reason fair brown I don't need you
I think it's probably "High yellow evil, brown evil too"
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Trying my best here on Yellow Woman Blues...recorded right after Working On The Railroad. Several parts I cannot make out though....help much appreciated! :)
Yellow Woman Blues
Ah, yellow woman, you have poison like a rattlesnake, [they?]
I?m talkin? ?bout a yellow woman, boy, they?ve poison like a rattlesnake, [goin?? you?]
And when they get started, boys, there?s no quizzlin? and no playin?. [? on the plate?]
Spoken: Ah, listen here, boys! [I wanna see you, boys! ?]
Some people crave for trouble, ain?t now satisfied with these, [and now?]
Some people crave this trouble, ain?t now satisfied with these, [and now?]
Spoken: I know that?s right!
Just listen to a high yellow and trouble won?t never cease. (kick in...trouble [y?]won?t never see)
Spoken: Listen here, boys!
Trouble and worries have killed more people than an?thin? else,
Spoken: I know that?s right!
I?m talking ?bout trouble and worries, partner, will kill more people than anything else, [?]
Spoken: How come I know? ?Cause they killed my mom.
And if they kill all to you, don?t blame nobody else but yourself. [kill the whole? keyhole to you?]
Now listen here!
Boys,
If you hear the song again and don?t take my advice,
Spoken: How come my Anne don?t take my advice! You better take my advice, too!
If you hear this song, boys, and don?t take my advice,
Spoken: What I want to do? How come?
?Cause it might cause you, partner, to lose your life.
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I think it's probably "High yellow evil, brown evil too"
Probably so, Chris. It would be unusual for the n-word to be in this song, though not so rare. And thanks, John. Hobble skirt! who would've guessed? There's another riddle to "Snatch it and Grab it". I was hearing a word that sounded like "dude" in the line,
"Cause now you know gal that I'm your pal,
A hands-off kind of a " "
Well, I was listening to Walter Vinson today, and I heard the same distinct word in, "Every Dog Must Have His Day",
"It used to give me misery,
boy, that was a "dolt/dolch"?
This must be one of those words that phased out of usage quite some time ago. Any ideas on what it is would be appreciated.
My best guess meanwhile is that it seems to be some kind of slang word from "dolch", german for "dagger". Some of the words we cuss with today like, "dolt/dork/dick" all come from the same family.
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Hi cru423,
I'm hearing a number of things pretty differently in "Snatch It and Grab It". I'll quote what you posted, and put what I'm hearing in bent brackets:
I bought my gal a hobble skirt
Boy she dressed up like a blitheful bud
Now everytime me and her starts out
Boy she would slide down in the mud
I said look here black gal now don't go too far [I said, "Look-a here, black gal, now don't you get smart"]
She better start walking around and drift away
Cause there ain't but the one thing I'm gonna do:
I'm gonna keep my hobble skirt!
I'm gonna snatch it, grab it, anyway I can get it
I'm gonna carry it back unto it's home [I'm gonna carry it back, uh, to that store]
Cause now you know, gal, that I'm your pal
A hands-off kind of a "dolt" [I ain't some kind of a joke]
Now all you women dressing up and looking neat
Now you ain't got a pair of shoes on your feet [Now, you ain't got a pair of shoes at your feet]
I'm gonna snatch it, grab it, anyway I can get it
I'm gonna carry it back to it's home [I'm gonna carry it back-a to the store, I mean]
I'm gonna take it back to it's home [I'm gonna take it back to the store]
I think in the later refrains of the song, he enunciates "back to that store" more cleanly than he does in the first refrain.
All best,
Johnm
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That's interesting, John, I'll have to listen again, to those lyrics. Thanks. :D
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I agree with what John has mostly -- a couple suggestions, this is a toughie:
Boy she dressed up like a black [??] bird (can't make out the middle part)
I said, "Look-a here, black gal, now don't you get smart,"
"She better stop to walkin' 'round me dressed so high."
Agree with "back to the store"
And I think the last line of the first part of the chorus is "I has all kind of-a dough"
Agree with "at your/her feet"
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Trying my best here on Yellow Woman Blues...recorded right after Working On The Railroad. Several parts I cannot make out though....help much appreciated! :)
Yellow Woman Blues
Ah, yellow woman, you have poison like a rattlesnake, [they?]
I?m talkin? ?bout a yellow woman, boy, they?ve poison like a rattlesnake, [goin?? you?]
And when they get started, boys, there?s no quizzlin? and no playin?. [? on the plate?]
Spoken: Ah, listen here, boys! [I wanna see you, boys! ?]
Some people crave for trouble, ain?t now satisfied with these, [and now?]
Some people crave this trouble, ain?t now satisfied with these, [and now?]
Spoken: I know that?s right!
Just listen to a high yellow and trouble won?t never cease. (kick in...trouble [y?]won?t never see)
Spoken: Listen here, boys!
Trouble and worries have killed more people than an?thin? else,
Spoken: I know that?s right!
I?m talking ?bout trouble and worries, partner, will kill more people than anything else, [?]
Spoken: How come I know? ?Cause they killed my mom.
And if they kill all to you, don?t blame nobody else but yourself. [kill the whole? keyhole to you?]
Now listen here!
Boys,
If you hear the song again and don?t take my advice,
Spoken: How come my Anne don?t take my advice! You better take my advice, too!
If you hear this song, boys, and don?t take my advice,
Spoken: What I want to do? How come?
?Cause it might cause you, partner, to lose your life.
See what you think of these:
1.1 THEY ALL poison
1.2 THEY ARE poison
1.3 there's no PUTTIN' ON NO BRAKE.
can't make out that next spoken aside
2.1 and 2.2 crave FOR trouble AND NOT satisifed with EASE (I think, hard to hear that last word)
2.3 Just GET YOU a high yellow
3.2 will kill YOU QUICKER than anything else
3.3 And if they GET OVER TO YOU,
4 (first aside) I'M TALKIN' ABOUT AND don't take my advice
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I agree with what John has mostly -- a couple suggestions, this is a toughie:
Boy she dressed up like a black [??] bird (can't make out the middle part)
I think she's "dressed up like a black *crow* bird"
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That sounds right, Alexei, thanks!
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That is great hearing, Chris and Alexei. Well done!
All best,
Johnm
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I've been listening to Jail House Fire Blues. I think I have most of it pretty solidly, but theres a bit in the last verse which seems to me to be just a noise rather than real words. Any educated guesses?
(spoken) Hey Mr Jailer, Jailhouse burned down.
Mr Jailer don't sleep so sound
Mr Jailer I said don't sleep so sound
Jailhouse on fire
and its all burning down
You got that woman I love in that jailhouse now
I said the woman I love, in the jailhouse now
please mr jailer got get her outta there somehow
Ooo my woman's in trouble now
I said ooo mama my broads in trouble now
I said well one of these cold mornings,
Gonna get her out of jail
When I get my little { }
Up country bound
I said when I get my { }
I'm going up the country bound
Mr Jailer I hope the jailhouse burns down
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When I get my little FAIR BROWNIE NOW, up the country bound
I said when I get my FAIR BROWN, BUDDY BOY, I'm going up the country bound
AND THEN Mr Jailer {AH/I} I hope the jailhouse burns down
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Thanks DJ. I can just about hear those words now you set them out- though the delivery is crazy :)
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Hi all,
Buddy Boy Hawkins' "Shaggy Dog Blues" was the first transcription in this thread, but there were a number of unincorporated suggestions and so much water has been passed since then (in the words of Sam Goldwyn) that I thought I'd just start over on it. I'd very much appreciate help with the last word of the first line of the third verse, which I believe Buddy Boy Hawkins may have mis-spoke, saying "stall" when he meant to say "dog", as he does in the second line. Here is the song, and did Buddy Boy Hawkins ever have a beautiful sound on the guitar in Spanish tuning! He and Peg Leg Howell always sounded so great.
https://youtu.be/MP355jAGyaY
INTRO
Going up on the mountain, I'm gonna root just like a hog
I say, I'm going up on the mountain, trying' to root like a hog
Because the women around here, they treat a good man like a dog
Hey, dicky-dicky-dee, dee-dee-dee-dah-dah-dah-dah-dee-dee-dah-dee-dah
I say, hey, dee-dee-dee, dee-dee-dee, dee-dee-dee, dah-dee-dah
I say, hey, dee-dee-dee-dee-dee-dee-dee
I say, I'd rather be shaggy, mama, like a dog
I say, I'd rather be shaggy, mama, just like a dog
Then to hear my little jet black woman say, Buddy Boy, she don't need me no more
When you see two old jet black women, standin' off, talkin' so long
When you see two old women, standin' off, talkin' so long (Spoken: How come I say that?)
Bet your life there's something goin' on wrong
My Mama told me, my Papa told me, too
I say, my Mama told me, my Daddy told me, too (Spoken: What she told me?)
"Son, these women 'round here, just simply won't do."
Edited 4/30 to pick up correction from Prof Scratchy
All best,
Johnm
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What a great performance! ?Dog? certainly makes most sense for the first line of verse three.
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Thanks for the help, Prof! "Dog" it is--I don't know what my problem was yesterday. I will make the change. Thanks!
All best,
Johnm
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Hi all,
"Yellow Woman Blues" was started a little way back in this thread, but never exactly finished off. Like all of Buddy Boy Hawkins' songs, it was accompanied by him in Spanish tuning. I need some help on this one, and would sure appreciate any help. The song abounds in spoken asides, every bit as many as some Charlie Patton or Tommy McClennan records. Here is the song:
https://youtu.be/4ol2xS7n4AM
INTRO
High yellow woman, she have poison like a rattlesnake
I'm talkin' 'bout a yellow woman, boy, I, she have poison like a rattlesnake
And when they get started, boys, there's no puttin' on no brake
(Spoken: I'm gon' tell your boys!) Some people scream for trouble, and not satisfied with peace
Some people scream for trouble, and not satisfied with peace (Spoken: I know that's right.)
Just get you a high yalla', and trouble won't never cease
(Spoken: Listen here, boys!) Trouble and worries have killed more people than eve'ything else (Spoken: I know that's right!)
I'm talkin' 'bout troubles and worries, partner, will kill you quicker than eve'ything else (Spoken: How come I know? 'Cause it killed my Ma.)
And if it get over to you, don't blame nobody else but yourself (Spoken: Now listen here!)
Boys, if you hear this song again, and don't take my egvice [sic] (Spoken: I'm talkin' 'bout, and don't take my egvice. You better take my egvice, too!)
If you hear this song, boys, and don't take my egvice (Spoken: What I want you to do? How come?)
'Cause it might cause you, partner, to lose your life
OUTRO
Edited 5/1 to pick up corrections from Gumbo, Prof Scratchy, Alexei McDonald and banjochris
All best,
Johnm
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Hi Johnm
this is what I'm hearing
1.1 she have POISON like a
1.2 I'm talking' 'bout a yellow woman, boy, I, she have POIS' like a rattlesnake
1.3 I agree with Brakes
2.1 and possibly 2.2
and not BE satisfied with
that 3.3 is tough. syllables sound like
how does he ell or hard as he yell or how to see ell
EDITED to add 1.3
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I hear ?poison? too at 1.1.
Sent from my iPad using Tapatalk
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And if it get hold to you, don't blame nobody expect [sic] yourself =>
And if it get hold to you, don't blame nobody else but yourself
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Nice catch on 3.3 ELSE BUT, Alexei.
on a fresh listen I think it could be 'if it get HOME to you' in there rather than hold
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Thanks very much, Gumbo, Prof Scratchy, Alexei and banjochris, earlier in the thread, for help with "Yellow Woman Blues". I do think it is "poison" in the first two lines of the first verse--I out-smarted myself there. So many blues lyrics mentioning rattlesnakes speak of them being in a "curl" or "coil" that I convinced myself that that was what Buddy Boy Hawkins was saying. I don't hear the word "be" preceding "satisfied" in either of the first two lines of verse two. In the tagline of verse three, "else but" is surely right. I replaced "hold" in that tagline with "over", which banjochris suggested in the earlier discussion of this lyric. For the spoken comment following verse three, I am going with "Now listen here". Thank you all for help--I really find transcribing Buddy Boy Hawkins' lyrics challenging, and the transcription is considerably more accurate because of your suggestions. Thanks!
All best,
Johnm
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Hi all,
For "Awful Fix Blues", Buddy Boy Hawkins used a stammering phrasing archetype in the first four bars, much as did William Harris in his "Bull Frog Blues". Once again, I'd very much appreciate help with any blank spots or mis-hearings I have entered. Here is the song:
https://youtu.be/qU4WDPhffJo
INTRO
Hey mama, tell me what have I, tell me what have I, 'tain't no lie
Hey mama, tell me what have I done
Because seem like you're tryin' to ease your lovin' self on down
You gonna wake up one of these mornings, brownskin mama, and I'll be, baby mama, and I'll be, 'tain't no lie, tell the truth,
You gonna wake up one of these mornings, mama, said, and I'll be gone
And you may not never, mama, see me in your town no more
'Cause I'm a stranger in here, woman, I just blowed in your, I just blowed in your, mamlish town
Though I'm a stranger to you brownskins, mama, I just blowed in your town
And if I ask you for a favor, mama, please ma'am, don't turn me down
If you get one old woman, boys, you better get you five or, you better get you five or, I mean, six
If you gets one more woman, you better get you five or six
So if that one happen to quit you, it won't leave you in a awful fix
When I had you, pretty mama, you know, I was tryin' to do the best I, I mean could, baby, wasn't no lie
I say, when I had you, little black woman, I was tryin' to do the best I could
Now your little daddy's gone, now who you gonna get to chop your wood?
Edited 5/1 to pick up correction from banjochris
All best,
Johnm
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That missing bit sounds to me, John, like it could be "ease your lovin' self on down."
Chris
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Thanks for the help, Chris, I was not hearing that bit at all. I have made the change, and am satisfied with the rest of the transcription. Thanks!
All best,
Johnm
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Hi all,
There was some work done on a transcription of Buddy Boy Hawkins' "Workin' On The Railroad" back in this thread, but it has been a while, so I thought I would start over, while picking up ideas from what was posted before. He played the song, like all of his recorded repertoire, in Spanish tuning. Here it is:
https://youtu.be/to28EzttKYQ
INTRO
Workin' on the railroad, boys, sure will give you the blues
I'm talkin' 'bout workin' on that railroad bend, it sure will give you the blues
Just walk up inside the track, until you wear out your shoes
Now when you hear the Captain call you men, "Let's move that rail."
When you hear the Captain call you men, "Let's move that rail."
And if you don't do what he say, you have to get somebody else to go your bail
My black woman, she needs the money, that's why I work so hard
Boys, my black woman, she needs the money, that's why I work so hard
And if I don't keep on rollin', she'll have another black man in my yard
When your black woman starts playin' home, partner, railroad is all you know
When that woman starts playin' at home, Buddy Boy, railroad is all you know
Just get out on the hot track, and work your hands to the crow
OUTRO
Edited 5/31 to pick up changes from Johnm,
All best,
Johnm
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Hi all,
Buddy Boy Hawkins recorded "How Come Mama Blues" at a session in Richmond, Indiana on July 14, 1929, and played it, as he did all of his recorded numbers, in Spanish tuning. His intro is so beautiful and unexpected. He like to accelerate on his up-tempo numbers. Boy, does this song have a lot of lyrics! Here is "How Come Mama Blues":
https://youtu.be/Bvq-GCUIjFQ
INTRO
How come you do me like you do, baby, what make you do me like you do?
H-how come you try to make me feel so blue? Mama, you know I ain't done nothin' to you
Now you know you left home at seven, come back at eight, you got another big fat man, slam up to my gate
What makes you treat like me you did last night? You know I ain't done nothin' to you, I says, baby
I ain't done nothin' to you
How come you try to make me feel so blue, what make you do me like you do?
How come you try to make me feel bad? Mama, you know I ain't done nothin' to you
You know you hugged and kissed him, said, "Daddy, you sure was fat." I stuck my head out the window, mens holler, "Who in the world is that?"
What makes you do me like you do, do, do, what make you do me like you do?
How come you done me like you did last night? I ain't done nothin' to you (Spoken: Listen here, woman!)
I bought a pistol, I bought it today, now I got the undertaker waitin' just to haul yous away
What make you treat me like you did, brownskin little woman, you know I ain't done nothin' to you, talking' about you, baby
I ain't done nothin' to you
How come you treat me like you did last night, how come you dos me like you do?
How come you try to make me feel so awful blue, when I ain't done nothin' to you?
Now you kept on talkin' about, that you wanted to get my goat, I had a brand new razor, woman, just to slit your throat
What makes you treat me like you do, sweet baby? I ain't done nothin' to you, I say
When I ain't done nothin' to you
How come you try to make me feel so blue, what make you do me like you do?
How come you try to make me feel bad, mama? I ain't done nothin to you (Spoken: Listen here, boys!)
"You know a nickel is a nickel, a dime is a dime, a woman get tired of one man all the time."
How come you do me like you do, sweet baby, what make you do me like you, talking' about you, mama
How come you do me like you do (Spoken: Now look here)
SOLO (Spoken during solo: Listen at that guitar, y'understand it? Ain't that pretty?)
How come you try to make me feel so blue, what makes you do me like you do?
How come you try to make me feel bad? I ain't done nothin' (Spoken: Lis' here, boys!)
Now if you try to give these womens everything they needs, 'til you have to make the winter, one of your D BVDs
What makes you do me like you do, do, do? Skeedle-up, bee-dup, skeedle-up, oh
Edited 3/13 to pick up corrections from waxwing and Harry
Edited 3/15 to pick up corrections from banjochris and Johnm
All best,
Johnm
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Hi Johnm,
Some suggestions:
1.4 What makes you treat ME like you did last night?
2.3. You know you're huggin' and kissin', said, "Daddy, you sure was fat." I stuck my head out the window, mens holler, "Who IN THE WORLD is that?"
3.3. What make you treat me like YOU did, now I ask (YOU?), little woman,
6.3 I think in the spoken aside he is trying to squeeze in "LISTEN here boys" but just gets in "LIS' here boys"
Even tho it's generally a 16 bar blues, I think the lyrics might be better expressed as 5 lines with an AABBA rhyme scheme. Your call.
Wax
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4.3
Now you kept on talkin' to Bob You know you kept on talkin' to Bob
Not sure if he says "to Bob". Could be talkin 'about.
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Thanks very much for the help, Wax and Harry, I incorporated all of your suggested changes to the lyrics. My problem was data entry--all but two of the corrections I heard right but entered wrong--doh! I needed the help for sure though, so thanks!
As for formatting, Wax, I don't like having some lines of four bars and some of two bars, which is why in 12-bar chorus blues I never format the first four bars in two lines. What I've done is in the verses that have the Al Jolson-like tag at the end of the form (all but verse two and the last verse), I now give the tag its own line. Weeniepedia can accommodate longer lines than the regular site's threads, too.
All best,
Johnm
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Hi all,
Buddy Boy Hawkins recorded "A Rag Blues" on the same day as he recorded "How Come Mama Blues, July 14, 1929, and both records were released under the name Walter Hawkins. ( I was surprised to find in DG&R that the title, as recorded, is actually "A Rag Blues", and not "A Rag", as Buddy Boy announced it.) The piece is a real instrumental tour-de-force, and ventures into a lot of harmonic areas into which I don't believe any of the other early players in Spanish ever ventured. It's also a showcase in the picking hand, at various time using Flamenco-ish techniques. I suppose it's kind of nutty to transcribe his spoken commentary, but I have a particular fondness for instrumentals with commentary, like William Moore's "Old Country Rock", or Blind Blake's "Seaboard Stomp". I'd be amazed if I had this all right, so if you hear something that you think I have wrong, please let me know, and thanks. Here is "A Rag":
https://youtu.be/14EUKuFtK2k
SPOKEN: Now this here's "A Rag" I'm playin'. This here's my rag. I brought all the way from Jackson, Mississippi. Some people don't know what this rag is, after all, I'm the only man that can play this here rag, called that "A Rag". Tell me what makes the Jackson girls shimmy-wobble. That's called that chock-house. Here what makes all the girls feel good. Listen here, let me do this here, listen to this run. Now listen here again. That's what you call that "Terrible Rag", I'm got now. I lost the other rag. Here we'll get happy now. Gettin' happy. What you call that Jackson "A Rag".
Edited 3/13 to pick up correction from David Kaatz
Edited 3/15 to pick up corrections from banjochris
All best,
Johnm
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The first line, I hear "Now this here's "A Rag" I'm playing--sure is my rag
The last line, I don't hear the word "What". Just "You call that, Jackson A rag"
Great playing on this.
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Buddy Boy Hawkins is just great. John, I can't recall anyone else doing that rag blues progression in Spanish (How Come Mama Blues).
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Thanks very much for the help, Dave, your first correction is right on, and I've made the change. I must have had a vapor lock to miss that when I was entering the words! I do think he sneaks in a "what" at the front end of that last line, because he pronounces "you" as "chew", which is how you would pronounce it if it was preceded by "what".
I couldn't agree more, Dave and Eric, that is really great playing by Buddy Boy Hawkins on both those tunes, and really original, too. Quite different from the way the Delta players played in Spanish. I think that the cuts by other players that are closest to Buddy Boy Hawkins' approach in Spanish are the two Marshall Owens cuts and William Harris' "Keep Your Man Out of Birmingham", which I've been meaning to transcribe.
All best,
Johnm
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I was surprised to find in DG&R that the title, as recorded, is actually "A Rag Blues", and not "A Rag", as Buddy Boy announced it.
Buddy Boy probably called it "A Rag", but record companies would routinely add descriptive words to the title so potential purchasers would have some idea of what records might interest them. "Blues", "Fox-Trot", "Waltz", and the like were common additions.
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He was a great player, that's for sure. I remember when I got Yazoo-1010 back in the day. One of the first things that struck me about "A Rag," aside from it being a tour de force, was that it was the source for some of the parts of John Fahey's "Lion." I guess if you're going to copy, you might as well copy from one of the best.
FYI: https://www.youtube.com/watch?v=5x1Mbv1HmTk
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I never heard that Fahey piece before, Stuart, but you're right, up to the harmonics it's a complete cop from A rag.
All best,
Johnm
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You make a good point with regard to the title, dj. Unless you make the title ""A" Rag", naming a tune"A Rag" would seem pretty darn blah, encouraging a response like, "So which one is it?"
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Not lyric related, but a belated comment on “How Come Mama Blues.” I just listened and noticed that the song structure is pretty much the same as Broonzy’s “Skoodle Do Do.” One’s in Spanish, one’s in standard (I think - I don’t have a guitar with me). Not sure who recorded their’s first.
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Hi Mark,
That's a good point about the shared chord progression, but I suspect neither one is the first appearance of that progression which was pretty common in raggy Pop music of that era. What is really rare is someone playing it in Spanish tuning, as Buddy Boy Hawkins did--I can't think of anybody else who did that.
All best,
Johnm
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Hi John -
I should’ve made it clearer that I think one song begat the other. The melody and the short breaks (the first ones start at around 0:23 - 0:25 seconds in both songs) are very similar. Broonzy plays single string lines in those breaks, and Hawkins does a sort of stop time.
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Hi Mark,
I'm dubious that one song derives from the other. It was a convention to play stop-time on the third four-bar phrase of a 16-bar (18 bars with the tag) raggy progression like this. Blind Boy Fuller did it countless times. And Papa Charlie Jackson, who preceded both Broonzy and Buddy Boy Hawkins in making records did it. Characteristically, it's the only place in the form where the lyrics change from one pass through the form to the next, and the stop time accentuates the lyric there.
All best,
Johnm
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Thanks for that info John.
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I was away from the computer this weekend, John – I have a few suggestions for "How Come Mama" –
2.3 ...you HURT ME kissin', said...
3.3 ...like you did BROWNSKIN little woman...
5.3 ...you have to make the WINTER on your BVDs
Chris
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And a few on "A Rag" – I could have sworn we all talked about a transcription of this tune years ago but I can't find it on the site.
Now this here's "A Rag" I'm playin'--sure is my rag.
Now this here's "A Rag" I'm playin'--THIS HERE is my rag. (he runs the SH at the end of this and beginning of here together)
after all, you oughta make us play this here rag
I'M THE ONLY MAN THAT CAN play this here rag
That would make all the girls feel good.
HERE WHAT make all the girls feel good.
"Chock-house" is great! That's always been a difficult line to parse.
Chris
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Thanks for your suggestions and help, Chris. I re-listened to "A Rag" and agree with all your suggested changes and have made them. I'm hearing some things differently after re-listening to "How Come Mama Blues":
3.3 You know you HUGGED AND KISSED HIM, . . . . I'm actually pretty sure of this one now
6.3 needs, 'TIL you have to make the winter, ONE OF YOUR D-BVDs
I think he mis-speaks on BVDs and inserts that extra D sound at the front end of it before he pronounces the word as he intended. See what you think.
all best,
John
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And a few on "A Rag" – I could have sworn we all talked about a transcription of this tune years ago but I can't find it on the site.
Yes. I would swear in court that we'd gone over A Rag and come up with what you have, Chris. But I'll be danged if I can find the discussion.
I think he mis-speaks on BVDs and inserts that extra D sound at the front end of it
Could be, John. Before you suggested that, I was assuming that the "D" was a bowlderization of "Damned".
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Those both sound spot on to me, John, and I agree, he definitely stumbles at the beginning of BVDs.
Chris
PS – dj I know we had some threads disappear a few years ago when someone got annoyed and left the site and that person had started the threads. Might have been one of those. And I also remember we definitely hadn't come up with "chock-house" for that one bit, which is a great hearing of that.
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Thanks for the corroboration, Chris. I think we've got both those tunes about as close as I would hope to get them. I think I heard that chock-house because I've been writing a Lemon Jefferson book and reviewing his tunes, titles and lyrics.
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Hi all,
Buddy Boy Hawkins recorded "Number Three Blues" at a session in Chicago around April of 1927. He played it in Spanish tuning, as he did all of his recorded numbers. What a beautiful tone he had on the guitar! It's not a quality that was all that common in early blues recording. His concept for playing in Spanish tuning was all his own, too. Here is "Number Three Blues", and I'd appreciate help with anything I'm missing or have wrong.
https://youtu.be/rdn4D0DG9k4
INTRO
I done lost all my money, I ain't got nowhere to go
I say I done lost all my money, ain't got me nowhere to go
I believe to my soul, I'm 'bout to lose my brown
All these women gets mad, 'cause I wants twa, twa, twa, twa
All you women gets mad, 'cause I wants twa, twa, twa, twa
All these women gets mad, Buddy Boy, 'cause, I want dee dat dat dah
I say I flagged Number 4, mama, she kep' on easin' by
I flagged Number 4, she kep' on easin' by
I couldn't do anything, partner, but fold my little arms and cry
Here come Number 3, with her headlights turned down
I said here comes Number 3, with her headlights turned down
I believe to my soul, she's Alabama bound
Apples on my table, peaches on my shelf
Apples on my table, peaches on my shelf
I've got to stay there, to eat 'em all by myself
CODA
Edited 4/6 to pick up corrections from banjochris and Blues Vintage
All best,
Johnm
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I think there's some jokey euphamisms going on in verse 2 – Charley Jordan had a song "Twee Twee Twa" and I think Tampa Red had something similar.
I would transcribe verse 2 as
All these women gets mad, 'cause I won't twa, twa, twa, twa,
All you women gets mad, 'cause I won't twa, twa, twa, twa,
All these women gets mad, Buddy Boy, 'cause I won't dee dat dat dah.
4.3 I couldn't do ANYTHING, PARTNER, BUT fold my little arms and cry.
there's an alternate take of this on the Document Too Late Vol. 3 (given as Take 1) with verse 2 sung as verse 4 and a few little lyrical differences. He seems to lose his place just a bit on that verse and has to cram "All these women get mad" into the space of about two syllables.
Found it on YouTube:
https://www.youtube.com/watch?v=Pt3z49dIJvY
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Thanks very much for the help, Chris. There was absolutely no chance that I would have figured out those line endings in verse two on my own--they've only had me baffled for about fifty-five years!
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I agree with Chris, "Cause" after Buddy Boy (2.3)
All these women gets mad, Buddy Boy, 'cause
It sounds like "won't" but Hawkins possibly sings "want" or "wants".
It makes better sense as "twa" seems to refer to the female genitalia.
I remember that song by Charley Jordan with Peetie Wheatstraw on piano (last verse):
She's got these great big legs and also big whoppin' thighs (2x)
She got something in her twee twee twa, will make a blind man open his eyes
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Hi Blues Vintage,
I agree that "want" makes more sense than "won't" in the context, and it is what I had originally. I'll re-listen again, but I'm inclined to make that change. thanks!
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Hi all,
Buddy Boy Hawkins recorded "Snatch It Back Blues" at the same session at which he recorded "Number Three Blues", and it was his first session. Like "Number Three Blues" it has beautiful, relaxed time and an expanded chordal vocabulary. I'd very much appreciate help with these lyrics and the spoken introduction, wherever I have missing places or mistakes. Buddy Boy Hawkins had a vocal mannerism here of drawing out the last syllable in the first half of the first line of each verse and messing with it. I've played this for years without ever really figuring out the lyrics. Here is "Snatch It Back Blues":
https://youtu.be/r31833oMbCo
INTRO (SPOKEN: Listen here, peoples--these are my blues I brung all the way from Birmingham. You know when they feels good to me, it's bound to get good for you. Now let's see how you like that?
I'm gon' lay my head, down on some railroad track
I say, I'm gon' lay my head, mama, down on some railroad track
Boy, when that train come along, (train whistle effect) I'm gonna snatch it back
Tell me, brownskin mama, where did you stay last night?
I said, tell me, mama, where did you stay last night?
With your hair all down, your face ain't never washed
I say I love you, pretty mama, I don't care what you do
I say I love you, mama, I don't care what you do
You go to your black man, mama, I'll stick to my gal
I say if you don't need your black woman, you didn't have to carry no heavy stall
If you don't want me, mama, you ain't got to carry your heavy stall (Spoken: How come I say that?)
Because I can get more jet-black women than a, Southern freight train can haul
I say oo-oo-oo-oo, twa, twa, twa, twa, twa twa, twa
I say hey-ey, mm-mm-mm-mm
Oo-oo-oo, oo-oo-oo-oo
CODA
Edited 4/7 to pick up corrections from Blues Vintage
Edited 4/15 to pick up corrections from banjochris
All best,
Johnm
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I really like Buddy Boy Hawkins playing and singing. It's unique and instantly recognizable when you hear him. Good tone and a cool signature turnaround.
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Yup, I agree, Eric. And while I particularly like his slower, lyrical songs, he also did some great up-tempo numbers, like "A Rag", "Snatch It And Grab It" and "Raggin' The Blues".
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Some suggestions:
your face ain't never wiped -white-
I'll steer -stick- to my gal
lovin' -southern- freight train can haul
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Thanks for the suggestions, Blues Vintage. I'm going to stick with "wiped"--"white" makes no sense, since he's already identified her as brownskin. I'll change to "stick" and Southern" as you suggested.
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"White" would indicate innocence (especially since he identified her as brownskin in the same verse).
I've never encountered the word "wiped" in a blues song. That doesn't mean Hawkins didn't sing it.
I can live with "wiped" too. I find it hard to hear what Hawkins sang there.
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I find most of it hard to hear! I wish I could hear it better, though.
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I really like Buddy Boy Hawkins playing and singing. It's unique and instantly recognizable when you hear him. Good tone and a cool signature turnaround.
To my ear BBH played with the old-fashioned non-opposing right hand style, similar to Patton, Henry Thomas, Richard "Rabbit" Brown, Jim Jackson, William Harris and pretty much anyone else who covered Kansas City Blues. This would include Brownie McGhee and there is a YouTube video of him demonstrating how he originally played KCB as his first song on guitar, clearly in the non-opposing style, and then how he changed it to a new modern two finger style with pinching. He slips back into it as he continues the song. Hard to get that driving syncopated rhythm while limited to pinching, or only upstrokes with the finger.
Wax
https://youtu.be/gkv0VdmieqA?si=GFZVhubvT0QrRVoG
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"White" would indicate innocence (especially since he identified her as brownskin in the same verse).
I've never encountered the word "wiped" in a blues song. That doesn't mean Hawkins didn't sing it.
I can live with "wiped" too. I find it hard to hear what Hawkins sang there.
Back from vacation!
I'm pretty sure the word in question there at the end of the second verse is "washed" – Hawkins tends to turn his A's into I's a bit. Also in the intro I would suggest "Now let's see" instead of "Honestly" –
Chris
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Thanks for the help, Chris! There was no danger of me getting either one of those fixes, but after re-listening a couple of times, I can hear they're both spot on. Changes have been made.