Topic: Blind Joe Taggart Lyrics

[Johnm]

Hi all,
Joe Taggart recorded "Been Listening All The Day" at a session in Chicago in January of 1928 with an un-named fiddler, who also sang with him.  The performance has a sound that those who have heard it will never forget, I think.  A transcription of the lyrics was started earlier in the thread, and in fact, Frank has really done the heavy lifting in terms of figuring out the lyrics.  I would love to have this song's lyrics preserved in some kind of more or less final form and would appreciate help/suggestions.  The two strings of the violin on which the fiddle part is played are tuned to a fourth rather than the more normal fifths of violin tuning, and as a result, the fiddling has what might be thought of as an unusually Asian sound.
EDITED TO ADD:  I realized for the first time today, thinking about the lyrics to the third verse, that the song speaks of John the Baptist as though he had claimed to be a member of that Protestant denomination, as opposed to being "John, who baptizes people."  Thus, the discrepancy between folks who claim he was a Baptist when, in fact, he was a Jew.  The source of the confusion in the lyric becomes clear.

INTRO

Dark was the night and cold the ground
On which my Lord was laid
His sweat like drops of blood ran down
In agony he prayed

Been a-listening all the night long,
Oh, listening all the day,
A-listening all the night long,
To hear some sinner pray

Been a-listening all the night long,
Oh, listening all the day,
A-listening all the night long,
Hear some sinner pray

Father, remove this bitter cup,
If that's Thy sacred will;
If not, content to drink it up
Pleasures I fulfill

Been a-listening all the night long,
Oh, listening all the day,
Been a-listening all night long,
Hear some sinner pray

A-listening all the night long,
Oh, listening all the day,
Been a-listening all the night long,
Hear some sinner pray

Now, some say John, he's a Baptist,
Oh, he's nothing but a Jew
But the Holy Bible tell us,
John was a preacher too

Been a-listening all the night long,
Oh, listening all the day,
Been a-listening all the night long,
Hear some sinner pray

A-listening all the night long,
Oh, listening all the day,
Been a-listening all the night long,
Hear some sinner pray

Now, a Man, he came from Heaven
Oh, and camped upon the ground
And whence He sound the trumpet
Holy love come down

Been a-listening all the night long,
Oh, listening all the day,
Been a-listening all the night long,
Hear some sinner pray

A-listening all the night long,
Oh, listening all the day,
Been a-listening all the night long,
To hear some sinner pray

SOLO

Been a-listening all the night long,
Oh, listening all the day,
Been a-listening all the night long,
To hear some sinner pray

A-listening all the night long,
Oh, listening all the day,
Was a-listening all the night long,
Hear some sinner pray

All best,
Johnm

[Johnm]

Hi all,
Joe Taggart recorded "He Done What The World Couldn't Do" at a session in Grafton, Wisconsin in January of 1931, backing himself out of Spanish tuning at G.  The song is unusual among Joe Taggart's solo recordings in that he plays a IV chord; perhaps moving out of a I-chord vocabulary shows some influence that playing with Josh White might have had on Joe's playing.  The song uses the same melody for its refrain and its verses, and I suppose it is one of Joe Taggart's simpler songs, but he sounds great singing it, and it is easy to imagine a congregation or group of people on a street corner joining in on the singing.



REFRAIN: Lord, Lord, Lord, He sure was good to me
Lord, Lord, Lord, He sure was good to me
Oh, Lord, Lord, Lord, He sure was good to me
Well, He done what this world could not do

Lord, Lord, Lord, He healed my body and soul
Lord, Lord, Lord, He healed my body and soul
Oh, Lord, Lord, Lord, He healed my body and soul
Well, He done what the world could not do

REFRAIN: Lord, Lord, Lord, He sure was good to me
Lord, Lord, Lord, He sure was good to me
Oh, Lord, Lord, Lord, He sure was good to me
Well, He done what this world could not do

When I was down, He sure did raise me up
When I was down, He sure did raise me up
Oh, when I was down, Lord, He sure did raise me up
Well, He done what this world could not do

REFRAIN: Lord, Lord, Lord, He sure was good to me
Lord, Lord, Lord, He sure was good to me
Oh, Lord, Lord, Lord, He sure was good to me
Well, He done what this world could not do

Lord, Lord, Lord, He blessed my soul in God
Lord, Lord, Lord, He blessed my soul in God
Oh, Lord, Lord, Lord, He blessed my soul in God
Well, He done what this world could not do

REFRAIN: Lord, Lord, Lord, He sure was good to me
Lord, Lord, Lord, He sure was good to me
Oh, Lord, Lord, Lord, He sure was good to me
Well, He done what this world could not do

Lord, Lord, Lord, He stopped my lying tongue
Lord, Lord, Lord, He stopped my lying tongue
Oh, Lord, Lord, Lord, He stopped my lying tongue
Well, He done what this world could not do

REFRAIN: Lord, Lord, Lord, He sure was good to me
Lord, Lord, Lord, He sure was good to me
Oh, Lord, Lord, Lord, He sure was good to me
Well, He done what this world could not do

All best,
Johnm

[uncle bud]

Hi all,
Joe Taggart recorded "The Storm Is Passing Over" at a session in Chicago on June 30, 1927, accompanying himself out of Spanish tuning pitched at A.  Joe's accompaniment utilizes only the I chord, even when the melody suggests other chord changes and he utilizes a sort of ostinato, highly rhythmic and perseverative, that seems almost like an instrumental version of Versey Smith's approach to back-up singing in that a repeating figure is employed that appears to operate independent of text, melody, implied chord changes, meter and phrasing.  In fact, the accompaniment figure bends the vocal phrasing to its will.  Joe's accompaniment figure references the key the song is sung in and the underlying pulse; apart from that, it exists simultaneously along side of, but not exactly referring to the sung melody.
This song has a wonderful uplifting melody in its refrain, and Joe Taggart sang it so well.  When he hits a VI note on the syllable "lu" in the first "hallelujah" in the refrain, it may really send you.  "The Storm Is Passing Over" is yet another song of Joe Taggart's in which the final line of each verse also serves as the opening line of the refrain.  The first and last refrains are sung singly, but the other refrains are doubled up.

"The Storm Is Passing Over" is one of the most beautiful performances of the 1920s, IMO, one of my all-time favourites. Despite that, I have been sort of mystified by the accompaniment for years. Thanks for this great description of it, John, it has cleared several things up in my noggin quite nicely.

[Johnm]

Thanks, Andrew.  Joe Taggart's approach to instrumental accompaniment, especially on his solo numbers, had baffled me a bit, too, until I realized how much his approach reminded me of Versey Smith.
All best,
Johnm

[Johnm]

Hi all,
Blind Joe Taggart recorded "God's Gonna Separate The Wheat From The Tares" at a session in Chicago on September 20, 1934.  He had recorded the song once before, likewise in Chicago, on June 30, 1927.  The pitch of the later version is a bit lower, but his singing was still quite strong, and his lyrics made more sense in the later version, especially in the song's refrain.  His accompaniment in Spanish tuning is very driving, and he employs a kind of ostinato figure again that sounds as though it is operating independent of the song's melody and implied chord changes (though it sets up a powerful underlying groove).  This song would be a good one to revive and could really be exciting in an ensemble version.
I'd appreciate correction or corroboration of the bent bracketed portion of the last verse.  I'm a little dubious of God rewarding niceness in a song such as this one.  I'm attaching an .mp3 of the performance so that you can listen if you've not hear Joe Taggart's performance before.



REFRAIN:  God's gonna separate the wheat from the tares, didn't he say?
God's gonna separate the wheat from the tares, didn't he say?
Let 'em stand as they will or may, 'til that great Harvest Day
For God's gonna separate the wheat from the tares, didn't he say?

Read in the Bible, you'll understand
Samson was the strongest man
Lived in favor with the Lord
God give him strength, Lord, over all

REFRAIN:  For God's gonna separate the wheat from the tares, didn't he say?
God's gonna separate the wheat from the tares, didn't he say?
Let them stand as they will or may, 'til that great Harvest Day
For God's gonna separate the wheat from the tares, didn't he say?

Up on the mount Je-hovah spoke
Out of his mouth came fire and smoke

REFRAIN:  For God's gonna separate the wheat from the tares, didn't he say?
God's gonna separate the wheat from the tares, didn't he say?
Let them stand as they will or may, 'til that great Harvest Day
For God's gonna separate the wheat from the tares, didn't he say?

Sinner, sinner, will you pray?
While I walks that narrow way
[He loves to serve us, 'f we be nice] 
Wipe them tears from your eyes

REFRAIN:  For God's gonna separate the wheat from the tares, didn't he say?
God's gonna separate the wheat from the tares, didn't he say?
Let them stand as they will or may, 'til that great Harvest Day
For God's gonna separate the wheat from the tares, didn't he say?

REFRAIN:  God's gonna separate the wheat from the tares, didn't he say?
God's gonna separate the wheat from the tares, didn't he say?
Let them stand as they will or may, 'til that great Harvest Day
For God's gonna separate the wheat from the tares, didn't he say?

All best,
Johnm







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[Johnm]

Hi all,
Joe Taggart recorded "I Will Not Be Removed" at his first session, in Chicago on November 8, 1926.  He performed the song a capella and was joined in the vocals by, I believe, his daughter, Bertha, who sings the melody, with Joe taking the harmony part.  This is the only version of this song I've heard where the title phrase is rendered as "I Will Not Be Removed" as opposed to "I Shall Not Be Moved".  Joe delivers a spoken introductory statement before the singing begins.

SPOKEN:  We want to sing a song this afternoon which should be the testimony of every true Christian.  Not one of those who have attached their name to the church rolls, went in the waters a dry sinner and come out a wet sinner, but one that have really been regenerated.  The subject of this song:  I Will Not Be Removed

Love everybody, will not be removed
Love everybody, will not be removed
Like a tree, planted by the water
I will not be removed

I will not be removed, and I
Will not be removed
Like a tree, planted by the water
I will not be removed

God's good religion will not be removed
God's good religion will not be removed
Like a tree, planted by the water
I will not be removed

I will not be removed, and I
Will not be removed
Like a tree, planted by the water
I will not be removed

Sanctified and holy, will not be removed
Sanctified and holy, I will not be removed
Like a tree, planted by the water
I will not be removed

I will not be removed, and I
Will not be removed
Like a tree, planted by the water
I will not be removed

Seen my loving Jesus, I will not be removed
Seen my loving Jesus, I will not be removed
Like a tree, planted by the water
I will not be removed

All best,
Johnm



 

[Johnm]

Hi all,
Joe Taggart recorded "Goin' To Rest where Jesus Is" at a session in Chicago in January of 1928, for which he was joined by the same un-named fiddler and singer who recorded "Been Listening All The Day" with him.  It would be nice to know who the singer and fiddler was, just to be able to give him credit so long after the fact for singing and playing so beautifully on those two songs.  I really don't see how anyone could sing together any better than Joe Taggart and this fiddler did.  The song has a structure that would lend itself to singing along, in that one verse differs from the next only in its first and next-to-last line.  There is something very innocent-sounding about the duo's rendition of this song.  The response lines in the refrain are shown parenthetically.



SOLO

REFRAIN:  I know (I know)
I know (I know)
Going to rest where Jesus is
I know (I know)
I know (I know)
Going to rest where Jesus is

There's a great camp a-meeting on the other side this shore
Other side this shore, the other side, there, too,
Great camp a-meeting on the other side this shore
Going to rest where Jesus is

REFRAIN:  And  I know (I know)
I know (I know)
Going to rest where Jesus is
I know (I know)
I know (I know)
Going to rest where Jesus is

And I have a Mother on the other side this shore
Other side this shore, the other side, there, too,
Oh, and I have a Mother on the other side this shore
Going to rest where Jesus is

REFRAIN:  I know (I know)
I know (I know)
Going to rest where Jesus is
I know (I know)
I know (I know)
Going to rest where Jesus is

And we'll all be together on the other side this shore
Other side this shore, the other side, there, too
All be together on the other side this shore
Going to rest where Jesus is

And I have a brother on the other side this shore
Other side this shore, the other side, there, too
I have a brother on the other side this shore
Going to rest where Jesus is

REFRAIN:  I know (I know)
I know (I know)
Going to rest where Jesus is
I know (I know)
I know (I know)
Going to rest where Jesus is

SOLO

REFRAIN:  I know (I know)
I know (I know)
Going to rest where Jesus is
I know (I know)
I know (I know)
Going to rest where Jesus is

All best,
Johnm

[Johnm]

Hi all,
Blind Joe Taggart was joined by Josh White, seconding him on "Religion Is Something Within You", recorded in Chicago in December of 1928.  In some ways, Joe Taggart and Josh White were something of a musical odd couple, for Joe's instrumental approach barely acknowledged chords, while Josh, even at this very early stage of his career, had a highly developed harmonic sense and a very "uptown" approach.  Josh is really going all out on "Religion Is Something Within You", hitting lots of pretty passing chords and just spanking his bass lines, showing an anticipation of Funk bass lines that would take forty more years to arrive in Pop music.  Joe's concentration sounds to be on his singing, which he delivers beautifully.  I'd very much appreciate some help with the third verse, and am attaching an .mp3 of the song to that end.  And yes, the lyrics do include the word "perpendicular".  The rendition starts with a partial refrain.



REFRAIN:  Yes, religion is something within
Lord, religion is something within you
Yes, religion is something within

It will take you home to Heaven
When on Earth your work is done
There you'll see your Blessed Savior
God, the Father's holy Son

REFRAIN:  Lord, religion is something within you
Yes, religion is something within
Yes, religion is something within you
Yes, religion is something within

If the rich will ask the pauper,
"How can you be happy, indeed?"
"Yes, I have the love of Jesus
And I'm walking that narrow way."

REFRAIN:  Lord, religion is something within you
Yes, religion is something within
Yes, religion is something within you
Yes, religion is something within

It will make you love your brother
And your neighbors treat fair
It will raise you perpendicular
Be firm up in the air

REFRAIN:  Lord, religion is something within you
Yes, religion is something within
Yes, religion is something within you
Yes, religion is something within

It will take you home to Heaven
When on Earth your work is done
There you'll meet your loving Savior
When on Earth your work is done

REFRAIN:  Lord, religion is something within you
Yes, religion is something within
Lord, religion is something within you
Yes, religion is something within

Edited 3/28 to pick up corrections from Gumbo and Johnm

All best,
Johnm



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[Gumbo]

not sure about the last line - perhaps "Be from" ?

The 2nd line sounds like:
And your neighbour TREAT FAIR?

[Johnm]

Thanks very much for the help, Gumbo.  I think you're spot on with "and your neighbors TREAT FAIR", and I will make the change.  I was just listening to the other spot, and I'm reasonably certain now it is "BE FIRM up in the air".  Thanks!
All best,
Johnm

[Johnm]

Hi all,
Joe Taggart recorded "Just Beyond Jordan" at his first session, in Chicago on November 8, 1926, backing himself out of Spanish tuning.  He utilized his ostinato accompaniment approach for the song, keeping a restless linear movement going in the bass behind his singing, independent of the implied chord changes.  The song has an unusual sort of double refrain.  I think Joe may have unintentionally re-ordered the lyrics for his last stanza-and-a-half.



Just beyond the Jordan River
Down beside the crystal sea
As we stand, a home in Heaven,
Will there be one for me?

Oh, when my work on Earth is ended
When I sleep beneath the sod
There my soul shall sing with the angels
'Round the blessed throne of God

Blessed Jesus, shall thy guide me
Over life oceans, dark and wide
Blessed Jesus, shall thy guide me
Safely to the other side

Oh, when my work on Earth is ended
And I sleep beneath the sod
There my soul shall sing with the angels
'Round the blessed throne of God

I have wandered with my Savior
While my Lord and King was nigh
Yes, he showed me a crown in Heaven
Will my crown fit me well?

Oh, when my work on Earth is ended
And I sleep beneath the sod
Where my soul shall sing with the angels
'Round the blessed throne of God

Blessed Jesus, shall thy guide me
Over life oceans, dark and wide
Blessed Jesus, shall thy guide me
Safely to the other side

Oh, when my work on Earth is ended
And I sleep beneath the sod
There my soul shall sing with the angels
'Round the blessed throne of God

Blessed Jesus, shall thy guide me
Safely to the other shore
Blessed Jesus, shall thy guide me
Over my oceans, dark and wide

Oh, when my soul should rest and I'll then
Just beyond the side of Jordan

All best,
Johnm

 

[Johnm]

Hi all,
Joe Taggart recorded "Satan Your Kingdom Must Come Down" at a solo session in Grafton, Wisconsin around January of 1931.  Joe gives the song one of his ostinato, one-chord accompaniments in Spanish tuning in which everything is free-handed in the left hand of his guitar part.  The song uses the same melody for its refrain and verses, and Joe had an exciting way of jumping right from the end of a verse into the next refrain.  For his last refrain, he hits some exciting and unusual double stops in his accompaniment.



REFRAIN: Oh, Satan, your kingdom must come down
Oh, Satan, your kingdom must come down
Lord, I heard that voice of Jesus say,
"Satan, your kingdom must come down."

We gonna shout if you kingdom come down
We gonna shout 'til your kingdom comes down
Lord, I heard that voice of Jesus say,
"Satan, your kingdom must come down."

REFRAIN: Oh, Satan, your kingdom must come down
Oh, Satan, your kingdom must come down
Lord, I heard that voice of Jesus say,
"Satan, your kingdom must come down."

We gonna pray 'til your kingdom comes down
We gonna pray 'til your kingdom comes down
Lord, I heard that voice of Jesus say,
"Satan, your kingdom must come down."

REFRAIN: Oh, Satan, your kingdom must come down
Oh, Satan, your kingdom must come down
Lord, I heard that voice of Jesus say,
"Satan, your kingdom must come down."

We gonna moan 'til your kingdom comes down
We gonna moan 'til your kingdom comes down
Lord, I heard the voice of Jesus say,
"Satan, your kingdom must come down."

REFRAIN: Oh, Satan, your kingdom must come down
Oh, Satan, your kingdom must come down
Lord, I heard that voice of Jesus say,
"Satan, your kingdom must come down."

We gonna sing 'til your kingdom comes down
We gonna sing 'til your kingdom comes down
Lord, I heard that voice of Jesus say,
"Satan, your kingdom must come down."

REFRAIN: Oh, Satan, now your kingdom must come down
Oh, Satan, your kingdom must come down
Lord, I heard that voice of Jesus say,
"Satan, your kingdom must come down."

All best,
Johnm

[Johnm]

Hi all,
Blind Joe Taggart recorded "The Half Ain't Never Been Told" at his second session, in Chicago on December 6, 1926.  He's joined by a singer who is not the woman who sang on several of the songs from his first session.  This singer sounds like a young boy, but not Josh White, who was to record with Joe two years later.  "The Half Ain't Never Been Told" is very trancey and repetitious, in a way that draws you in, and as on most of his earliest recordings, Joe Taggart plays no chord changes, simply keeping up his ostinato figure behind the singing.  It's worth mentioning that despite the title of the song being what it is, Joe and his back-up singer sing the title phrase as, "The Half Has Never Been Told" from the beginning of their rendition to its end.




REFRAIN:  Oh, the half has never been told
Oh, the half has never been told
Grace of God, it's so wonderful
Half has never been told

On the mountain (the half has never been told)
On the mountain (half has never been told)
Grace of God, it's so wonderful
Half has never been told

In the valley (the half has never been told)
In the valley (the half has never been told)
Grace of God, it's so wonderful
Half has never been told

Oh, my Mother (the half has never been told)
Oh, my Mother (the half has never been told)
Grace of God, it's so wonderful
Lord, the half has never been told

Can't you sing it?  (half has never been told)
Ah (half has never been told)
Grace of God, it's so wonderful
Half has never been told

Oh, preacher (the half has never been told)
Oh, preacher (the half has never been told)
Grace of God, it's so wonderful
Half has never been told

REFRAIN: Oh, the half has never been told
Oh, the half has never been told
Praise to God, it's so wonderful
About the half has never been told

Can't you moan it? (the half has never been told)
Can't you moan it? (the half has never been told)
Grace of God, it's so wonderful
About the half has never been told

Can't you read it?  (the half has never been told)
Can't you read it?  (the half has never been told)
Grace of God, it's so wonderful
About the half has never been told

Hallelujah!  (the half has never been told)
Oh, (the half has never been told)
Grace of God, it's so wonderful
About a half has never been told

Oh, my brother (the half has never been told)
Oh, my brother (the half has never been told)
Grace of God, it's so wonderful
About the half has never been told

All best,
Johnm

[Johnm]

Hi all,
Blind Joe Taggart recorded "Keep On the Firing Line" at his second recording session, in Chicago on December 6, 1926.  He is joined by another singer for the song who does not sound like the woman that joined him on several songs at his first session, a month earlier.  The singer on "Keep On the Firing Line" sounds more like a young boy, (but not Josh White, who would join him in the studio in 1928).  As in almost every instance in his recorded repertoire, Blind Joe accompanies the song with an ostinato figure in Spanish tuning.




REFRAIN: Keep on the firing line
Keep on the firing line
If you love your Jesus
Keep on the firing line

On the battlefield for God
Lord, I'm working for the starry crown
Oh, loved ones, keep on the firing line

REFRAIN: Keep on the firing line
Keep on the firing line
If you love your Jesus
Keep on the firing line

REFRAIN: (Can't you sing it?) Keep on the firing line
(Can't you sing it?) Keep on the firing line
If you love your Jesus
Keep on the firing line

Praise God, from whom all blessings flow
Praise Him all creatures here below
Oh, loved ones, keep on the firing line

REFRAIN: Keep on the firing line
Keep on the firing line
If you love your Jesus
Keep on the firing line

REFRAIN: (Can't you sing it?) Keep on the firing line
(Can't you sing it?) Keep on the firing line
If you love your Jesus
Keep on the firing line

On the mount Jehovah spoke
Out of his mouth came fire and smoke
Oh, loved ones, keep on the firing line

REFRAIN: Keep on the firing line
Keep on the firing line
If you love your Jesus
Keep on the firing line

REFRAIN: Keep on the firing line
Keep on the firing line
If you love your Jesus
Keep on the firing line 

All best,
Johnm

 

[Johnm]

Hi all,
Joe Taggart recorded "Waded In the Water Trying to Get Home" at a session in Grafton in December of 1929, for which he was joined by Josh White, by the sound of it, vocally, if not instrumentally.  Joe is playing out of Spanish tuning as was his practice.  I have transcribed only Joe's singing of the song, and not Josh's response lines.  Here is their performance:



Wading through deep water, trying to get home
Wading through deep water, trying to get home
Wading through deep water, wading through deep water
Wading through deep water, trying to get home

Be Lord, Lord, Lordy when I get home
Be Lord, Lord, Lordy when I get home
Be Lord, Lord, Lordy, Lord, Lord, Lordy
Be Lord, Lord, Lordy when I get home

Gonna shout hallelujah when I get home
Gonna shout hallelujah when I get home
Gonna shout hallelujah, shout hallelujah
Shout hallelujah when I get home

Lord, I'm wading through deep water, trying t get home
Wading through deep water, trying to get home
Wading through deep water, wading through deep water
Wading through deep water, when I get home

See my lovin' Jesus when I get home
See my lovin' Jesus when I get home
See my lovin' Jesus, see my lovin' Jesus
See my lovin' Jesus when I get home

Be done with 'bukes and 'buses when I get home
Be done with 'bukes and 'buses when I get home
Be done with 'bukes and 'buses, done with 'bukes and 'buses
Done with 'bukes and 'buses when I get home

Shake hands with my Mother when I get home
Shake hands with my Mother when I get home
Shake hands with my Mother, shake hands with my Mother
Shake hands with my Mother when I get home

Lord, I'm wading through deep water, trying to get home
Wading through deep water, trying to get home
Wading through deep waters, wading through deep water,
Wading through deep water, trying to get home

Be Lord, Lord, Lordy when I get home
Be Lord, Lord, Lordy when I get home
Be Lord, Lord, Lordy, Lord, Lord, Lordy
Lord, Lord, Lordy when I get home

All best,
Johnm