Show 42 - Minstrel Songs in the Blues Era

Songs:
Am I Right or Wrong - Son House
I'm So Glad I'm Brownskin - Barbecue Bob
Ragtime Millionaire - William Moore
My Money Never Runs Out - Gus Cannon
Traveling Coon - Luke Jordan
Traveling Man - Washboard Sam
Furry's Blues - Furry Lewis

Further Reading: Ragged But Right by Lynn Abbott & Doug Seroff

Show 41 - Hoodoo Women

Hoodoo. Mojo hands, John the Conqueror Root, Goofer Dust, Hot Foot Powder. It's a system rootwork, a folk belief in magic and it's all over the blues. Many hoodoo practitioners were women and I thought we'd take a look at some songs about hoodoo women. In Hoodoo Lady, Memphis Minnie sings about going to the hoodoo lady seeking some magical help and making sure she avoids whatever curse the hoodoo lady might lay on her:

Hoodoo lady, how do you do?
They tell me you take a boot and turn it to a brand new shoe
But don't put that thing on me, don't put that thing on me
Don't put that thing on me, 'cause I'm going back to Tennessee

Hoodoo lady, you can turn water to wine
I been wondering where have you been all this time
I'm setting here broke and I ain't got a dime
You ought to put something in these dukes of mine

But don't put that thing on me, Don't put that thing on me
Don't put that thing on me, 'cause I'm going back to Tennessee

Boy, you better watch it 'cause she's tricky.

Hoodoo lady, I want you to unlock my door
So I can get in and get all my clothes
But don't put that thing on me, don't put that thing on me
Don't put that thing on me, 'cause I'm going back to Tennessee

Now, look here, Hoodoo Lady, I want you to treat me right
Bring my man back home, but don't let him stay all night
And don't put that thing on me, don't put that thing on me
Don't put that thing on me, 'cause I'm going back to Tennessee

Boy, she's tricky as she can be. Better watch her, too.

Why, look here, hoodoo lady, I'm your friend
When you leave this time, come back again
But don't put that thing on me , don't put that thing on me
Don't put that thing on me, 'cause I'm going back to Tennessee
Boys, I'm scared of her

Memphis Minnie expressed her fear of the hoodoo lady. Perhaps the most famous hoodoo lady of the first part of the twentieth century was known as Aunt Caroline Dye. The Memphis Jug Band recorded a song about her released of the Victor label under the title Aunt Caroline Dyer in 1930:

I'm going to Newport News just to see Aunt Caroline Dye
I'm going to Newport News just to see Aunt Caroline Dye
She's a fortune-telling woman, oh Lord, and she don't tell no lie

I'm going to Newport News, partner, catch a battleship across the doggone sea
I'm going to Newport News, catch a battleship across the doggone sea
Because bad luck and hard work, oh Lord, sure don't agree with me

Aunt Caroline Dye, she told me, "Son, you don't have to live so rough"
Aunt Caroline Dye she told me, "Son, you don't have to live so rough
"I'm going to fix you up a mojo, oh Lord, so you can strut your stuff"

Aunt Caroline Dye she told me, "Son, these women don't mean you no good"
Aunt Caroline Dye she told me, "Son, these women don't mean you no good"
Said, "Take my advice and don't monkey with none in your neighborhood"

I am leaving in the morning, I don't want no one to accuse me
Yes, I'm leaving in the morning, I don't want no one to accuse me
I'm going back to Newport News and do what Aunt Caroline Dye told me to

The Memphis Jug Band sang about going to Newport News, Virginia to see Aunt Caroline Dye. Another singer, Johnnie Temple, in the song Hoodoo Women has the same hoodoo lady in the town of Newport, Arkansas where she actually lived:

Well, I went out on the mountain, looked over in Jerusalem
Well, I went out on the mountain, looked over in Jerusalem
Well, I see them hoodoo women, Lord, making up their lowdown plan

Well, I'm going to Newport, just to see Aunt Caroline Dye
Well, I'm going to Newport, just to see Aunt Caroline Dye
She's a fortune teller, Lord, she sure don't tell no lie

And she told my fortune, as I walked through her door
And she told my fortune, as I walked through her door
Said, "I'm sorry for you, buddy, Lord, the woman don't want you no more"

Yes, I turned around, said, "I believe I'll go downtown"
Well I turned around, said, "I believe I'll go downtown
"To Chicago River, Lord, and jump overboard and drown"

The hoodoo said, "Son, please, don't act no clown"
The hoodoo said, "Son, please, don't act no clown"
"Because it's a many more women, Lord, laying around in this no-good town"

The hoodoo is alright, in their lowdown plan
The hoodoo is alright, in their lowdown plan
But they will take your woman, Lord, and put her with another man.

The Seven Sisters were a collective of New Orleans hoodoo women. Funny Paper Smith told their story in the 1931 two-part recording Seven Sister's Blues.

They tell me seven sisters in New Orleans, they can really fix a man up right
They tell me seven sisters in New Orleans, they can really fix a man up right
And I'm headed for New Orleans, Louisiana, I'm traveling both day and night

I hear them say, the oldest sister look like she's just twenty‑one
I hear them say, the oldest sister look like she's just twenty‑one
And said she can look right in your eyes and tell you exactly what you want done

They tell me they been hung, been bled, and been crucified
They tell me they been hung, been bled, and been crucified
But I just want enough help to stand on the water and rule the tide

It's bound to be seven sisters because I've heard it by everybody else
It's bound to be seven sisters because I've heard it by everybody else
Of course I'd love to take their word but I'd rather go and see for myself

When I leave the seven sisters, I'm piling stones all around
When I leave the seven sisters, I'm piling stones all around
And go to my baby and tell her, there's another seven‑sister man in town

Good morning seven sisters, just thought I'd come down and see
Good morning seven sisters, I thought I'd come down and see
Will you build me up when I'm torn down and make me strong where I'm weak

Seven Sisters Blues‑Part 2

I went to New Orleans, Louisiana, just on account of something I heard
I went to New Orleans, Louisiana, just on account of something I heard
The seven sisters told me everything I wanted to know and they wouldn't let me speak a word

Now it's Sarah, Minnie, Bertha, Holly, Dolly, Betty, and Jane
Sarah, Minnie, Bertha, Holly, Dolly, Betty, and Jane
You can't know them sisters apart, because they all look just the same

The seven sisters sent me away happy, around the corner I met another little girl
The seven sisters sent me away happy, around the corner I met another little girl
She looked at me and smiled and said go devil and destroy the world
I'm gonna destroy it too, alright now

Seven times a year, the seven sisters will visit me in my sleep
Seven times a year, the seven sisters will visit me all in my sleep
And they said I won't have no more trouble and said I'll live twelve days in a week

Boy go down in Louisiana and get the lead right out of your bean
Boy go down in Louisiana and get the lead out of your bean
If seven sisters can't do anything in Louisiana bet you'll have to go to New Orleans

As these songs show, hoodoo women were often fortune tellers as well as root workers. Merline Johnson, known as the Yas Yas Girl sang about fortune tellers in her song Black Gypsy Blues. She uses fortune telling as a pretty straight forward sexual metaphor.

I'm the Black Gypsy, don't you want your fortune told?
I'm the Black Gypsy, don't you want your fortune told?
I will start from the first, and end up on your soul

When you get lonesome, and begin to feeling blue,
When you get lonesome, and begin to feeling blue,
Go to see a Black Gypsy, she will tell you what to do

I'm the Black Gypsy, and they call me Rosa Lee
I'm the Black Gypsy, and they call me Rosa Lee
When you get lonesome, call around to see me

All the men in town, come to see poor me,
All the men in town, come to see poor me
Because I know what to do, to ease your misery

Yes, I'm the Black Gypsy, and all my work's by trade
Yes, I'm the Black Gypsy, and all my work's by trade
And the man I can't ease his misery, has never been made

Blues songs illustrate that hoodoo and fortunetelling were a significant part of African-American life in the first half of the twentieth century. The characters and practices revealed in the blues give us a glimpse of what must have been a fascinating subculture. And women were an important and powerful part of the world of hoodoo. It's not surprising in the context of the blues that women would hold this power which at times is explicitly sexual.

Further reading: Hoodoo in Theory and Practice by Catherine Yronwode

Songs:
Hoodoo Lady - Memphis Minnie
Aunt Caroline Dyer Blues - Memphis Jug Band
Hoodoo Women - Johnnie Temple
Seven Sisters Blues - Funny Paper Smith
Black Gypsy Blues - Merline Johnson (Yas Yas Girl)

Show 40 - Boll Weevil Blues

The boll wevil--its a beetle that's less than a quarter of an inch long, but capable of destroying entire crops of cotton. In the 1920s, the boll weevil infested virtually every cotton growing area in the United States. To singers in these areas, the boll weevil became simultaneously a disaster that could destroy someone's livelihood and something that could be identified with. A seemingly powerless creature capable of completely subverting the goals of the agricultural ruling class. Its no surprise that one of the Mississippi delta's great storytellers wrote and recorded a song about the boll weevil. Charley Patton recorded Mississippi Bo Weavil at his first recording session in 1929 but there are reports of him playing the song a early as 1908 when the boll weevil might first have shown up at Dockery plantation where he lived.

It's a little boll weevil moving in the .... lord
You can plant your cotton and you won't get half a bale, lord
Boll weevil boll weevil, where's your little home?
"Louisiana and Texas is where I'm bred and born, lord"

Well I saw the boll weevil, Lord a‑circle Lord in the air, lord
The next time I seen him, Lord he had his family there, lord
Boll weevil left Texas, Lord he bid me fare you well, lord
Where you going now?

"I'm going down to Mississippi, going to give Louisiana hell"
Boll weevil told the farmer that I ain't going to treat you fair
Took all the blossoms and leave you an empty square
Next time I seen you, you have your family there, lordy

Boll weevil and his wife went and sit down on the hill
Boll weevil told his wife let's take this forty in
Boll weevil told his wife, I believe I may go north, lord

Aw, I won't tell nobody

Let's leave Louisiana and go to Arkansas
Well I saw the boll weevil, Lord a‑circle Lord in the air, lord
Next time I seen him, lord he had his family there, lord
Boll weevil told the farmer that I ain't going to treat you fair

...
Boll weevil boll weevil where your little home?
"Most anywhere they raise cotton and corn, lord"
Boll weevil boll weevil call that treating me fair, lord
Next time I seen you, you had your family there

Paramount Records originally released Mississippi Boweavil Blues under the artist name "The Masked Marvel." The song tells the story of the Boll Weevil coming from Texas and spreading throughout the South. Ma Rainey also sang about the boll weevil being everywhere you go in her 1923 recording Bo-Weavil Blues:

Hey boll weevil, don't sing the blues no more
Hey hey boll weevil, don't sing the blues no more
Boll weevils here, boll weevils everywhere you go

I'm a lone boll weevil, been out a great long time
I'm a lone boll weevil, been out a good long time
I'm going to tell you people, the evil boll weevil loves some vine

I don't want no man to put no sugar in my tea
I don't want no man to put no sugar in my tea
That bug is so evil, I'm afraid it might poison me

I went downtown and bought me a hat
I brought it back home, I put it on the shelf
Looked at my bed, I'm getting tired of sleeping by myself

Harmonica player Jaybird Coleman also recorded a boll weevil song. Its one of the many that explicitly compares the boll weevil to a man out to give the farmer a hard time. Boll Weevil Blues:

Boll weevil boll weevil you think you treat me wrong
Eat up all of my cotton, you done started on my corn

...
If you don't let me have it, down the road I'm going

Boll weevil's got mustache, boll weevil's got hands
Sometimes he's walking in the tall canes, just like a natural man

Boll Weevil told the farmer
... your cotton, plant it in your yard

Blind Willie McTell recorded a great take on the Boll Weevil theme:

Boll Weevil, Boll Weevil where you get your great long bill?
"I got it from Texas, I got it from the western hills."
"I got it from Texas, I got it from the western hills."

Boll Weevil, he told the farmer, said "don't you buy no more pills,"
"You aint gonna make enough money to pay your drugstore bills."
"You aint gonna make enough money to even pay your drugstore bills"

Boll Weevil, he told the farmer, "don't you plow no more."
"Ain't gonnna make enough flour in your back door."
"Ain't gonnna make enough flour to even put in your back door."

Boll Weevil, he told the farmer, "don't buy no Ford machine"
"You aint gonna make enough money to even buy gasoline."
"Aint gonna make enough money to even buy gasoline.

Boll Weevil said to the farmer, "don't buy no fields"
"You aint gonna make enough money to even buy your meal."
"Won't make enough money to even buy your meal."

Boll Weevil, Boll Weevil where you say you got your great long bill?
"I got it from Texas, out in the western hills."
"Way out in the panhandle, out in the Western hills."

Boll Weevil ballads were recorded by dozens of artists in the 20s and 30s. The black singer's identification with the boll weevil is clear, some singers even took Boll Weevil for their name. The best know recorded for Vocalion under the name Sam Butler. His real name was probably James Jackson, but he's known best from the name on his Paramount recording, Bo Weavil Jackson. Devil and My Brown Blues is his take on the boll weevil.

Charlie Dad Nelson recorded another song about the interaction between farmer and boll weevil, Cotton Field Blues:

Boll weevil, boll weevil, where did you come from?
Boll weevil, boll weevil, where did you come from?
From Beaumont Texas, I'm just over here on the farm

Farmer said to the boll weevil, don't you know you doing me wrong?
Farmer said to the boll weevil, don't you know you doing me wrong?
Eat up all my cotton and eat up all my corn

Says I'm going to town to buy a little gasoline
Says I'm going to town to buy a little gasoline
He's the worst boll weevil I believe I ever seen

With Let Me Be Your Boll Weevil, Lee Brown took a different take on the boll weevil, finding the sexual metaphor in its burrowing inside of the cotton boll.

Dozens of field recordings were made of boll weevil songs. Check out the Document Records collection, Boll Weevil Here, Boll Weevil Everywhere. Finious "Flat Foot" Rockmore recorded one of the more memorable versions.

Songs about the Boll Weevil were recorded in every cotton state. The devastation caused by the little bug had a tremendous impact on the lives of those connected to agriculture. The weevil seemed indestructible and did its work in secret, hatching in the boll to consume from within. You can see why it might appeal to those oppressed by the agricultural system in the American South. The boll weevil continued to frequently destroy crops in North America until the US Department of Agriculture started the Boll Weevil Eradication Program in 1978. Now, the weevil may not be the force it once was, but the songs testify to its ability to wreak havoc with the agricultural ruling class.


Songs:
Mississippi Boweavil Blues - Charley Patton
Bo-Weavil Blues - Ma Rainey
Boll Weevil - Jaybird Coleman
Boll Weevil - Blind Willie McTell
Devil And My Brown Blues - Boweavil Jackson
Cotton Field Blues - Charlie "Dad" Nelson
Let Me Be Your Bo Weavil- Lee Brown
Boll Weevil - Finious "Flat Foot" Rockmore

Show 39 - President Blues

Songs:
Can You Blame the Colored Man - Gus Cannon
Blue Bird Blues Part 2 - Sonny Boy Williamson
He's In the Jailhouse Now - Blind Blake
Sylvester and His Mule Blues - Memphis Minnie
President Blues - Jack Kelly
Dear Mr. President/President Roosevelt - Lead Belly

Show 38 - WPA Blues

With all the recent talk in the U.S. about the government bailouts during the financial crisis it seemed like a good time to turn back to the biggest U.S. government actions in history during the New Deal. The Works Progress Administration (WPA) was the largest of the New Deal agencies and there were quite a few blues songs recorded about it. The WPA employed millions affected by the Great Depression in an effort to get people off relief and onto work on useful projects. This included huge numbers of African-Americans whose options for employment were limited.

Casey Bill Weldon recorded WPA Blues in 1936. It gets at the complex attitudes toward the WPA. Jobs are provided, but there are negative aspects too including the completion of some unwanted projects. The singer lives in a home about to be torn down by the slum clearance crews of the WPA.

Everybody's working in this town and it's worrying me night and day
Everybody's working in this town and it's worrying me night and day
If that mean working too, have to work for the WPA

Well well the landlord come this morning and he knocked on my door
He asked me if I was going to pay my rent no more
He said you have to move if you can't pay
And then he turned and he walked slowly away

So I have to try find me some other place to stay
That housewrecking crew's coming from the WPA

Well well went to the relief station and I didn't have a cent
If that's the only way you stand you don't have to pay no rent
So when I got back home, they was tacking a notice on the door
This house is condemned and you can't live there no more

So a notion struck me, I better be on my way
They're going to tear my house down, that crew from the WPA

Well well I went out next morning I put a lock on my door
I thought I would move but I have no place to go
The real estate people they all done got so
They don't rent to no relief clients no more

So I know, have to walk the streets night and day
Because that wrecking crew's coming from that WPA

Well well a notion struck me, I'll try to stay a day or two
But I soon found out that that wouldn't do
Early next morning while I was laying in my bed
I heard a mighty rumbling and the bricks come tumbling down on my head

So I had to start ducking and dodging and be on my way
They was tearing my house down on me, that crew from that WPA

There are countless songs about men and women leaving each other when they no longer depend on a partner for money. Billie McKenzie recorded one about losing her man when he got a job working for the WPA, That Man on the WPA.

I'll tell you girls what my man done to me one day
I'll tell you girls what my man done to me one day
He was so nice and kind, til he started for that WPA

Before then I gave him my money, even bought his shoes and clothes
I said I gave him my money, even bought his shoes and clothes
Got a job on the WPA and put poor me outdoors

Be a good friend to me girls, please try and see it my way
Be a good friend to me girls, please try and see it my way
If you want a good man, don't get one on that WPA

I did everything I could to keep that man from going down
I did everything I could, girls, to keep that man from going down
I even pawned my clothes and kicked mud all around this town

But I knew he was jiving when he laid down across my bed
Now I knew he was jiving when he laid down across my bed
Smoking his good doing reefers and talking all out his head

Casey Bill Weldon who recorded a followup to his hit WPA Blues in 1937. It's a story about a gambler who's luck turns and he's forced to find a job on the WPA, Casey Bill's New WPA.

Said my baby told me this morning, just about the break of day
My baby told me this morning, just about the break of day
Said: "You oughta get up this morning, get you a job on that WPA"

I says, "I am a gambler, and I gamble night and day,"
I says, "I am a gambler, I gamble night and day,"
Says, "I don't need no job on that WPA."

She said, "I'm leaving you now, daddy, yeah, that's all I got to say,"
She said, "I'm leaving you now, daddy, yeah, that's all I got to say,"
She said, "I'm gonna get me a man, that's working on that WPA."

And all the women hollering, and they hollering night and day
All the women hollering, and they hollering night and day
"I'm gonna quit my pimp, get me a man on that WPA."

"So hard luck has overtaken me, had to throw my dice and cards away,"
"Hard luck has overtaken me, had to throw my dice and cards away,"
Yeah, I've gotta try to get me a job on that WPA."

Casey Bill Weldon singing about having to work for the WPA because he can't win money gambling. Also, a funny line about women quitting their pimps in favor on WPA men.

Like Casey Bill Weldon, Peetie Wheatstraw recorded multiple songs about the WPA. New Working on the Project is the second in his trilogy of WPA songs. Recorded in 1937, around the time the Roosevelt administration was making cuts in some New Deal programs and laying off workers. It's about a man working on the WPA scared to get his 304 discharge form telling him he's lost his job:

Working on the project, what a scared man, you know
Working on the project, what a scared man, you know
Because every time I look around, somebody's getting their 304

Working on the project with a big furniture bill to pay
Working on the project with a big furniture bill to pay
But time I got my 304, the furniture man come and taken my furniture away

Working on the project, the rent man is knocking on my door
Working on the project, the rent man is knocking on my door
I am sorry Mr. Rent Man, I just got my 304

Working on the project, my partner got his 304 too
Working on the project, my partner got his 304 too
So you better look out because tomorrow it may be you

Working on the project, a 304 may make you cry
Working on the project, a 304 will make you cry
There's one thing sure, you can tell the project goodbye

Despite its successes, the songs show there were many complaints about WPA policy. More popular was the Civilian Conservation Corps. Washboard Sam compares it to the WPA in his 1938 song CCC Blues:

I'm going down, I'm going down, to the CCC
I'm going down, I'm going down, to the CCC
I know that the WPA won't do a thing for me

I told her my name and the place I stay
She said she'd give me a piece of paper, come back some other day
I'm going down, I'm going down, to the CCC
I know that the WPA won't do a thing for me

I told her I had no people and the shape I was in
She said she would help me, but she didn't say when
I'm going down, I'm going down, going down to the CCC
I know that the WPA won't do a thing for me

I told her I needed a job and no relief
On my rent day, she sent me a can of beef
I'm going down, I'm going down, to the CCC
I know that the WPA won't do a thing for me

She said she'd give me a job, everything was nice and warm
Taking care of the dead in a funeral home
I'm going down, I'm going down, to the CCC
I know that the WPA won't do a thing for me

Big Bill Broonzy recorded a couple of WPA songs including a celebratory number in 1938 called WPA Rag that starts off as a kind of old fahioned field holler and turns into a jazz number.

Oh... I feel like hollering, but the town is too small
Yeah... But the town is too small

Let's play that rag

I want all you women and I mean all you stags
I want all you women and I mean all you stags
Just to spend your money, while you play this WPA Rag
Oh yeah, Oh yeah, Oh yeah, Oh yeah

The WPA provided as many as 3 million jobs at times. When workers were getting laid off, it was reflected in blues songs and when more workers were being hired it was reflected in blues songs. The songs are amazing documents of how the government programs affected people.

Songs:
WPA Blues - Casey Bill Weldon
That Man on the WPA - Billie McKenzie
Casey Bill's New WPA - Casey Bill Weldon
New Working on the Project - Peetie Wheatstraw
CCC Blues - Washboard Sam
WPA Rag - Big Bill Broonzy

Show 37 - Highway Blues

In 1924, about the same time record companies began to record blues regularly, American Association of State Highway Officials held a meeting to plan a system of marked and numbered interstate highways. Roads like the Lincoln Highway, Dixie Overland Highway, or the Mohawk Trail were replaced with numbered routes like 61 and 80. At the time the change was criticized. People thought the romance of the named roads could not be replace by boring numbers. However, as blues songs show us, the numbered highways developed an excitement of their own.

Big Joe Williams sang Highway 49, the road that goes from Piggott, Arkansas thought the Mississippi Delta to Gulfport, Mississippi:

Well I'm gonna get up in the morning, catch that Highway 49
Yes I'm getting up in the morning, catch that highway 49
Well Im finding my sweet woman, well well she dont pay poor Joe no mind

Well have you ever had the blues? Catch the highway 49
Well have you ever had the blues? Catch the highway 49
I'm finding my sweet woman, well boy, she trying to throw poor Joe Williams down

I'm gonna wake up in the morning, I believe I'll dust my bed
I'm getting up in the morning, well, I believe I'll dust my bed
Going down to highway 49, well boys, I'll be rocking to me head

Blues this morning, I may roll in Jackson town (I mean Jackson, Tennessee)
Blues this morning, well I'll be rolling in Jackson town
Lord I'm tired of laying around on Highway 49

U.S. Highway 80 ran across the entire Southern United States from Georgia to California. Son Bonds was a Tennessee musician, from north of where Highway 80 runs. But he sings about taking the longest road he know to get away from a woman. 80 Highway Blues from 1941.

Sitting down here thinking, yes babe I believe I better go
Sitting down here thinking, yes babe I believe I better go
You know I believe I'll go down that long long old dusty road

Now that 80 Highway is the longest highway that I know
Now that 80 Highway is the longest highway that I know
Running all the way from Frisco, Texas way cross the Atlantic on that other water coast

The church bell beginning to toll, yes some other good gambler's gone
The church bell beginning to toll, yes some other good gambler's gone
You know I wouldn't hate it so bad, but that 80 Highway's so long

You women fuss and argue with your good man, when you know you don't do right yourself
You women fuss and argue with your good man, baby when you know you don't do right yourself
You know when I look for you at night, way down on 80 Highway with someone else

Yes if you get in trouble, call on a car about forty‑five
Yes if you get in trouble, call on a car about forty‑five
Baby now I just open up my chifferobe and you'll see where my dollar lies

Son Bonds sings 80 runs from Frisco, Texas to the Atlantic which is about right these days. When the song was recorded the road ran all the way to the west coast.

Highway 51 runs from Wisconsin to Louisiana. Curtis Jones recorded Highway 51 Blues in 1937:

Forgive me, honey, for all the wrong I've done
Please forgive me, honey, for all the wrong I've done
I don't want nobody to have to come for me parked out on Highway 51

If I should die, baby, before my time
If I should die, baby, before my time
Bury my body on 51 highway right down below the Frisco line

Now Mr. bus driver, let me ride down in your blind
Mr. bus driver, let me ride down in your blind
Now if you don't let me ride main, I'm gonna swing right on behind

Baby if your good man get buggish, don't want you to have no fun
If your good man get buggish, don't want you to have no fun
Come and follow me to my nation back down on highway 51

Me and my little baby, we walked 51 Highway side by side
Me and my little baby, walk the Highway side by side
If we should happen to have a bad accident nobody knows unless we die

Mississippi-born bluesman Tommy McLennan recorded New Highway No. 51 in Chicago in 1940.

Highway 51 runs right by my baby's door
Highway 51 runs right by my baby's door
Now if I don't get the girl I'm loving ain't going down Highway 51 no more

Now if I should die before my time shall come
I said if I should die just before my time shall come
I want you to please bury my body out on Highway 51

Now yonder come that Greyhound with his tongue sticking out on the side
Yonder come that Greyhound with his tongue sticking out on the side
If you buy your ticket swear 'fore God that man'll let you ride

My baby didn't have one five dollars she spent it all on a V‑Eight Ford
My baby didn't have one five dollars, spent it all on a V‑Eight Ford
So I could meet that Greyhound bus on that Highway 51 road

Now any time you get lonesome and you wants to have some fun
Any time you get lonesome and you wants to have some fun
Come out to little Tommy's cabin, he lives on Highway 51

There have been a lot of songs recorded about Route 61. Many of them incorrectly describe the route. It runs from Minnesota to New Orleans through the heart of the Mississippi Delta
including that intersection with 49 that many consider the crossroads. Charlie Pickett recorded a Highway 61 song in 1937 called Down the Highway where he sings the road goes from Atlanta to the Gulf of Mexico:

Now I'm going to leave here walking going down Highway 61
Now I'm going to leave here walking going down Highway 61
If I find my sweet mama, baby I believe we're going to have some fun

Oh well oh well we're going to make everything all right
Oh well oh well we're going to make everything all right
Now if I don't soon in the morning, you know I will do just tomorrow night

Now the 61 Highway, you know it runs right by my door
Now the 61 Highway, man it runs right by my door
Runs from Atlanta into Georgia down into the Gulf of Mexico

Oh well oh well we're going to make everything all right
Oh well oh well you know wer'e going to make everything all right
Now if I don't soon in the morning, you know I will do just tomorrow night

Now I received a letter, some long‑distance telegram
Now I received a letter, a long‑distance telegram
Now if I don't be home Sunday, I will be home...

All these songs have been about interstate highways, but state roads got some appreciation in blues songs too. Freddie Spruell recorded one about following his baby down Illinois Route 4a called 4A Highway.

My baby woke me up this morning, she told me she's Joliet bound
My baby woke me up this morning, she told me she's Joliet bound
She went to find 4‑A Highway, that's the main Highway out of town

She wouldn't even talk with me, wouldn't even have a word to say
She wouldn't even talk with me, wouldn't even have a word to say
She asking all her friends around now, where she find number 4‑A highway

Number 4‑A Highway, that's the main highway out of town
Number 4‑A Highway, that's the main highway out of town
And if she leave out on that highway, I'm sure going to trail my baby down

I feel like taking my suitcase, setting down on the side of that lonesome highway
I feel like taking my suitcase, setting down on the side of that lonesome highway
If she leave there between now and midnight, I'll overtake her just before day

If I had my machine, I wouldn't worry about leaving town
If I had my machine, I wouldn't worry about leaving town
I'd get on that 4‑A Highway and God knows I'd roll that highway down

Key to the Highway is one of the most recorded songs in the blues. It captures the spirit of the highway as an escape. Jazz Gillum recorded it this way in 1940:

I got the key to the highway, billed out and bound to go
I'm going to leave here running because walking is much too slow

I'm going back to the bottom where I'm better known
Because you haven't done nothing but drove a good man away from home

Give me one more kiss mama just before I go
Because when I'm leaving here, I won't be back no more

When the moon creep over the mountain, honey I'll be on my way
I'm going to walk this highway until the break of day

Well it's so long so long baby, I must say goodbye
I'm going to roam this highway until the day I die

Automobiles and the culture surrounding them were central to American life in the 1930s and early 40s when these songs were recorded. Not having a car makes it a blues situation as Jazz Gillum sings that he's going to walk the highway. But with a car or without, the numbered highways became a part of the mythology of the United States and part of the blues. Highways like 61, 51, and 66 are recalled in countless songs. The men and women recording the blues in the thirties and forties lives intersected with these roads on a daily basis and the music reflects that.

Songs:
Highway 49 - Big Joe Williams
80 Highway Blues - Son Bonds
Highway 51 - Curtis Jones
New Highway No. 51 - Tommy McLennan
Down the Highway - Charlie Pickett
4A Highway - Freddie Spruell
Key to the Highway - Jazz Gillum

Show 36 - Nicknames

It's amazing how many of the great musicians are known by nicknames. Often, the real names are obscure and even the biggest fans know only a nickname. And there are some great ones in prewar blues: Bumble Bee Slim, Leadbelly, Little Son Joe, Salty Dog Sam, Funny Paper Smith. The list of great nicknames is endless. Many sang songs that define and tell the stories behind those nicknames.

A guy named James Arnold reworked a song that Scrapper Blackwell had recorded a few years earlier. Soon he was known as Kokomo and the name James Arnold all but vanished. The song is Old Original Kokomo Blues from 1934.

Now one and one is two mama, two and two is four
Mess around here pretty mama, you know we got to go
Crying oh baby don't you want to go
Back to eleven light city, to sweet old Kokomo

Now four and one is five mama, five and one is six
You mess around here pretty mama, you going to get me tricked
Crying oh baby don't you want to go
Back to eleven light city, to sweet old Kokomo

Now six and one is seven mama, seven and one is eight
You mess around here pretty mama, you going to make me late
Crying oh baby don't you want to go
Back to eleven light city, to sweet old Kokomo

Says I told you mama when you first fell across my bed
You been drinking your bad whiskey and talking all out your head
Crying oh baby don't you want to go
Back to eleven light city, to sweet old Kokomo

I don't drink because I'm dry mama, don't drink because I'm blue
The reason I drink pretty mama, I can't get along with you
Crying oh baby don't you want to go
Back to eleven light city, to sweet old Kokomo

Now eight and one is nine mama, nine and one is ten
You mess around here pretty mama, I'm going to take you in
Crying oh baby don't you want to go
Back to eleven light city, to sweet old Kokomo

Now ten and one is eleven mama, eleven and one is twelve
You mess around here pretty mama, you going to catch you a lot of hell
Crying oh baby don't you want to go
Back to eleven light city, to sweet old Kokomo

Kokomo Arnold presumably referred to the town the Kokomo, Indiana. Two years later, Robert Johnson would rip the song off, change the city to Sweet Home Chicago and inspire countless covers. But the name Kokomo would be forever attached to Arnold.

Songs about playing cards are frequently heard in this genre. But Texas musician Babe Karo Lemon Turner took it to another level when he took the name of the prettiest card in the deck: the Black Ace. He tells the story in his 1937 recording Black Ace.

I am the Black Ace, I'm the boss card in your hand
I am the Black Ace, I'm the boss card in your hand
And I'll play for you mama if you please let me be your man

Sometimes a black ace never comes inside
Sometimes a black ace never comes inside
But I'll play for you mama, if you please, will treat me right

Says I'll lay in the deck mama, I'll lay forth and tight
But I'll play for you mama if you treat me right
If you don't want me mama, I said please leave me alone

Cause I'll play for you mama when the king is gone
(That means when your husband's gone)

I'll be your winner in any game you play
I'll be your winner in any game you play
And if you don't want me mama, please just let me stay

Yes you know you don't want me mama, you won't even say
That's alright mama, you gonna need my help someday
I sad please, mama, please, don't drive me away
Cause I'll be at the trailer, Mama if you please let me stay

Another Texas musicians got his nickname becuase he was a man that didn't want to stay in any one place for long. He was born Willard Thomas and recorded under the name Ramblin' Thomas. The story of how he earned his name is in the 1928 song, Ramblin' Man.

I feel like rambling, rambling stays on my mind
I feel like rambling, rambling stays on my mind
And I ain't satisfied unless I'm rambling all the time

Now you will wake up in the morning and find me gone
And you will wake up in the morning and find me gone
Because I'm a rambling man and I can't stay at one place long

It's one day and one night is long as I stay in one place
It's one day and one night is long as I stay in one place
But I've been in Chicago one week because I like these Chicago ways

I'm going to leave here walking, chance is that I may ride
And I'm going to leave here walking, chance is that I may ride
Because I'm going to ramble until the day that I die

One nickname is not enough for some people. JT Smith, another Texas musician, was one of them. He was known as Funny Paper or some blues researchers believe Funny Papa. If it was Funny Paper, it probably refers to newspaper comic strips, maybe even specifically to the comic Snuffy Smith. But either Papa or Paper, Smith had yet another nickname, and he had it a couple decades before a more famous bluesman. It's one of the great animal-related nicknames, the Howling Wolf. In 1930, he recorded a song in about it: Howling Wolf Blues

Well here I am got the blues about Little Old Victoria, the Howling Wolf
I guess I'll drop a few lines

I am that wolf that everybody been trying to find out where in the world I prowl
I am that wolf that everybody been trying to find out where in the world I prowl
Nobody ever gets a chance to see me, but they all hear me when I howl

Now I howl to my baby with her mother standing by her side
I howl to my baby with her mother standing by her side
And that's the reason I'm howling, I'm trying to be satisfied

I even prowled for you baby when you was down and couldn't stand up on your feet
I even prowled for you baby when you was down and couldn't stand up on your feet
Now you walk by the lone wolf and act like you don't want to see

What made you quit me, I love you as I did three years ago
What made you quit me, baby, I love you as I did three years ago
Take me back and I'll quit prowling and I won't ever howl no more

Now the preacher told me that God will forgive a black man most anything he do
Now the preacher told me that God will forgive a black man most anything he do
I ain't black but I'm dark‑complexioned, look like he ought to forgive me too

Look like God don't treat me like I'm a human kind
Seem like God don't treat me like I'm a human kind
Seem like he wants me to be a prowler and a howling wolf all the time

Howling Wolf Blues‑No. 2

Baby here I am down on my bended knees
Ask you to take me back and forgive me do that for me if you please

Now when you hear me howling mama, I mean howling at your door
when you hear me howling mama, howling at your door
Come on and give me what I want mama then you won't hear me howl no more

Ever since you quit me mama, I ain't wanted nobody
else Ever since you quit me mama, I ain't wanted nobody else
For I'd rather be with nobody than I'd rather be howling by myself

Now I done howled and howled until I wore my tonsils sore
Now I done howled and howled until I made my tonsils sore
And when I howl this time mama, I never will howl no more

Now here I am in Chicago, doing the best I can
Here I am in Chicago, doing the best I can
If I hear from my baby, I'll act the fool and go howling back south again

Mama listen at me howl
Mama listen at me howl
Watch the roads dark as night mama and you liable to see me prowl

The man born Harold Bunch was another popular musician with a few nicknames. Best known as Peetie Wheatstraw, he's also The Devil's Son-in-Law and the High Sheriff from Hell. I mentioned Robert Johnson borrowing from Kokomo Arnold, he also took a lot from Peetie Wheatstraw including an association with the devil. The troublemaking character of Peetie Wheatstraw became part of American folklore and culture, showing up in Ralph Ellison novels and Rudy Ray Moore films. It's not clear if Bunch got the name from an already existing folk hero, or if he created a new one. Either way he was a hugely popular musician when he recorded the story in Peetie Wheatstraw Stomp in 1937.

Women all raving about Peetie Wheatstraw in this land
Women all raving about Peetie Wheatstraw in this land
He got some of these women now going from hand to hand

Don't tell all the girls what that Peetie Wheatstraw can do
Woohoo... that Peetie Wheatstraw can do
That will cause suspicion now you know they will try him too

If you want to see the women that may clown
If you want to see the women may clown
Just let that Peetie Wheatstraw come into your town

I am Peetie Wheatstraw, the high sheriff from hell
I am Peetie Wheatstraw, the high sheriff from hell
The way I strut my stuff, well now you never can tell

Peetie Wheatstraw Stomp No. 2:

Everybody hollering here come that Peetie Wheatstraw
Everybody hollering here come that Peetie Wheatstraw
Now he's better known by the devil's son‑in‑law

Everybody wondering what that Peetie Wheatstraw do
Woohoo what that Peetie Wheatstraw do
Because every time you hear him, he coming out with something new

He makes some happy, some he make cry
Whoo makes some happy, some he make cry
Well now he made one old lady go hang herself and die

This is Peetie Wheatstraw I'm always in the line
This is Peetie Wheatstraw then again I'm always on the line
Save up your nickels and dimes, you can come up and see me sometime

Nicknames were the sole identification of the artist on many blues records in the prewar period. They were more important than real names for the record buying public and people within smaller communities interacting on peronal levels. For many people, nicknames are an essential part of their identity. They told you something about the man, whether he was connected to the devil and trouble, eager to ramble, or maybe just the fact that he were slim. The songs here are a tiny sample representing artists telling stories of their nicknames. Dozens more can be found in prewar blues. Nicknaming is an important part of American black culture and the legacy of blues nicknaming can certainly still be seen in hip-hop music where virtually no one records under their given name.

Songs:
Old Original Kokomo Blues - Kokomo Arnold
Black Ace - Black Ace
Ramblin' Thomas - Ramblin' Man
Funny Paper Smith - Howling Wolf Blues Part 1
Funny Paper Smith - Howling Wolf Blues Part 2
Peetie Wheatstraw - Peetie Wheatstraw Stomp Part 1
Peetie Wheatstraw - Peetie Wheatstraw Stomp Part 2

Show 35 - Illinois Central Railroad and Cannonball Train

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Train songs are one of the cornerstones of the cornerstones of the blues. I thought I'd look at one railroad company, the illinois Central and the train they called the cannonball. The Cannonball was never an official designation, it was just a nickname for a fast train, particularly the about one that ran from New Orleans to Chicago. Officially, the Panama Limited and later the City of New Orleans, the cannonball was the subject of many great songs, usually about a man getting away from some kind of trouble. Charlie McCoy recorded one about his woman leaving him, recorded in 1930 in Jackson, Mississippi it's That Lonesome Train Took My Baby Away.

Woke up this morning, found something wrong
My loving babe had caught that train and gone
Now won't you starch my jumper, iron my overalls
I'm going to ride that train that they call the Cannonball

Mister depot agent, close your depot down
The woman I'm loving, she's fixing to blow this town
Now that mean old fireman, that cruel old engineer
Going to take my baby and leave me lonesome here

It ain't no telling what that train won't do
It'll take your baby and run right over you
Now that engineer man ought to be ashamed of himself
Take women from their husbands, babies from their mother's breast

I walked down the track when the stars refused to shine
Looked like every minute I was going to lose my mind
Now my knees was weak, my footsteps was all I heard
Looked like every minute I was stepping in another world

Mister depot agent, close your depot down
The girl I'm loving, she's fixing to blow this town
Now that mean old fireman, cruel old engineer
Going to take my baby and leave me lonesome here

You can't overstate the importance the Illinois Central played in Northern migration. Countless African-Americans rode the train away from a Southern way of life. They would also ride it back down South to visit freinds and family, escape from the cold, or get away from the different difficulties encountered in Northern cities. Tampa Red sang about it in I.C. Moan.

Nobody knows that I.C. like I do
Nobody knows that I.C. like I do
Now the reason I know, I've rode it through and through

That I.C. Special is the only train I choose
That I.C. Special is the only train I choose
That's the train I ride when I get these I.C. blues

Mr. I.C. engineer, make that whistle moan
Mr. I.C. engineer, make that whistle moan
I've got the I.C. blues and I just can't help but groan

Goodbye Chicago, hello Southern town
Goodbye Chicago, hello Southern town
I want to go back baby then to be here dogged around

I've got the I.C. Blues and that's what's on my mind
I've got the I.C. Blues and that's what's on my mind
I'm gonna pack my things and move it on down the line

Frank Hutchison was a great slide guitar player usually classified on the country side of the music, primarily because he was a white man. He sang about the cannonball train coming to take him away in Cannonball Blues.

Oh the blues ain't nothing but a good man feeling sad
Oh the blues ain't nothing but a good man feeling sad
I know that feeling, its one I've often had

Went to the bedside looked in the woman's face
Went to the bedside looked in the woman's face
I love you honey, bu I don't like your lowdown ways

I opened up the door and stepped out on the ground
I opened up the door and stepped out on the ground
Goodbye honey, I'm Alabama bound

Yonder come that train coming down the railroad track
Yonder come that train, she's coming down the railroad track
She'll take me away, but she ain't gonna bring me back

When I leave here, don't you wear no black
Oh when I leave here, honey don't you wear no black
If you do, my ghost is gonna sneak right back

That train i ride, she's called the cannonball
That train i ride, she's called the cannonball
Carries 16 coaches, she carries no blinds at all

Gonna lay my head down on some railroad line-
Gonna lay my head down on some railroad line
Let the cannonball come and pacify my mind

I looked out the window as far as I can see
I looked out the window as far as I can see
While the brass kind of plain, nearer my
god to thee

Frank Hutchison sang about committing suicide by letting the Cannonball come to take his troubles away. Blind Lemon Jefferson recorded Lemon's Cannonball Blues.

Sam Collins recorded Riverside Blues for Gennett in 1927:

I went down to the river just thirty‑one days and nights
I went down to the river just thirty‑one days and nights
I'm looking for my good gal, come back and treat me right

I ain't got me nobody carry my troubles to
I ain't got me nobody carry my troubles to
I tell you peoples I don't know what to do

Just as sure as your train, Lord backs up in your yard
Just as sure as your train, Lord backs up in your yard
I'm going to see my baby if I have to ride the rods

I went away last summer, got back in the fall
I went away last summer, got back in the fall
My mind had changed, I wouldn't have come back at all

You can press my jumper, iron my overalls
You can press my jumper, iron my overalls
I'm going to the station, meet the Cannonball

The most famous legend associated with the I.C. and its Cannonball Train is the story of Casey Jones, an I.C. engineer who died in 1900 when his train crashed into a stopped freight train in Vaughn, Mississippi. The train was officially called the New Orleans special, but the newspaper headlines read I.C. Cannon Ball Wrecked. Jones' heroic effort trying to save the lives of his passenger made him a railroad icon, but it was the songs about him that made him a legend and folk hero across the entire country. Let's hear the story from piano player Jesse James who recorded it in 1936 under the title Southern Casey Jones:

I heard the people say Casey Jones can't run
I'm going to tell you what the poor boy done
Left Cincinnati about half past nine
Got to Newport News before dinner time, fore dinner time, that's fore dinner time
Got to Newport News before dinner time

Now Casey Jones said before he died
He fixed the road so a bum could ride
And if he ride he have to ride the rod
Rest his heart in the hand of God, hand of God, in the hand of God
Had to Rest his heart in the hand of God

Now little girl says mama is that a fact
Papa got killed on the I.C. track
Yes yes honey but hold your breath
Get that money from your daddy's death, from your daddy's death, from your
daddy's death
You get money from your daddy's death from your daddy's death,
from your daddy's death
You get money from your daddy's death

When the news reached town Casey Jones was dead
Women went home and had it out in red
Slipping and sliding all across the streets
With their loose mother hubbards in their stocking feet, stocking feet, stocking feet
loose mother hubbards in their stocking feet

Now Casey Jones went from place to place
Another train hit his train right in the face
People got off but Casey Jones stayed on
Natural born eastman but he's dead and gone, dead and gone, he's dead and gone
He's a natural born eastman but he's dead and gone

Here come the biggest boy coming right from school
Hollering and crying like a doggone fool
Look here mama is our papa dead?

Womens going home and had it out in red
Low cut shoes and their evening gowns
Following papa to the burying ground, to this burying ground, to this
burying ground
Following papa down to this burying ground,

Now tell the truth mama he says is that a fact
Papa got killed on the I.C. track
Quit crying boy don't do that
You got another daddy on the same damn track, on the same track, on the same track
Say you got another daddy on the same track.

Though Jesse James sang that the train left Cincinnati for Newport News, the historical Casey Jones died on the southern leg of the Illinois Central route from Chicago to New Orleans. You can't underestimate the importance that railroad played in the lives of people in Louisiana, Mississippi, and Tennessee looking to go North on the train they called the cannonball. Whether using the term cannonball to refer to that specific train or just another fast train that was leaving town, the cannonball occupied an important place in the blues.

Songs:
That Lonesome Train Took My Baby Away - Charlie McCoy
I.C. Moan - Tampa Red
Cannonball Blues - Frank Hutchison
Lemon's Cannonball Blues - Blind Lemon Jefferson
Riverside Blues - Sam Collins
Southern Casey Jones - Jesse James

Show 34 - Furniture Man Blues

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The blues is often about losing what you have. In some songs, it's about losing your furniture. The Furniture Man: he shows up in quite a few blues songs. It's about not making a payment on furniture and hearing a knock at your door and knowing the furniture man's there with his wagon to take it all away. Furniture man songs go back to nineteenth century minstrel numbers, but they probably resonated particularly with music fans in the 1920s as installment payment plans became common for all kinds of goods and the average person was making payments after having been extended credit to buy products from somewhere.

In Furniture Man Blues, Victoria Spivey told her furniture man story accompanied by the great Lonnie Johnson playing the role of the furniture man.

Spivey: Who is that?
Johnson: Furniture man
Spivey: Oh. Aw, I ain't got no money today

Spivey: Furniture man, please don't take my furniture away
Johnson: I've got to take it. I ain't going to let it stay
Spivey: I'm a hard-working woman
Johnson: Yes, but you don't seem to get much pay

Spivey: Don't be so mean. Give a poor girl a little time
Johnson: You done had your time, and now it is a crime
Spivey: But I'm a good-lovin' mama
Johnson: But you ain't got a single dime

Spivey: Furniture man, don't move my lovin' foldin' bed
Johnson: I'm going to move it or lose my job instead
Spivey: That's where I get my pleasure
Johnson: Oh no, that's where you rest your head

Spivey: Furniture man, let me have another week to pay
Johnson: I said no, hot mama, I must have some dough today
Spivey: Well, my man will bring some money
Johnson: Well, he better bring it right away

Spivey: Leave my stove 'cause it's getting too doggone cold
Johnson: I got to haul your ashes before they get too old
Spivey: Oh, please remove that clicker
Johnson: Then it will be red hot, I'm told

Part 2:

Spivey: Furniture man, won't you crawl around here after dark?
Johnson: If I crawl around, mama, will you let me park?
Spivey: Yes, and we'll do some business
Johnson: I'm out until four o'clock

Spivey: If you will agree, I know how we can get it fixed
Johnson: Gal, stop tempting me. I will get all o' my days nixed
Spivey: Let's get together
Johnson: I'm onto all of your tricks

Spivey: When I get through, you'll cancel every debt I owe
Johnson: And when I get you, mama, we will do so-and-so
Spivey: Well, then, make me know it
Johnson: Well, come on, honey, baby, let's go

Spivey: Come into my parlor, furniture man, and close the door
Johnson: Baby I can't stand it. You will get me nervous, I'm sure
Spivey: I got something for you
Johnson: Why ain't you said that long before?

Spivey: Furniture man, say you'll give me just another chance?
Johnson: You can have some money, mama, just take it in advance
Spivey: Now you talkin' daddy
Johnson: That's it mama, right over in my pants.

Attempts to avoid the furniture man by people behind on their payments were common enough that the Reverend J.M. Gates recorded two sermons exhorting his followers to pay the furniture man and answer the door when the furniture man came knocking, Pay Your Furniture Man and Don't Hide from Your Furniture Man.

In the nineteenth century, furniture dealers were some of the first retailers to use installment credit payment plans as a way to increase sales. But by 1930, installment payment was the norm for funriture. According to a Department of Commerce survey, installment credit financed 80-90% of furniture sales.

Iin 1927, Georgia musician Lil McLintock recorded Furniture Man, a song that sounds straight off the vaudeville stage:

What insurance has the poor man got, with the furniture man?
If he's got no dough, he's got no show
Right back there the wagon gonna stand
He'll take everything that you possess
From a bed-tick to a frying pan
If there ever was a devil born without horns, it must have been a furniture man
So take your time, Mister Brown, take-a your time
All of this furniture am mine
Well this piano and everything, Mister Cooper had it written down in my name
So take your time, Mister Brown, take your time
...

The Furniture man songs contain some interesting racial elements. There were often actually two furniture men, the white store owner who ultimately collected the payments and a black employee who would show up to collect the missed payments and take the furniture if he had to. To explore this, let's step into the world of white country music. The racial element jumps out at you as soon as you hear the name of the group that recorded the song, Riley the Furniture Man it's the Georgia Crackers from 1927. The song is about the indignity the white singer feels at having a black man remove his furniture. It's interesting to hear the a shared problem addressed in white country music where the singer pays so much attention to race including the offensive language that is absent in the blues songs.

Going to that loan man it ought to be bad
Mr. Riley wagon's been here, got everything I had
Riley been here, got my furniture and gone
Riley come to my house, and these are the words he said:
Told that nigger driver, take down that rosewood(?) bed.

Makes no difference to the white man just white as Christmas snow
If you don't pay Mr. Riley, he'll take your furniture for sure
Riley he was a white man and he lived on 16th Street
Every Saturday evening, Mr. Riley you would meet

Riley been here, got my furniture and gone

Luke Jordan took several old minstrel show themes and turned them into a modern blues for 1927. Cocaine Blues included these furniture man lyrics:

Now the furniture man came to my house it was last Sunday morn
They asked me was my wife at home and I told she has long been gone
He backed his wagon up to my door, took everything I had
He carried it back to the furniture store and I swear I did feel sad

What in the world has anyone got, dealing with the furniture man,
If you've got no dough, to stand up for sure, he certainly will take it back.
He will take everything from an earthly plant, from the skillet to a frying pan.
If there ever was a devil born without any horns, it must have been the furniture man.

The increase in consumer credit may have been what caused the furniture man theme to show up in so many song in the second half of the 1920s. It's an interesting place where we see vaudeville music becoming the blues, songs addressing contemporary and historic issues, reflecting racial issues of the day, and providing light on the everyday problems of individuals trying to make their payments to the furniture man.


Songs:
Furniture Man Blues Parts 1 and 2 - Victoria Spivey and Lonnie Johnson
Furniture Man - Lil McLintock
Riley the Furniture Man - Georgia Crackers
Cocaine Blues - Luke Jordan
Pay Your Furniture Man - Rev. J.M. Gates
Don't Hide from Your Furniture Man - Rev. J.M. Gates

Show 33 - Dog Blues

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Songs:
Saturday Blues - Ishmon Bracey
Police Dog Blues - Blind Blake
Please Don't Go - Big Joe Williams
Sobbin' Woman Blues - Elizabeth Johnson
Low Down Dirty Dog Blues - Leroy Carr
Low Down Dirty Dog Blues - Son House
Black Dog Blues - Blind Blake

Show 32 - Blues at the Fort Valley Folk Festival

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These songs are available from the Library of Congress. Check out http://memory.loc.gov/ammem/ftvhtml/ftvhome.html.

Songs:
I'm Gonna Make You Happy - Buster Brown
My Fat Hipted Mama - Charles Ellis
Milk Cow Blues - Gus Gibson and Will Chastain
Tear Tokyo Down - Sam Jackson
Po' Boy Long Ways From Home - Sonny Chestain
Do Right By Me - Buster Ezell -
Fort Valley Blues - Smith Band

Show 31 - Mississippi Road Trip

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For this show, I thought we'd travel around Mississippi listening to songs that talk about various towns and parts of the state. We'll start in the small Delta town of Avalon in Caroll County a little north of Greenwood. It's the home of Mississippi John Hurt and this is the song that led to his return to playing music in the 1960s when researcher Tom Hoskins looked in Avalon to see if John Hurt was still in the hometown he sang about in 1928:

In New York this morning, just about half past nine
In New York this morning, just about half past nine
Thought of my mama in Avalon, couldn't hardly keep from crying

Avalon my home town, always on my mind
Avalon my home town, always on my mind
Pretty mamas in Avalon want me there all the time

When the train left Avalon throwing kisses and waving at me
When the train left Avalon throwing kisses and waving at me
Says come back daddy, stay right here with me

Avalon's a small town, have no great big range
Avalon's a small town, have no great big range
Pretty mamas in Avalon sure will spend your change

New York's a good town, but it's not for mine
New York's a good town, but it's not for mine
Going back to Avalon, stay there with pretty mama all the time

As he sang in Avalon Blues, John Hurt was clearly a Mississippi guy, but his playing often sounds more typical of an east coast musician from North Carolina or Virginia. But another Mississippi musician was a Mississippi guy all the way through. He sang like he was from Mississippi, played guitar like he was from Mississippi, and sang songs about Mississippi. It's Charley Patton, the greatest chronicler of Mississippi in blues song. In Stone Pony Blues from 1934, he sings about Vicksburg, Greenville, Lula, and Natchez.

I got me a stone pony and I don't ride Shetland no more
I got me a stone pony and I don't ride Shetland no more
You can find my stone pony hooked to my rider's door

Vicksburg's my pony, Greenville is my great mare
Vicksburg's my pony, Greenville is my great mare
You can find my stone pony down in Lula town somewhere

And I got me a stone pony, don't ride Shetland no more
Got a stone pony, don't ride Shetland no more
And I can't feel welcome, rider nowhere I go

Vicksburg's on a high hill and Natchez just below
Vicksburg's on a high hill, Natchez just below
And I can't feel welcome, rider nowhere I go

“Stone Pony” was an expression for anything good. Patton's uses the phrase as a metaphor for young women he has around Mississippi.

Big Bill Broonzy was one of the many who made the trek out of Mississippi to Chicago. But he never forgot the South. In Lowland Blues from 1936 he sings about Jackson, Greenwood, and anywhere in Mississippi being his true home.

When I get down in the lowland, I won't be mistreated no more
I'm going to Jackson, Greenwood is where I belong
I'm going to Jackson, Greenwood is where I belong
Anywhere in Mississippi is my native home

Bukka White sang about his troubled times with the women in Aberdeen, Mississippi.

I was over in Aberdeen on my way to New Orleans
I was over in Aberdeen on my way to New Orleans
Them Aberdeen women told me they will buy my gasoline

There's two little women that I ain't never seen
There's two little women that I ain't never seen
These two little women they're from New Orleans

I'm sitting down in Aberdeen with New Orleans on my mind
I'm sitting down in Aberdeen with New Orleans on my mind
Lord I believe them Aberdeen women going to make me lose my mind

Aberdeen is my home but the men don't want me around
Aberdeen is my home but the men don't want me around
They know I will take these women and take them out of town

Listen you Aberdeen women, you know I ain't got no dime
Listen you women, you know I ain't got no dime
They had the poor boy all hobbled down

New Orleans is over 300 miles away from Aberdeen. But that was nothing to many blues musicians willing to pick up and go for any reason. For Bukka White it was to get away from the Aberdeen women and to get to some new ones down in New Orleans. Like Mississippi John Hurt, Bukka White returned to playing because of that song when a letter came addressed to Bukka White, Blues Singer, Aberdeen, Mississippi. It was from the great guitar player, John Fahey. And it resulted in White playing music across the country and the world.

The legendary Son House recorded a song about Clarksdale that was finally released last year, Clarksdale Moan:

Clarksdale's in the South, and lays heavy on my mind
Clarksdale's in the South, lays heavy on my mind
I can have a good time there, if I ain't got but one lousy dime

Clarksdale, Mississippi always gonna be my home
Clarksdale, Mississippi always gonna be my home
That's the reason you hear me sit right here and moan
...

Nobody knows Clarksdale like I do
Nobody knows Clarksdale like I do
And the reason I know it, I follows it through and through

Every blues fan should visit Clarksdale. It's not surprising that a student of Son House also sang songs about Missisippi. Indeed, the legend of Robert Johnson, can't be separated from his travels from Mississippi town to Mississippi town. He sang about it on Traveling Riverside Blues:

If your man gets personal, want to have your fun
If your man gets personal, want to have your fun
Just come on back to Friar's Point mama and barrelhouse all night long

I've got womens in Vicksburg, clean on into Tennessee
I've got womens in Vicksburg, clean on into Tennessee
But my Friar's point rider now, hops all over me

I ain't going to state no color, but her front teeth crowned with gold
I ain't going to state no color, but her front teeth is crowned with gold
She got a mortgage on my body and a lien on my soul

Lord I'm going to Rosedale, going to take my rider by my side
Lord I'm going to Rosedale, going to take my rider by my side
We can still barrelhouse baby, because it's on the riverside

The amount of blues talent that's emerged from Mississippi is staggering.
Sometimes it seems like every small town in the Delta, and other parts of the state, was home to some musician who made a great record. It's tough to say why and its at least probably because scouts for the record companies were more aware of Mississippi talent than they were of other regions. But the Mississippi Delta, dominated by cotton fields and harsh plantation labor has been called the most Southern place on earth, and it's not a coincidence that so much of this great Southern music came from Mississippi. I'm glad so many musicians recorded songs about its towns.

Songs:

Avalon Blues - Mississippi John Hurt
Stone Pony Blues - Charley Patton
Lowland Blues - Big Bill Broonzy
Aberdeen Mississippi Blues - Bukka White
Clarksdale Moan - Son House
Traveling Riverside Blues - Robert Johnson

Show 30 - Prison Blues

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Show 30 - Prison Blues

After taking a look at justice and the law, I thought I'd continue with a focus on prisons and songs that describe life in the penitentiary. Furry Lewis sang about the inevitability of ending up in the penitentiary once he ended up in the court of Judge Harsh. Furry Lewis singing about heading to prison despite never having harmed a man. His woman offers money to the judge, but its not enough to keep the penitentiary from becoming his home.

They arrest me for murder, I ain't never harmed a man
Women hollered murder and I ain't raised my hand...
Because I'm arrested baby, please don't grieve and moan
Penitentiary seems just like my home
People all hollering about what in the world they will do
Lots of people had justice and been in penitentiary too

Field recordings from Southern penitentiaries were a frequent pursuit of folklorists recording for the Library of Congress or universities. Alan Lomax recorded some remarkable songs by prisoners about their experiences including a harmonica feature from a man known only as Alex and a haunting vocal from Tangle Eye.

Prison Blues

Well now yall be standing around the courthouse babe
Lord knows when Judge Davis(?) give me my time
Lord yall be standing around the courthouse
When Judge Davis give me my time
When I begin to leave my baby crying
Lord knows Mr. Judge you give him too long
Said now that’s all right baby lord
knows I’ll make it over one old day
Said now that’s all right baby I’ll make
it over one old day
Now some of the days soon, I’ll make it back home
Now fare you well, fare you well babe
Lord knows I’m on my last go-round
Now fare you well, fare you well
Lord knows I’m on my last go-round
Well you know if I can live to be in this town
Babe I won’t be hollering
down in prison no more

Tangle Eye:

Oh Lord
Well I wonder will I ever get back home?
Oh Lord
Well it must have been the devil that pulled me here
more down and out
Oh Lord… if I ever get back home, I’ll never do wrong
If I can just make it home I won’t do wrong no more
Lord I won’t do wrong no more
Lord I left mae will and the baby in the courthouse crying daddy please don’t go
Lord I’ll be back home
Well, Lord I’ll be home one day before long
Away from here
Lord I been here rolling but it stays so long
Lord I’m down and out... must be
Come and see what’s done happened to me
Lord If I’d listened to what my dear old mother said
But she’s dead and gone, Lord she’s dead and gone
But I’m gonna do now

Many commercial blues singers also concerned themselves with the prison experience including Blind Lemon Jefferson's "Prison Cell Blues" from 1928.

Got a red eyed captain : and a squabbling boss
Got a mad dog sergeant
honey and he won't knock off
I asked the government to knock some days off my time
Well the way I'm treated, I'm about to lose my mind
I wrote to the governor, please turn me a loose
Since I didn't get no answer I know it ain't no use
I hate to turn over and find my rider gone

Aside from his loneliness, Jefferson sang about the difficulties with his captain, boss, and sergeant. These were common complaints for the prisoner. Jefferson also refers to writing to the governor. That was common for many prisoners, usually to no avail. However, letters to the governor or a judge accompanied by the support of a local white man, who might need the black prisoner, for his own labor, at times were enough to allow the release of a convict in the Deep South (this includes John and Alan Lomax influencing Governor Oscar K. Allen of Louisiana to grant Leadbelly his second pardon).

Peg Leg Howell recorded several songs about crimes and prison. In "Ball and Chain Blues" recorded in Atlanta in 1929, he sings a song about the hard labor that comes with a sentence. Labor was a constant in Southern prisons and it took various forms. Howell discusses being part of a chain gang working in a mine.

I asked the judge what might be my fine
Get a pick and shovel, dig down in the mine
I told the judge, I ain't been here before
If you give me light sentence, I won't come here no more

Mr judge Mr judge, please don't break so hard
I always been a poor boy, never hurt no John
So the next day they carried the poor boy away
Said the next day I had a ball and chain
Take the stripes off my back, chains from around my legs
This ball and chain about to kill me dead

Howell served time in Georgia prison camps for bootlegging offenses. He knew

what it was like to endure physical labor for the state as a prisoner. Chain
gang work had a reputation for harshness, but equally harsh systems in states
like Mississippi with Parchman Farm and Louisiana with Angola penitentiary had
their prisoners work the fields of a prison plantation. Nearly all observers
remarked on the similarities between these prisons and the systems of plantation
slavery that had ended decades earlier in those same states. Bukka White
recorded two songs about prison including "Parchman Farm Blues," recounting his
experience there.

Judge give me life this morning down on Parchman Farm
I wouldn't hate it so bad but I left my wife and my home
Oh goodbye wife all you have done gone
But I hope some day you will hear my lonesome song

Oh listen men I don't mean no harm
If you want to do good you better stay off of Parchman Farm
We goes to work in the morning just the dawn of day
Just at the setting of the sun, that's when the work is done

I'm down on old Parchman Farm, I sure want to go back home
But I hope some day I will overcome

Parchman Farm's crops created a huge amount of revenue for the state of Mississippi creating an incentive to imprison laborers for the fields. The prison's brutality was the stuff of legend. One of the few ways to be released early, was for one prisoner to kill another that was thought to be trying to escape. The state farms and the chain gangs held many in an era when hard labor was the punishment for those who ended up in prisons, some guilty of violent crimes, others lesser offenses that still violated the Jim Crow system. This include countless blues musicians who recorded dozens of songs that create a fascinating document of prisons in the 20s and 30s.

Further reading: Worse than Slavery: Parchman Farm and the Ordeal of Jim Crow Justice by David M. Oshinksy, Blues Fell this Morning: Meaning in the Blues (Goin' to take a rap chapter) by Paul Oliver.


Songs:
Judge Harsh Blues - Furry Lewis
Prison Blues - Alex
Tangle Eye Blues - Tangle Eye
Prison Cell Blues - Blind Lemon Jefferson
Prison Wall Blues - Gus Cannon
Ball and Chain Blues - Peg Leg Howell
Parchman Farm Blues - Bukka White

Show 29 - Dealing with the Law

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Show 29 - Dealing with the Law

One of the most difficult thing about living in a discriminatory society is having the law work against you rather than to protect you. This situation for African-Americans in the Jim Crow era is well documented. Even lawyers of the time referred to an unwritten “negro law” that treated black men without regard to their rights. This was implemented at every level of justice from the police to the courthouse to the prisons and jails. Reminiscent of slavery times, black men and woman would need the protection of white man to avoid ending in trouble with local police. This protection would often be unavailable for someone living a blues lifestyle. A huge number of blues songs were recorded about dealing with the law.

Bo Carter expressed the trouble that can come from a black man having even a little alcohol in the age of prohibition in his 1931 song “The Law Gonna Step on You”:

I done told you to quit hounding liquor and gambling too
Look here baby you going too fast, the law's gonna step on your... yes, yes, yes

Now you can twist you can twist you can step on it's tail, you're gonna need someone to post your bail
Look here baby your going too fast, the law's gonna step on your... yes, yes, yes

Now you may think that they're doing you wrong, but they'll send you to the county farm
Look here baby your going to fast, the law's gonna step on your... yes, yes, yes

Now if you wanna leave from home and muck around with a bottle of corn
Look here baby you're traveling too fast, the law's gonna step on your... yes, yes, yes

Memphis musician Robert Wilkins recorded “Police Sergeant Blues” in 1930. The song equates trouble with his woman to trouble with the law. He describes the inevitability of a sentence once the police come for you.

I am going to tell the judge, I know that I done wrong
You go and get some lawyers to come and go my bond
I know the judge is going to give me thirty long days

Charley Patton liked to sing about events and characters in his native Mississippi. He recorded two songs about local sheriffs. The first, “Tom Rushen Blues” from 1929 described Patton's arrest by Merigold, Mississippi sheriff Tom Rushing. The second 1934's “High Sheriff Blues” told a similar story about an arrest in Belzoni and Patton's treatment at the hands of Humphreys County sheriff John Purvis and his deputy R. Carlos Webb:

Get in trouble at Belzoni, there ain't no use screamin' and cryin'
Get in trouble in Belzoni, there ain't no use-a screamin' and cryin'
Mr. Webb will take you, back to Belzoni jailhouse flyin'

Let me tell you folks, how he treated me
Let me tell you folks, how he treated me
And he put me in a cell, it was dark as it could be

There I laid one evening, Mr. Purvis was standing 'round
There I laid one evening, Mr. Purvis was standing 'round
Mr. Purvis told Mr. Webb to let poor Charley down

It takes booze and booze, Lord, to carry me through
Takes booze and booze, Lord, to carry me through
But it did seem like years in a jailhouse where there is no booze
I got up one morning, feeling oh
I got up one morning feeling mighty bad
And it must not a-been them Belzoni jail I had
(spoken: Blues I had, boys)

I was in trouble, ain't no use screaming
When I was in prison, it ain't no use screaming and crying
Mr. Purvis the onliest man could ease that pain of mine

In his song "Shelby County Workhouse Blues," Hambone Willie Newbern sang about the difficulties in court and the inability for a man like Newbern to make his case:

Well the lawyers talk so fast, didn't have time to say not nary word
Well the lawyer pleaded, and the judge he done wrote it down
Says I'll give you ten days buddy, out in little old Shelby town

Newbern represents the typical experience for a black man in court in the 20s or 30s, however there were a few lawyers that provided exceptions to the rule. Sleepy John Estes recorded a song about one lawyer who acted as a true advocate for his client.

But you know I like Mr Clark, yes he really is my friend
He say if I just stay out of the grave, he see that I won't go to the pen

Now Mr Clark is a lawyer, his younger brother is too
When the battles get hard, he tell him just what to do
I like Mr Clark, yes he is my friend
He say if I just stay out of the grave, he see that I won't go to the pen

Now he lawyers for the rich, he lawyers for the poor
He don't try to rob nobody; just bring along to the store
Now once I got in trouble, you know I was going to take a ride
He didn't let it reach the courthouse, he kept it on the outside
you know I like Mr Clark, yes he really is my friend
He say if I just stay out of the graveyard, Poor John I see you won't go to the pen

Now Mr Clark is a good lawyer, he good as I ever seen
He the first man that proved, that water run upstream

Blind Blake recorded a song about being thrown in jail and he wished someone would have told him "What a Low Down Place the Jailhouse Is." In the song, Blake was thrown in jail by a judge. Even worse than getting sent to jail for a few weeks was being sentenced to the state prison, Leroy Carr's “Prison Bound Blues” describes the feeling of knowing your headed to the penitentiary and losing the life you enjoyed.

Early one morning the blues came falling down
Early one morning the blues came falling down
All locked up in jail, I'm prison bound

All last night, I sat in my cell alone
All last night, I sat in my cell alone
Thinking of my baby and my happy home

Baby you will never see my smiling face again
Baby you will never see my smiling face again
But always remember your daddy has been your friend

Sometimes I wonder why don't your write to me
Sometimes I wonder why don't your write to me
If I've been a bad fellow, I did not intend to be

When I had my trial baby, you could not be found
When I had my trial baby, you could not be found
It's too late now mistreating mama, I'm prison bound.

The number of blues songs about police, lawyers, judges, jails, and prisons testifies to the difficulty of dealing with the law for those living a blues lifestyle. Though the stories of lynching and and murder are told frequently, its fortunate that we have these songs to help document the smaller problems with the law that African-Americans could have on a nearly daily basis in the Jim Crow South. These could include being thrown in jail without a second thought from a police officer and being sentenced without little more consideration from a judge. That's particularly true for those living an itinerant lifestyle like many bluesmen did.

Songs:
The Law is Gonna Step on You - Bo Carter
High Sheriff Blues - Charley Patton
Police Sergeant Blues - Robert Wilkins
Shelby County Workhouse Blues - Hambone Willie Newbern
Lawyer Clark Blues - Sleepy John Estes
What a Low Down Place the Jailhouse Is - Blind Blake
Prison Bound Blues - Leroy Carr

Show 28 - Weird Lyrics

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Show 28 - Weird Lyrics

I thought I'd take a look at a few songs that I don't really understand but that I find very intriguing. Some of these are songs that seem to be from the minstrel tradition and they use lyrics with meanings that are lost to time or at least lost on me. Or maybe the songs were just always weird, even at the time they were made. That might be the case with a song from Jim Jackson. It seems to be a religious parody and might have come from the minstrel stage. Recorded in Memphis in 1928 for Victor Records, “I Heard the Voice of a Porkchop.” The same song was recorded later in the same year by Bogus Ben Covington (who is probably the same man that recorded under the name Ben Curry) accompanied by his banjo and harmonica. It's not clear if Covington learned the song from Jackson or if they picked it up from the same minstrel origin. Clearly, the song is about hunger but the lyrics are undeniably strange and seem to be about eating road kill crossed with a vision.

Jackson's lyrics:

I walked and I walked and I walked and I walked
I stopped to rest my feet
I sat down under an old oak tree and there went fast asleep
I dreamt about sitting in a swim cafe hungry as a bear
My stomach sent a telegram to my throat:
There's a wreck on the road somewhere
I heard the voice of a porkchop say: Come on to me and rest
Well you talk about your stewing me: I ain't know what the best
You talk about your chicken, ham, and eggs and turkey stuffed in dress
But I heard the voice of a pork chop say come on to me and rest

Luke Jordan's “Pick Poor Robin Clean” features music and lyrics, particularly the lyrics with what we now consider racist language reveal the probable minstrel show origin of the song:

Get off my money and don't get funny
'Cause I'm a nigger, don't cut no figure
Gambling for Sadie, she is my lady
I'm a hustling coon that's just what I am

But it's the chorus that features the lyrics that confuse me:

You better pick poor robin clean
Pick poor robin clean
I picked his head, I picked his feet
Would have picked his body, but it wasn't fit to eat
You'd better pick poor robin clean
Pick poor robin clean
But I'll be satisfied having your family

It seems picking the robin is a metaphor, but I'm not sure for what. The song was also recorded by the female duo Geeshie Wiley and Elvie Thomas and it almost seems to take on a different meaning being sing by a woman.

Alabama musician Ed Bell recorded a great song featuring a word that seems to have left the vernacular but that shows up in quite a few blues songs of the era. The word is mamlish. The song is “Mamlish Blues,” recorded for Paramount in 1927.

These are my mamlish blues, gonna tell you just what they mean
Used to be my sugar but you ain't sweet no mamlish more
Because you mistreated me and you throwed me from your door
Mama my pack's ready, keep it for my mamlish self
Mama I done got tired of sleeping by myself
Well my Mama didn't like me, my papa give me mamlish ways
That's the very reason I'm a wandering child today
Talking about your sure love but you just ought to see mamlish mine
She ain't so good looking but she do just fine
She the man on the corner, see she going to steal that mamlish man
And a blind man seen her and a dumb man call her name
And the dumb man asked her who your regular man can be
And the blind man told her you sure look good to me

The word also shows up in another 1927 Paramount recording, “Nappy Head Blues” by Bobby Grant, one of only two songs recorded by Grant:

Your head is nappy : your feet so mamlish long
And you move like a turkey: coming through the mamlish corn

Additional songs featuring the word: Kokomo Arnold's “Milkcow Blues” and Sluefoot Joe's “Tooten' Out Blues.” Some theorize that Sluefoot Joe is the same man as Ed Bell. Those songs reveal little more about the meaning of the word. But it seems to function as an intensifier the same way some would use “Goddamm.” Any additional connotations the word probably had is certainly lost on me.

Words and expressions come and go. Songs are one place they are captured and for language from specific regions and ethnic groups, sometimes songs are the only place they're recorded. The language of pre-war blues is rich with words and expressions that have vanished and ones that are still used. And most importantly, the songs are mamlish good.

Songs:
I Heard the Voice of a Porkchop - Jim Jackson
I Heard the Voice of a Porkchop - Bogus Ben Covington
Pick Poor Robin Clean - Luke Jordan
Pick Poor Robin Clean - Geeshie Wiley and Elvie Thomas
Mamlish Blues - Ed Bell
Nappy Head Blues - Bobby Grant

Show 27 - Policy Blues

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Show 27 - Policy Blues

Policy is the lottery-- an illegal numbers game that was hugely popular at the end of the nineteenth and in the first few decades of the twentieth century. You'd pick three numbers and hope they hit. The name comes from the practice of allowing bettors to make an “insurance policy” bet on tomorrow's numbers to offset potential losses, a gambler could make a policy bet that his ticket would come up blank insuring he would get something back on a losing ticket. Eventually the entire game came to be called policy and this “insurance” came to be useful code for buying and selling tickets when the game was illegal.

North Mississippi/Memphis area bluesman Jim Jackson, tells us how the game is played in his 1928 son, “Policy Blues”. In “Playing Policy Blues” by Blind Blake, you hear him sing: “I played on Clearinghouse, couldn't make the grade.” Clearinghouse was a version of policy that attempted to ensure legitimacy by taking the last three numbers from the daily Federal Reserve Clearing House Report. The numbers were printed in the newspaper, ensuring that the policy company wasn't cheating the players. Kokomo Arnold sang about some of the problems inherent in dealing with the less honest policy game operators in Policy Wheel Blues. Bo Carter sang “Policy Blues,” he was one of the few bluesmen who came out a winner as he sings about waiting for the money he won.

One popular method of selecting numbers to play in a policy game was using the interpretation of dreams. Players consulted policy dream books to provide them with the lucky numbers their dreams suggested. These books were often published by the policy agents themselves. Bumble Bee Slim was one blues musician who wrote about a policy dream as one way to potentially beat the racket that was policy. Check out Kat Yronwode's excellent page on policy dream books including analysis of Blind Blake's lyrics.

Policy games are gone with the lottery business now controlled by the states. But these blues songs captured the essence of an important part of America's gambling culture that lasted for decades. These bluesmen and women reported what it was like to play policy and almost always lose at policy. But I guess that's what makes it the blues.

Songs:
Policy Blues - Jim Jackson
Playing Policy Blues - Blind Blake
Policy Wheel Blues - Kokomo Arnold
Policy Blues - Bo Carter
Policy Dream Blues - Bumble Bee Slim
Elzadie's Policy Blues - Elzadie Robinson

Show 26 - John Henry

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Show 26 - John Henry

John Henry - Jimmy Owens
John Henry - Reese Crenshaw
John Henry - Big John Davis
John Henry - Arthur Bell
John Henry - Leadbelly
Death Of John Henry (Steel Driving Man) - Uncle Dave Macon
John Henry - Henry Thomas

Show 25 - Yellow, Brown, or Black

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Prejudice against people with darker skin is widely documented in many cultures and stereotypes about yellow, brown, and black are still common. When the songs in this show were recorded, skin-lightening cream products ads were always seen alongside the blues record advertisements in black newspapers like the Chicago Defender. The assumption was that light skinned was automatically more attractive. Blues singers often subverted this assumption but at times reinforced it. The popular music comedy team from the 1920s, Butterbeans and Susie, sing in Brown Skin Gal about how a brown skinned girl can be trusted and is the best even though she might not have the money, status, or look as good as a yellow.

Leroy Carr and Scrapper Blackwell have a similar take in Good Woman Blues. In It’s Heated, Frankie “Half-Pint” Jaxon gives his ideas about sexual stereotypes with the darkest woman coming out on top: “Now a yellow gal is like a frigid zone, brownskin's about the same. You want some good loving get yourself an old Crow Jane.” The term Crow Jane shows up in dozens of blues songs referring to dark women.

Texas Alexander subscribed to the lighter is better school in Yellow Girl Blues: “Black woman evil, brownskin evil too. Going to get me a yellow woman and see what she will do.”

Some male blues singers expressed the attitude that the high status of light-skinned women made them more difficult to deal with as romantic partners. That ideas was thar light-skinned women may be more beautiful, have more money, and a generally higher status, but they won’t treat a man well. Bo Weavil Jackson sang in Some Scream High Yellow: “Some Scream High Yellow, I scream black or brown. High yellow may mistreat you, but black won't turn you down.”

Harry Gay and Stephen Tarter from Scott County, Virginia recorded just two songs. Brownie Blues dealt with skin color. Tarter sang that women on both ends of the color spectrum should be avoided:
“Want no Jet black woman burn no bread for me
Jet black is evil and she sure might poison me
Jet Black is evil and so is yellow too
I’m so glad I’m brown skinned, don’t know what to do”

Bessie Smith seemed to use her skin color as an excuse to be wild in her 1926 recording Young Woman’s Blues: “I ain't no high yellow, I'm a deep killer brown. I ain't going to marry, ain't going to settle down.”

An individual’s place on the continuum of African-American skin color has always affected status in society and the perception of their attractiveness. Terms like High Yellow or Crow Jane may fade away or change meaning, but prejudices based on skin tone never seem to go away. These blues songs give us a glimpse about some attitudes about skin color during the pre-war period. Bluesmen expressed their preference for yellow, black, or brown in song. Sometimes “Jet Black is Evil” other times “The Blacker the Berry the sweeter the Juice”, but it seems there’s no escape from stereotypes based on skin.

Check out Wallace Thurman’s 1929 novel The Blacker the Berry for a contemporary fictional take on the “colorism” issues presented by these blues songs.

Show 25 - Yellow, Brown, or Black

Songs:
Brown Skin Gal - Butterbeans and Susie
Good Woman Blues - Leroy Carr
It's Heated - Frankie 'Half-Pint' Jaxon
Yellow Girl Blues - Texas Alexander
Some Scream High Yellow - Bo Weavil Jackson
Brownie Blues - Harry Gay and Stephen Tarter
Young Woman's Blues - Bessie Smith

Show 24 - Hard Times Blues

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Show 24 - Hard Times Blues

Songs:
Hard Times Killing Floor - Skip James
We Sure Got Hard Times - Barbecue Bob
Hard Time Blues - Scrapper Blackwell
It's Hard Time - Joe Stone
Hard Times Blues - Charlie Spand
Hard Time Blues - Darby & Tarlton
Hard Time Blues - Josh White

Show 23 - Black Snake Moan

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Show 23 - Black Snake Moan

Songs:
Black Snake Moan - Blind Lemon Jefferson
Black Snake Blues - Victoria Spivey
Jet Black Snake - Jewell Nelson
New Black Snake Moan - Leadbelly
It's So Cold in China - Mississippi Moaner
Roosevelt Sykes - Jet Black Snake
Black Snake - John Henry Howard
Black Snake Dream Blues - Blind Lemon Jefferson

Show 22 - Henry Townsend Appreciation

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Show 22 - Henry Townsend Appreciation

An appreciation of bluesman Henry Townsend who died Sunday, September 24, 2006 at age 96.

Story from St. Louis Post-Dispatch

Songs:
Doctor, Oh Doctor - Henry Townsend
Long Ago Blues - Henry Townsend
Henry's Worry Blues - Henry Townsend
Poor Man Blues - Henry Townsend
A Ramblin' Mind - Henry Townsend
Jack of Diamonds Georgia Rub - Henry Townsend

Show 21 - What the Chinaman Told the Jew

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Show 21 - What the Chinaman Told the Jew

I decided to put an episode together with these songs that mention ethnic groups and nationalities after my ears repeatedly perking up when I heard lyrics about "what the Chinaman told the Jew" in these and some later blues songs. The Willie Blackwell song comes from a different place that includes a strange mix of patriotism, violence, and proud fatherhood. It has disturbing lyrics about a man preparing bringing home a Japanese skull during World War II for a newborn son. There's a good discussion of the song from Jim O'Neal at his Bluesoterica site. Though its the only one that features that kind of viciousness towards different people, I thought it was thought provoking regarding how others are thought of at different times.

Songs:
14th Street Blues - Blind Joe Taggart
Bullfrog Blues - William Harris
Barbecue Blues - Barbecue Bob
Memphis Boy Blues - Memphis Jug Band
Junior's, A Jap Girl's Christmas for Her Santa Claus - Willie '61' Blackwell

Show 20 - Death Tributes

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Show 20 - Death Tributes

Songs:
Death of Leroy Carr - Bumble Bee Slim and Scrapper Blackwell
Death of Blind Boy Fuller - Brownie McGhee
Oh Death - Charley Patton and Bertha Lee
Death of Walter Barnes - Leonard 'Baby Doo' Caston
Death of Holmes' Mule - Charlie Turner and Winston Holmes
Death of Sonny Boy Williamson - Peck Curtis and Houston Stackhouse

Show 19- Bootlegger's Blues

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Show 19- Bootlegger's Blues

Bootleg Rum Dum Blues - Blind Blake
Bootleggers' Blues - Mississippi Sheiks
Jones Law Blues - James "Stump" Johnson
Sloppy Drunk Blues - Leroy Carr
Good Whiskey Blues - Peetie Wheatstraw
Bootleggin' Ain't No Good No More - Blind Teddy Darby
Alley Bound Blues - Curtis Jones

Show 18 - Joe Louis is the Man

Show 18 - Joe Louis is the Man


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Many songs were written about Joe Louis over his career from 1934 into the fifties. The songs reflect Louis’ status as a kind of a folk hero to black America and eventually to all of America. Louis was born Joe Louis Barrow to a family of sharecroppers in Alabama. He moved as a child with his family to Detroit. Louis was a popular fighter well before he became the champ. His 4th round knockout of former champ Max Baer made him famous. But the fight that made him a hero to millions of African-Americans was in 1935 against the giant Primo Carnera. Louis fought the Italian as the world was becoming aware that Mussolini’s Italy was about to invade Haile Selassie’s Ethiopia. As one of the few African nations remaining uncolonized, Ethiopia was a point of pride for the black world. Joe Louis came to represent Ethiopian strength in America. People throughout the U.S. rejoiced when Louis handled Carnera easily knocking him out in the sixth round. That same year, Memphis Minnie recorded two songs about the Brown Bomber and pianist Joe Pullum recorded “Joe Louis is the Man.”

Joe Louis had become a hero in the ring with his frequent victories. But in 1936 he suffered a devastating loss to German Max Schmeling. Despite the loss, the next year, Louis managed to become heavyweight champion by defeating Cinderella Man Jim Braddock. Even with the belt, the loss to Schmeling weighed on Louis and he never felt like the true champion. In 1938, Louis got his rematch against Schmeling. In the years since the first fight the exploits of Adolph Hitler had become common headlines and once again Louis was thrust into the role of representing American values and strength against an enemy. This time, Louis became the hope of not just African-Americans but virtually the whole country. Louis destroyed Schmeling. A new hero, Joe Louis became one of the country’s biggest celebrities.

Joe Louis enhanced his status as American hero when he joined the army to serve during World War II (which some referred to as Louis-Schmeling III). He appeared constantly in newspapers, magazines, and elsewhere. The importance of a black man achieving this iconic status at that time in America cannot be overstated.

Despite deteriorating abilities in the ring, Louis’ career continued into the fifties, largely because of tremendous financial difficulties. He owed millions to the IRS. His last professional fight was his 1951 loss to Rocky Marciano. After his death in 1981, the champ received a hero’s burial in Arlington National Cemetery. What Louis did along with other athletes like his friends Jesse Owens and later Jackie Robinson changed the attitudes of millions. His reception presented a stark contrast to that of the last black champion, Jack Johnson. This was reflected in the blues songs as well as songs by Sonny Count Basie, Cab Calloway and others. Louis’ life and career through the Second World War made him perhaps the most important athlete in American history and a natural hero in the world of the blues.


Songs:
Joe Louis is the Man - Joe Pullum
Joe Louis Strut - Memphis Minnie
He's In the Ring (Doing That Same Old Thing) - Memphis Minnie
Joe Louis Special - Jack Kelly
Joe Louis Blues - Carl Martin

Show 17 - Northbound Blues

Show 17 - Northbound Blues




Beginning around the period of the First World War, millions of black Southerners moved North to cities like Chicago, Detroit, and New York. Known as the Great Migration, this movement changed the course of American history. People left the South to escape the oppressive racist system in the South, but most importantly because of the job opportunities and promise of economic security in Northern cities.

Blind Blake sang about getting a job at Mr. Ford’s place in Detroit Bound Blues. Jobs in the automotive industry were an important factor pulling African-Americans to Detroit. And cars and trains provided transportation to the North. Many from Alabama headed to Detroit via railroad as many from Mississippi and Tennessee headed to Chicago. From Gerogia and the Carolinas, they went to DC or New York. The route of the migration patterns was often identical to that of the large railroad lines.

Tennessee native Bessie Smith sang about missing her man who had caught the train to Chicago in her song Chicago Bound Blues. In this song, she references the Chicago Defender newspaper. The Defender actively encouraged African-Americans in the South to come to Northern cities and was very successful.

Though the traffic of the Great Migration was largely one way, at times economic opportunity dictated a return down south (in recent years moving back down has become even more common). In 1948, Roosevelt Sykes sang of a time when cotton prices made working in the Southern fields more profitable than the Northern factories.

From around 1914 – 1950, the Great Migration changed the demographics of the country and altered the way Americans lives. In several waves, millions of black Southerners arrived in Northern cities. The transition from the acoustic Delta blues of the 20s and 30s to electric Chicago blues is one of the easily observable manifestations of the Great Migration. The life of Muddy Waters is often given as an example. But the migration changed more than music, it changed race relations, economics, and living conditions for millions. And as often was the case, blues musicians were some of the best observers of their own lives and the changes in the world around them.

Songs:
Detroit Bound Blues - Blind Blake
Chicago Bound Blues - Bessie Smith
Cotton Belt Blues - Lizzie Miles
Cotton Patch Blues - Tommy McLennan
Southern Blues - Roosevelt Sykes

Show 16 - New Music for 75 Years Ago

Show 16 - New Music for 75 Years Ago




Songs from The Stuff That Dreams are Made Of:
Clarksdale Moan - Son House
If I Call You Mama - Luke Jordan
Mississippi County Farm Blues - Son House
I'm Going Back Home - Memphis Minnie and Joe McCoy
Married Man's Blues - Wade Ward

Show 15 - Blues of the Great War

Show 15 - Blues of the Great War




Army Blues - Kingfish Bill Tomlin
Uncle Sam Blues - Clara Smith
Army Camp Harmony Blues - Ma Rainey
Army Mule in No Man's Land - Coley Jones
Wartime Blues - Blind Lemon Jefferson

Show 14 - Bonus Blues

Bonus Blues



The earliest recorded blues were made in the wake of the First World War. It’s tough to know how many blues musicians served, but the war was clearly a formative experience for many. Every veteran of the Great War was promised a pension that include $1 for every day served on the homefront and $1.25 for every day served overseas. The fight to actually receive this money would turn into one of the most important events of the Great Depression and inspire several blues songs.

Since 1929, Congress had reviewed the bonus situation several times and in 1932 a bill to allow immediate payment passed the House but not the Senate. In 1932, a Veterans Bonus Army, known as the Bonus Expeditionary force, (in an echo of the American Expeditionary Force that served in Europe) had marched on D.C. to demand payment. Black and white soldiers came from all over the country and formed integrated camps in Southeast D.C. along the Anacostia River. The veterans’ camp presented a stark contrast to the strictly segregated units the soldiers had served in during the war as well as to the still segregated streets of Washington D.C.

After the defeat of the Bonus Bill, President Hoover ordered the camp of the Bonus Army disbanded. General Douglas MacArthur led the effort to burn down the camp and force the veterans army out of D.C. The images of the standing army attacking veterans from its own ranks were printed in newspapers across the country, cementing national anger with the Hoover administration and creating great sympathy for the veterans.

After being cleared out in 1932, the veterans continued their campaign to receive the bonus money including additional marches on Washington that had vast public support The Government continued to resist immediate payment, citing concern about the effects of the huge expenditure on the economy. The veterans were finally successful in 1936. A bill to allow bonds to be cashed whenever the veteran chose passed over President Roosevelt’s veto.

Joe Pullum may have been the first blues singer to reference the bonus in his 1934 song “Black Gal What Makes Your Head So Hard?” At that time the bonus money was available only in the form of bonds that could not be cashed out until 1945. Many veterans were able to capitalize on the bonuses through loans, but that entailed paying interest. That’s what Joe Pullum referred to when he sang about having his bonus money. Joe Pullum eventually recorded several more songs that reference the bonus including “Bonus Blues” in 1936.

Most of the blues songs that address the bonus talk about how the money will be spent when they finally get it. These include the Carl Martin, Peetie Wheatstraw, and other songs. The political issues are referenced indirectly as they often are in blues songs. As both pop music and a method of folk expression in the 1930s, the blues always provide interesting takes on issues that will affect individual lives.

I decided to make a show on this theme because I think the Bonus Army is a fascinating story and I liked the Red Nelson Wilborn and Cripple Clarence Lofton song. When I started to do research, I discovered a book by Guido Van Rijn. Roosevelt's Blues: African American Blues and Gospel Songs on FDR has a chapter on exactly this subject and it made it quite easy to put the show together.

Songs:
Black Gal What Makes You Head So Hard - Joe Pullum
I'm Gonna Have My Fun - Carl Martin
Bonus Blues - Joe Pullum
When I Get My Bonus (Things Will Be Coming My Way) - Peetie Wheatstraw
When The Soldiers Get Their Bonus - Cripple Clarence Lofton and Red Nelson
When I Get My Money - Bumble Bee Slim

Show 13 - Dealing with the Devil

Show 13 - Dealing with the Devil - download




The legend of selling a soul to the devil in exchange for musical prowess has been associated with many genres of music for centuries. But it’s stuck more firmly to the blues than to any other music. However, the truth is that when blues singers talked about the devil they were more likely referring to a mistreating woman or boss than to the Price of Darkness Skip James recorded “Devil Got My Woman” in 1931. He had an amazing voice where he certainly sounds haunted by something from hell. But he was more troubled by his woman than anything supernatural.

Washboard Sam recorded another song associating his woman with the devil in 1941, “She Belongs to the Devil.”

Most non-religious types of music (and many activities) were dubbed the work of the devil church folk, the blues may earned the lasting sobriquet the Devil’s Music because some blues musicians embraced the image. One major blues star of the 1930s took it so far as to use it as a successful marketing tool. He called himself the High Sheriff from Hell or the Devil’s Son-In-Law and became one of the most popular and imitated musicians of his time. Peetie Wheatstraw probably gained many fans looking for a form of slight rebellion, because he presented a somewhat subversive alternative to the activities deemed acceptable by the church without being truly threatening.

Peetie Wheatstraw worked hard to establish that link to the devil and it would have been understood as all in fun by his audience. It’s a different story with Tommy Johnson who is also closely linked with the devil. In his case, the story that he sold his soul to the devil came years after his life had ended. His brother LeDell, a minister, told the classic tale of Tommy going to the crossroads to meet the devil and coming away with the ability to play any song he wanted. Though references to the devil are absent from Tommy Johnson’s music, this story has become an important part of the mythology of the blues. It must be remembered that it came from a man devoted to the church who considered a life outside of the church, a devil’s life. Big Road Blues was one of his popular songs that many of his followers would play later.

The lyrics in Lonnie Johnson’s “Devil’s Got the Blues” may get at the place of the devil in the blues more accurately than anyone else. Lonnie Johnson sings “the blues is like the devil it comes on you like a spell, it will leave your heart full of trouble and your poor mind full of hell.” The blues and the devil are both represent what’s wrong in the world, so it’s not surprising that the two would intersect quite often. The devil is most often used to represent the trouble, rather than a promise to sacrifice a soul as often referenced in the Robert Johnson legend (that also applied to Tommy Johnson and others). But Robert Johnson was just another man in this same tradition who was heavily influenced by some of the musicians I’ve played. He should be remembered for his music and the tradition he came, not as an exception that got his music through supernatural means.

See the David Evans biography of Tommy Johnson for Ledell Johnson’s tale of how Tommy went to the crossroads. Elijah Wald’s Escaping the Delta concludes with a discussion about the devil legend. Wald is dismissive of associations of the supernatural with the blues.


Devil Got My Woman - Skip James
She Belongs to the Devil - Washboard Sam
Devil's Son-In-Law - Peetie Wheatstraw
Peetie Wheatstraw Stomp - Peetie Wheatstraw
Big Road Blues - Tommy Johnson
Dealing with the Devil - Brownie McGhee
Devil's Got the Blues - Lonnie Johnson

Show 12 - Living in a Violent World

Show 12 - Living in a Violent World - download




Blues musicians of the 1920s and 30s existed in a violent world where fights were common and it was often common to carry a weapon and to keep an eye open for the quickest way to get out of the building from the stage. Some blues musicians still exist in this kind of world, and it’s common to other genres. Will Shade recorded “She Stabbed me with an Ice Pick” in 1928. It’s interesting how he sings about the attack on him as a way to reflect on how people feel about him. Though he didn’t see the attack coming, it’s a traumatic but logical occurrence in his world.

Bertha Henderson kills a woman who attacks her and it force her on the run. Her need to defend herself makes her life even more difficult as she has to hide from the authorities. To generalize, this can be seen as the blues position on violence. Forced into action by a violent world and suppressed by the powers that be, there’s little chance for escape from violence and oppression.

Lonnie Johnson’s take on violence in Mexico contains some amazing imagery along with his usual stellar guitar playing.

Carrying a gun was an essential part of life for many musicians dealing with rough crowds and tough situations. Skip James’ “22-20 Blues” was an attempt to capitalize on Roosevelt Sykes’ hit “44 Blues” by recording piano gun pieces.

The connection between violence and music is a frequent topic of debate. I see them as two separate parts of a shared culture. The source of both of the blues and violence is some of the same conditions in society. The same holds true for many types of music and art forms. Adam Gussow (the white harmonica-playing half of the great duo Satan and Adam) wrote about this in his book Seems Like Murder Here: Southern Violence and the Blues Tradition. He looks more at literature and biography than songs (with the exception of in-depth analysis of one particular line of Mamie Smith’s “Crazy Blues”). But he convincingly argues that violence is an irremovable part of blues culture.

Songs:

She Stabbed Me With an Ice Pick - Will Shade
Terrible Murder Blues - Blind Blake and Bertha Henderson
Got the Blues for Murder Only - Lonnie Johnson
22-20 Blues - Skip James
44 Blues - Roosevelt Sykes
Ice Pick Mama - Walter Washington

Show 11 - Church Blues

Show 11 - Church Blues - download




My first show for the Delta Blues Museum.

The blues and religion have a complex relationship. Though blues has often been castigated at the Devil’s Music, many blues musicians have always played religious songs. Charley Patton and Blind Lemon Jefferson were frequent performers of religious music. To this day, many blues singers will end a show with a gospel number. Others sing gospel, but make sure to keep religious music separate from what’s going on it the club.

But being frequently criticized by church folks must have provoked the need to respond in some blues singers. The songs featured on this show, give the blues singers a chance to respond. The musicians I featured come from all over the country and play in different styles, so the need to respond was not a localized phenomenon.

There’s some interesting discussion of attitude towards philandering preachers in the Fisk University/Library of Congress study of Coahoma County from 1942. The book was finally released last year as Lost Delta Found: Rediscovering The Fisk University-Library Of Congress Coahoma County Study, 1941-1942. Another interesting read on blues and religion is Jon Michael Spencer’s Blues and Evil. This very academic text is at times unclear (and I think he misreads other blues scholarship), but the argument is definitely thought provoking. He argues that blues have an essentially religious nature that’s not evil at all.

Songs:

Church Bell Blues - Luke Jordan
Preachin' the Blues, Parts 1 & 2 - Son House
Preacher Blues - Henry Brown
He Calls That Religion - Mississippi Sheiks
Denomination Blues, Parts 1 & 2 - Washington Phillips

Show 10 - Virginia Blues Road Trip

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Show 10 - Virginia Blues Road Trip - download
Old Country Rock - William Moore
Newport News Blues - Memphis Jug Band
Richmond Blues - Bull City Red
Richmond Blues - Julius Daniels
Bear Creek Blues - Carter Family

Show 9 -Big Fat Mama Blues

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Show 9 -Big Fat Mama Blues
Big Fat Mama Blues - Charlie Spand
Big Fat Mama Blues - Tommy Johnson
Milk Cow Blues - Kokomo Arnold
Big Leg Woman Gets My Pay - Blind Boy Fuller
Fat Mama Blues - Jabo Williams
Skinny Woman - Sonny Boy Williamson

Show 8 - Common Ground: Early Recorded Blues and Country

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Show 8 - Common Ground: Early Recorded Blues and Country
KC Blues - Frank Hutchison
Frankie and Johnny - Jimmie Rodgers
Frankie - Mississippi John Hurt
Worried Blues - Frank Hutchison
John Henry (The Steel Driving Man) - Furry Lewis
John Henry Blues - Earl Johnson
Pan American Blues - DeFord Bailey
Country Blues - Dock Boggs

Show 7 - Inadequacy Blues

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Show 7 - Inadequacy Blues
My Pencil Won't Write No More - Bo Carter
It's Too Short - Leroy Carr
One Hour Mama - Victoria Spivey
If It Don't Fit (Don't Force It) - Barrelhouse Annie
Phonograph Blues - Robert Johnson

Show 6 - High Water: Songs of the Mississippi Flood of 1927

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Show 6 - High Water: Songs of the Mississippi Flood of 1927


High Water Everywhere Part 1 - Charley Patton
High Water Everywhere Part 2 - Charley Patton
The Flood Blues - Sippie Wallace
When the Levee Breaks - Kansas Joe and Memphis Minnie
Rising High Water Blues - Blind Lemon Jefferson
Mississippi Heavy Water Blues - Barbecue Bob

Show 5 - Drinking Canned Heat and Jake

Show 5 - Drinking Canned Heat and Jake


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Canned Heat Blues - Tommy Johnson
Canned Heat Blues - Sloppy Henry
Better Leave That Stuff Alone - Will Shade
Jake Leg Blues - Mississippi Sheiks
Alcohol and Jake Blues - Tommy Johnson

Show 4 - Dirty Blues

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For Mature Audiences:
Show 4 - Dirty Blues
Till the Cows Come Home - Lucille Bogan
Shave 'em Dry - Lucille Bogan
I'm Gonna Shave You - Walter Roland
Banana In Your Fruit Basket - Bo Carter
Sweet Honey Hole - Blind Boy Fuller
Let's Get Drunk and Truck - Tampa Red

Show 3 - Lesbian Blues

Show 3 – Lesbian Blues


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Male guitar players get most of the attention in blues discussion. I thought I’d devote a little time to the women. Particularly to the women who like other women. There's a treasury of blues songs by and about lesbians. Lucille Bogan recording under the name Bessie Jackson, accompanied by pianist Walter Roland from 1935 recorded one of the best. She's talking about bull dykes or bull daggers with B.D. Woman’s Blues:

Comin' a time, B.D. women they ain't going to need no men
Comin' a time, B.D. women they ain't going to need no men
Cause they way treat us is a lowdown dirty sin

B.D. women, you sure can't understand
B.D. women, you sure can't understand
They got a head like a sweet angel and they walk just like a natural
man

B.D. women, they all done learned their plan
B.D. women, they all done learned their plan
They can lay their jive just like a natural man

B.D. women, B.D. women, you know they sure is rough
B.D. women, B.D. women, you know they sure is rough
They all drink up plenty whiskey and they sure will strut their stuff

B.D. women, you know they work and make their dough
B.D. women, you know they work and make their dough
And when they get ready to spend it, they know they have to go

Ma Rainey was the first superstar of the classic blues women. She was a married woman, of course married to Pa Rainey, but in the 1920s, her love of women was no secret. She was arrested in 1925 after a police raid at a party where several women including Ma were found together naked and having sex. In Prove It on Me while backed up by a sort of a jazz jug band that featured Thomas Dorsey she sings about the elusiveness of her sexuality and her feelings toward men and women.

Went out last night had a great big fight, everything seemed to go all wrong
I looked up, to my surprise, the gal I was with was gone
Where she went I don't know, I mean to follow everywhere she goes

Folks said I'm crooked, I didn't know where she took it, I want the whole world to know
They say I do it, ain't nobody caught me
Sure got to prove it on me
Went out last night with a crowd of my friends
They must have been women 'cause I don't like no men

It's true I wear a collar and a tie
Make the wind blow all the while
But they say I do it, ain't nobody caught me
They sure got to prove it on me

They say I do it, ain't nobody caught me
Sure got to prove it on me

I went out last night with a crowd of my friends
It must have been women 'cause I don't like no men.
Wear my clothes just like a fan
Talk to the gals just like any old man
'Cause they say I do it, ain't nobody caught me
Sure got to prove it on me

Ma Rainey’s most famous disciple was Bessie Smith, whose sexuality was equally tough to nail down. She openly slept with at least one female singer in her band and allegedly had a sexual relationship with a gay male piano player and songwriter named Porter Grainger in addition to a variety of men. Foolish Man Blues doesn’t reveal anything more about her sexuality but it does have some interesting takes on gender:

Men sure is deceitful and they's gettin' worser every day
Men sure is deceitful and they's gettin' worser every day
Act like a bunch of women, they's just-a gab, gab, gabbin' away
There's two things got me puzzled, there's two things I can't stand
There's two things got me puzzled, there's two things I can't stand
A mannish actin' woman and a skippin' twistin' woman actin' man

Gladys Bentley was an openly gay singer who was a key figure in the Harlem Renaissance. She dressed in a very masculine fashion, often in tuxedos. She once sent out announcements reporting that she’d married a white woman in New Jersey. By the 1950s, a more conservative social climate led her to recant her openness, and she claimed to have fixed her sexuality with a series of medical treatments. She married a man.
Singer Billy Mitchell was able to straddle the line between blues and vaudeville in a way similar to Ma Rainey and Bessie Smith. He recorded a fun number Two Old Maids in a Folding Bed

Two old maids in a folding bed
One turned over to the other and said
I need some loving, that's just what I need

Two old maids in a folding bed
One turned over to the other and said
Kiss Me, Why not kiss me?

Two old maids in a folding bed
One turned over to the other and said
Oh you know you're driving me crazy
What can I do? What can I do for

Two old maids in a folding bed
One turned over to the other and said
Yes, yes, we have no bananas
We have no bananas for

Two old maids in a folding bed
One turned over to the other and said
Keep your sunny side up, just keep your sunny side up

...

Lesbians were common on the classic blues scene of the 1920s and 1930s with some of the singers I finished tonight and others like Alberta Hunter. They lived in an environment where their sexuality could at times be flaunted, at other times it had to be hidden. The songs reflect this. Their stage shows did even moreso. Whatever they were representing, most of these performers never stopped entertaining and good music.

Songs:
B.D. Woman’s Blues - Lucille Bogan
Prove It On Me - Ma Rainey
Foolish Man Blues - Bessie Smith
Bed Spring Poker - Gladys Bentley
Two Old Maids - Billy Mitchell

Show 2 - Poker Blues

Show 2 – Poker Blues
Poker Woman Blues - Blind Blake
Bad Luck Blues - Blind Lemon Jefferson
Darktown Gambling - Robert and Charlie Hicks
Bed Spring Poker - Mississippi Sheiks
Billy Lyons and Stack O’Lee - Furry Lewis

Show 1 - Cocaine Blues

Show 1 – Cocaine Blues
Cocaine Habit Blues - Memphis Jug Band
Cocaine Blues - Luke Jordan
Cocaine - Dick Justice
Spoonful Blues - Charlie Patton
Just a Spoonful - Charley Jordan