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Monday, January 18, 2010

Show 45 - Dope Head Blues



Drugs and music seem inextricably linked. It certainly shows up in some of the early recorded blues. The word dope came around during the 19th century opium craze. But by 1927, when Victoria Spivey recorded Dope Head Blues (with Lonnie Johnson on guitar and Porter Grainger on piano) the term could apply to all kinds of drugs. Dope Head Blues is about the difficulties of drug addiction and a drug-induced delusional fantasy about being rich, important and healthy:

Just give me one more sniff of, another sniff of that dope
Just give me one more sniff of, another sniff of that dope
I'll catch a cow like a cowboy, and throw a bull without a rope


Doggone, I've got more money than Henry Ford or John D. ever had
Doggone, got more money than Henry Ford or John D. ever had
I bit a dog last Monday and forty doggone dogs went mad


Feel like a fighting rooster, feel better than I ever felt
Feel like a fighting rooster, feel better than I ever felt
Got double pneumonia and still I think I got the best health


Say, Sam
Go get my airplane and drive it up to my door
Aw, Sam, go get my airplane and drive it to my door
I think I'll fly to London, these monkey men makes mama sore


The president sent for me, the Prince of Wales is on my trail
The president sent for me, the Prince of Wales is on my trail
They worry me so much, I'll take another sniff and put them both in jail
Willie the Weeper was already an old song when Frankie "Half-Pint" Jaxon recorded it in 1927. Jaxon's version of the song would influence Cab Calloway's hit Minnie the Moocher a few years later. Willie the Weeper goes back to the Vaudeville era and tells the story of a drug-using chimney sweep that, like the protagonist of Victoria Spivey's song, engages in fantasy when he gets high:

Have you heard the story, folks, of Willie the Weeper?
Willie's occupation was a chimney sweeper
He had a dreaming habit, he had it kind of bad,
Listen, let me tell you about the dream he had


Dreamed he bought a hound from a man that lived in Turkey
He told the gals who's dancing all to make it kind of jerky
Danced until she wore the carpets off the floor
And said, you haven't done nothing, just do it once more


At the North Pole, someone shouted "Willie!"
Turned around and saw a sight that knocked him silly
Right before him in the zero breeze
A nudie chimp(?) was dancing in his BVDs


He walked around, and his feet started freezing
Someone said, "Kid, you better listen to reason"
Says, "I want my coffee, want it good and strong
I want to have biscuits eighteen inches long"


Now tell me, what would you do
If you could have all of your dreams come true?
Why there's something tells me that you'd lock your door
Like Willie the Weeper, and cry for more


Now take my little ship, dream's about over
Called the best from up on the shore
Hump on a camel, hump on a flea
Put them two humps together, you got nothing on me


Now tell me, what would you do
If you could have all of your dreams come true
There's something tells me that you'd lock your door,
Like Willie the Weeper, and cry for -- please go away and let me sleep
Don't disturb my slumber deep
Something tells me that you'd lock your door
Like Willie the Weeper, and cry for more, more, more, more, more
Marijuana became popular as a recreational drug in the second decade of the 20th century. It was criminalized by Congress in 1937. Drugs are probably more associated with jazz than blues, and the Harlem Hamfats bridged those two musical worlds perfectly. The Hamfats were also frequent accompanists to Frankie Jaxon later in his career. Weed Smoker's Dream is another fantasy about being rich recorded in 1936.

Sitting on a million, sitting on it every day
Can’t make no money giving your stuff away
Why don’t you do now, like the millionaires do
Put your stuff on the market and make a million too


Fay's a betting woman, she bets on every hand
She’s a tricking mother for you every where she land
Why don’t you do now like the millionaires do
Put your stuff on the market and make a million too


May's a good looking frail, she lives down by the jail
On her back though she got hot stuff for sale
Why don’t you do now like the millionaires do
Put your stuff on the market and make a million too
In 1938, Jazz Gillum recorded a song complaining about his woman using too much. Reefer Head Woman:

I can't see why my baby sleeps so sound
Well, I can't see why my baby sleeps so sound
She must have smoked that reefer and it's bound to carry her down


When I left her this morning, I left her sleeping sound
When I left her this morning, I left her sleeping sound
The only way she could kiss me is to run like a full bloodhound


She said she was going to leave, going to some no good town
She said she was going to leave, going to some no good town
She was a rough-cutting woman, she didn't like to break them down


If you got a good woman, mens, please don't take her around
If you got a good woman, mens, please don't take her around
She will get full of reefers and raise sand all over this town
Reefer-Head Woman featured Big Bill Broonzy and Washboard Sam. Those guys played another drug-related song recorded for Bluebird this time under then name Wasboard Sam and His Washboard Band. The song's about giving up pimping for the better money available selling dope. Bucket's Got a Hole in It:


Oh my bucket's got a hole in it, Oh my bucket got a hole in it, Oh my bucket got a hole in it
Can't buy no beer
When you walking down Thirty-First Street, you had better look around
The vice squad is on the beat and you'll be jailhouse bound
I was standing on the corner, everything was going slow
Can't make no money, tricks ain't walking no more

Going to start a little racket, going to start it out right
Going to sell moonshine in the day and sell the dope at night
Then if I can't make no money, going to catch the Santa Fe
Going to drink good liquor and let all women be


Piano player Curtis Jones was a prolific recording artist in both the pre-war period and later. In 1938 he recorded Reefer Hound Blues:
I'm high up on my reefer, I'm nothing but a reefer hound
I'm high up on my reefer, I'm nothing but a reefer hound
My gage has just hit bottom(?), I believe I'll lay my body down


My whole body is king, I feel like I'm a millionaire
My whole body is king, I feel like I'm a millionaire
If I'm broke, I still got money, If I'm hungry, I don't even care


Lord, I really like my gage, that weed you call the reefer tea
I really like my gage, that weed you call the reefer tea
It's done sent my whole body and it sure feels good to me


This weed I've been smoking, it's done sent my very soul
This weed I've been smoking, it's done sent my very soul
And nobody could imagine, unless it's another cat who blows


I'm so high, I swear I'm as high as I could
I am so high, I'm as high as I can be
I'm so doggone high, the sun and sky even look low to me
In 1941, New pianist Champion Jack Dupree recorded the first version of a song that had been around New Orleans for a few years and would become something of a drug anthem and an incredibly influential song on countless New Orleans musicians. Junker Blues:
They call, they call me a junker
Cause I'm loaded all the time
I don't use no reefer, I'll be knocked out with that angel wine


Six months, Six months ain't no sentence
And one year ain't no time
They got boys in penitentiary doing from nine to ninety-nine


I was standing, I was standing on the corner
With my reefers in my hand
Upstairs the sergeant took my reefers out of my hand


My brother, my brother used a needle
and my sister sniffed cocaine
I don't use no junk, I'm the nicest boy you ever seen
My mother, my mother she told me
and my father told me too
That that junk is a bad habit, why don't you leave it too?


My sister she even told me
And my grandma told me too
That using junk partner was going to be the death of you
The 1941 storyteller is in denial while his family and the police sergeant try and get him off the junk. That's unlike some of the later versions of the song (many recorded as Junko Partner) where the drug use is openly embraced.

Whether legal or illegal, drugs were a part of the lives of blues musicians and they sang about it. Almost all of the songs recognize the difficulties of a lifestyle that includes drug use. Delusions, harm to your health, time in jail they all show up. And like most blues, it includes trouble caused by women.


Songs:
Dope Head Blues - Victoria Spivey
Willie the Weeper - Frankie "Half-Pint" Jaxon
Weed Smoker's Dream - Harlem Hamfats
Reefer Head Woman - Jazz Gillum
Bucket's Got a Hole in It - Washboard Sam and his Washboard Band
Reefer Hound Blues - Curtis Jones
Junker Blues - Champion Jack Dupree


Trazzler scam

Sunday, December 20, 2009

Show 44 - Snow Blues






Songs:
Ice and Snow Blues - Peetie Wheatstraw
Easin' Back to Tennessee - Sleepy John Estes
South Bound Backwater - Lonnie Johnson
Cold Winter Blues - Kokomo Arnold
Cold Winter Day - Blind Willie McTell
Ice and Snow Blues - Clifford Gibson

Friday, September 18, 2009

Show 43 - Jim Crow Blues






The blues wouldn't exist without Jim Crow. It's the American system of racial inequality that made life hell for African-Americans in the South. The law institutionalized racism. The term comes from an old minstrel song by 19th century blackface performer Thomas Rice. Once the blues era began, the term satrts to show up in several songs that make overt protest against the racist system. An early one from singer Maggie Jones, Northbound Blues from 1925 talks about heading away from Jim Crow.

Got my trunk and grip all packed
Goodbye, I ain't coming back
Going to leave this Jim Crow town
Lord, sweet pape, New York bound


Got my ticket in my hand
And I'm leaving dixieland

Going north child, where I can be free
Going north child, where I can be free
Where there's no hardships, like in Tennessee

Going where they don't have Jim Crow laws
Going where they don't have Jim Crow laws
Don't have to work there, like in Arkansas

When I cross the Mason‑Dixon Line
When I cross the Mason‑Dixon Line
Goodbye old gal, yon mama's gonna fly

Going to daddy, got no time to lose
Going to daddy, got no time to lose
I'll be alone, can't hear my northbound blues

Cow Cow Davenport was another singer to make an overt statement about going North to escape Jim Crow. Accompanied by B.T. Wingfield on cornet, he recorded Jim Crow Blues for Paramount in 1927:

I'm tired of being Jim Crowed, gonna Leave this Jim Crow town
Doggone my black soul, I'm sweet Chicago bound

Yes I'm leaving here from this old Jim Crow town
I'm going up North where they say money grows on trees
I don't give a doggone if my black soul is free
I'm going where I don't need no baby

I got a hat, got a overcoat, don't need nothing but you
These old easy walkers going to give my ankles the blues
But when my girl hears about this, oh, that will be sad news.

I'm going up North, baby I can't carry you
Ain't nothing in that cold up there a ?? can do
I'm gonna get me a Northern girl, see that I am through with you Lord

But if I get up there, weather don't suit, I don't find no job
Go and tell that boss man of mine, Lord I'm ready to come back to my Jim Crow town

By the end of the 1930s, musicians like Leadbelly and Josh White began becoming more overt with their political statements,

Leadbelly - Jim Crow:

Bunk Johnson told me too, This old Jim Crowism dead bad luck for me and you
I been traveling, i been traveling from shore to shore
Everywhere I have been I find some old Jim Crow

One thing, people, I want everybody to know
You're gonna find some Jim Crow, every place you go

Down in Louisiana, Tennessee, Georgia's a mighty good place to go
And get together, break up this old Jim Crow

I told everybody over the radio
Make up their mind and get together, break up this old Jim Crow

I want to tell you people something that you don't know
It's a lotta Jim Crow in a moving picture show

I'm gonna sing this verse, I ain't gonna sing no more
Please get together, break up this old Jim Crow

In the early 1930s, no case brought more attention to the Jim Crow system than the
trials of the Scottsboro Boys. 9 black teenagers were accused of raping two white women aboard a train. The series of trials in Alabama brought up issues of false accusation, the legal ability of black men to serve on Alabama juries, and how the entire Southern legal system treated black defendants. In 1938, Leadbelly recorded Scottsboro Boys it where he discusses Jim Crow in Alabama.

Now this is a song, "Scottsboro Boys." When I about Scottsboro Boys
cause I've been all over Alabama, Birmingham,
Montgomery. And in Alabama must be Jim Crow or something like that because
they turn loose some men and try to keep the others. I don't see why they
don't turn all of them loose. And this is the song, "Scottsboro Boys"
Go to Alabama and you better watch out
The landlord will get you, gonna jump and shout Scottsboro, Scottsboro, Scottsboro Boys
They can tell you what it's all about

I'm gonna talk to Joe Louis, ask him to listen to me
Dont he never try to make no bout in Alabamy
I'm gonna tell all the colored people, living on Sugar Hill
Don't you never go to Alabama to try to live

I'm gonna tell all the colored people, living in Harlem Swing
Don't you never go to Alabama to try to sing

Tell about the Scottsboro boys, where were they going to?
Tell about the Scottsboro boys, what happened to them?
This song is about the Scottsboro Boys. The boys left on a trip, you know, they was riding a freight train. And they met two white women in there, you know, the white women
was boosting too, what we call it. And they was beating there way along and they
met up with these boys. There was about nine boys and they rode along with them
and they went out. One of the women said it wasn't so and one of the said it
was. Now they goign to hold all of them for just one sentence, which I don't
think none of it was true. But they turned loose four and now they got a few
more. I think they ought to turn them all loose. That's what they call happened.
So they put the boys in jail. Give some of 'em life and some got loose, but I
don't think it's true. But, anyhow, the last word is this:

I'm gonna tell all the colored people, living in Harlem Swing
Don't you never go to Alabama to try to sing

Now, I'll tell you about it in Alabama, must be Jim Crow. If
a white woman says something, it must be so. And she can say something about a
colored person, if it's a thousand colored men, they kill all of 'em for just
that one woman. If she ain't telling the truth it don't make any difference.
Why? Cause it's Jim Crow and I know it's so, 'cause the Scottsboro Boys can tell
you about it.

Like Leadbelly, Josh White began to address political issues in a straightforward manner in his songs. In 1941, he recorded Jim Crow Train, a classic protest song against the Southern system. It also features one of the great recorded train imitations:

Can't you hear that train whistle blow?
Can't you hear that train whistle blow?
Can't you hear that train whistle blow?
Lord, I wish that train wasn't Jim Crow

Stop the train so I can ride this train

Damn that Jim Crow

By 1941, many believed the US would soon be entering World War II. Josh White took the chance to protest the transfer of Jim Crow into the military. Uncle Sam Says:

Airplanes flying across the land and sea,Everybody flying but a Negro like me.
Uncle Sam says, "Your place is on the ground, When I fly my
airplanes, don’t want no Negro around"
The same thing for the Navy, when ships go to sea
All they got is a mess boy’s job for me
Uncle Sam says,
"Keep on your apron, son,You know I ain’t gonna let you shoot my big Navy gun"

Got my long government letter, my time to go
When I got to the Army found the same old Jim Crow
Uncle Sam says, "Two camps for black and
whiteBut when trouble starts, we’ll all be in that same big fight"If you ask me,
I think democracy is fineI mean democracy without the color line
Uncle Sam says, "We’ll live the American way"
Let’s get together and kill Jim Crow today

Protest language in the blues is often coded and subtle. But in these songs, you hear the singers actually use the phrase "Jim Crow" make direct reference to the problems of systematic racial oppression. It's this system that created the conditions that created the blues and I'm always fascinating to hear singers comment on it overtly or covertly. Thanks to Eric Blinkhorn for his help.

Songs:
North Bound Blues - Maggie Jones
Jim Crow Blues - Cow Cow Davenport
Jim Crow Blues - Leadbelly
Scottsboro Boys - Leadbelly
Jim Crow Train - Josh White
Uncle Sam Says - Josh White

Friday, May 29, 2009

Show 42 - Minstrel Songs in the Blues Era






Minstrel shows and music played a huge part in shaping American popular culture. Though most people immediately think of white performers in blackface, black minstrelsy performed by African-American entertainers was popular and influential. In the first few decades of the twentieth century black performers from the minstrel stage like Ernest Hogan and Bert Williams were huge stars. These men actually did put burnt cork on their face to darken their skin and perform in blackface. Classic blues stars like Bessie Smith and Ma Rainey shared these stages and developed their reputation with touring minstrel shows. We usually think of country blues (singers like Blind Lemon Jefferson or Charley Patton) as a departure from this kind of entertainment. But the influence of minstrelsy on country blues performers is clearly present. So I thought we'd take a look at some country blues performers looking back to the popular black music of their youth and some race records from the twenties and thirties of older minstrel songs.

Let's start with one of the deepest Mississippi country bluesmen. Son House recorded Am I Right or Wrong during his Library of Congress recording session in 1942. It's based on a song called There are Others Who Don't Think That Way by Shepard Edmonds, popular around the turn of the century when Edmonds was with the minstrel company called Isham's Octoroons. Here's what Son House did with it:
Am I right or wrong?
You may not think because I'm black
I'm gonna beg you to take me back
No baby, was I right or wrong

I'm going in the spring
I got a mess from shaking that thing
Now babe, was I right or wrong?

Up the heck, right down the pine
I lost my britches right behind
Now baby, was I right or wrong?

You may not think because you're brown
I'm gonna let you dog me around
Oh honey, was that right or wrong?

You may not think because you're yellow
I'm gonna give you my last poor dollar
No babe, was I right or wrong?

Look here honey what you want me to do
Done all I could to get along with you
Now honey, was I right or wrong?

You need not think because I'm black
I'm gonna beg you to take me back
No honey, was that right or wrong?

Now I'm going in the spring
I got a mess form shaking that thing
Now honey, was that right or wrong?
In 1909, The Florida Blossoms minstrel company was touring the South playing theaters or setting up shows under a big big tent. During that time, the group's singers were performing a song that had grown popular on the black minstrel circuit called I'm So Glad I'm Brown Skinned, Chocolate to the Bone. In 1928, Barbecue Bob recorded I'm so Glad I'm Brownskin for Columbia records.

So glad I'm brownskin, so glad I'm brownskin, chocolate to the bone
So glad I'm brownskin, chocolate to the bone
And I've got what it takes to make a monkey-man leave his home

Black man is evil, yellow is so lowdown
Black man is evil, yellow man is so lowdown
I walk into these houses just to see these black men frown

I'm just like Miss Lilliam, I'm just like Miss Lilliam, I mean Miss Lynn you see
I'm just like Miss Lilliam, I mean Miss Lynn you see
She said a brownskin man is just all right with me

So glad I'm brownskin, chocolate to the bone
So glad I'm brownskin, chocolate to the bone
And I've got what it takes to make a monkey-man leave his home

Yellow man won't quit, black man just won't hay
Yellow man won't quit, black man just won't hay
But a pigmeat mama crazy about brownskin baby ways

I got a yellow mama, I got a yellow mama, she always got a pleasant smile
I got a yellow mama, always got a pleasant smile
But that brownskin gal with those coal black dreamy eyes


So glad I'm brownskin, so glad I'm brownskin, I'm chocolate to the bone
So glad I'm brownskin, chocolate to the bone
And I've got what it takes to make a monkey-man leave his home

Hmmm, Hmmmm, Lord, Lord, Lord
And I've got what it takes to make a monkey-man leave his home


William Moore was a barber in Virginia and a bluesman. In 1928, he recorded the song Ragtime Millionaire that was written by Irving Jones, one of the most successful songwriters of his era. In 1902 and 1903 that song was a hit, being sung by black minstrel singers across the country. It's the kind of fantasy about being rich that was once popular and still appealed to Moore almost twenty-five years later.

I'm a rag, I'm a rag, I'm a rag, I'm a ragtime millionaire
All you little people take your hat off to me
Because I'm a ragtime millionaire

Mr. Henry's gonna send me a Ford, he must
Everybody else is gonna take my dust
Gonna put a little sign on: "In God We Trust"
I don't mean to have no fuss
All you little people take your hat off to me
Because I'm a ragtime millionaire

I'm a rag, I'm a rag, I'm a rag,
I'm a ragtime millionaire
All you little people take your hat off to me
Because I'm a ragtime millionaire

Some of the boys say that I'm gonna be late
No, if you please, I got a twenty-eight
Some boys say they gonna catch me at last
But all I got to do is just to step on the gas
All you little people take your hat off to me
Because I'm a ragtime millionaire

I'm a rag, I'm a rag, I'm a rag, I'm a ragtime millionaire
All you little people take your hat off to me
Because I'm a ragtime millionaire

Gonna take my sweetie to a ball tonight
Make those boys treat her right
Keep her out about half midnight
I don't mean to have no fight

All you little people take your hat off to me
Because I'm a ragtime millionaire

I'm a rag, I'm a rag, I'm a rag
I'm a ragtime millionaire
All you little people take your hat off to me
Because I'm a ragtime millionaire

Every tooth in my head is solid gold
Make those boys look icy cold
I brush my teeth with diamond dust
And I don't care if the bank would bust

All you little people take your hat off to me
Because I'm a ragtime millionaire

I'm a rag, I'm a rag, I'm a rag,
I'm a ragtime millionaire
All you little people take your hat off to me
Because I'm a ragtime millionaire

I'm a rag, I'm a rag, I'm a rag,
I'm a ragtime millionaire
All you little people take your hat off to me
Because I'm a ragtime millionaire
Banjo player Gus Cannon was one of the great jug band leaders in the twenties and thirties. He frequently looked back to minstrel songs for inspiration and like William Moore he recorded a wealth fantasy number that was a popular Irving Jones composition 25 years earlier. In 1927, he recorded My Money Never Runs Out. It took verses from Jones' song, My Money Never Gives Out as well as a song called I Don't Care If I Never Wake Up"written by Paul Knox. Gus Cannon's My Money Never Runs Out:
There's a certain yellow joker lives around this town
Just as lazy as lazy can be
Was long to shake, Says he hangs around
I love my hot belly

Early one morning come right away
Not a word was said
Boy I go back to bed, Man I give up my hand
I don't care if I never wake up

Man, I don't care if I never wake up
Til these boards get through with me
I'm coming back here with my big smoke
I'm gonna make them climb a tree

Nothing like living like a money king
Drink from a silver cup
She poured the pass straight out of my glass
I don't care if I never wake up.

Now if my money boy was stacked high
I believe it would go to touch the sky
I'd buy the people with a dime a dozen
Man I don't care if the banks do burst

Cause my money don't never run out
Rich folks, you're making me doubt
Now every good evening, we gonna post and shout

Said I'm living good all the time
I don't drink no cheap wine
When it's always thirst, good money don't never run out

My money don't never run out
Rich fools you're making me shout
It's notable that Gus Cannon took out all uses of the word coon from the original composition. Around the turn of the century, what are referred to as "coon songs" were an integral part of both black and white mistrelsy. Professional stage singers (even white ones) of a certain type were called coon shouters. The most famous song was black composer and singer Ernest Hogan's All Coons Look Alike to Me. It was a hit that remained popular for decades. The term coon is undeniably offensive to the modern listener amd it already was by the twenties when Gus Cannon removed the word from his song. Not all blues singers making race records did that though. Luke Jordan was one singer who went back and forth. He recorded an old song from the ragtime era called Traveling Coon in 1927. Note him going back and forth between calling the central character a coon and a man.

Folks let me tell you about a Traveling Coon
His home was down in Tennessee
He made his living stealing chickens
And everthing he sees

Policeman got straight behind this coon
And certainly made him take the road
There never was a passenger train run so fast
That Shine didn't get on board

He was a traveling man, he was a traveling man
The was the travelinest man, finest was in the land
He was a traveling man, finest was in the land
He was a traveling man, it's known for miles around
He never give up, no he wouldn't give up
Til the police shot him down

They sent the traveling coon to the spring one day
To fetch a pail of water
I think the distance from the house to the spring
Sixteen miles and a quarter
The coon went there and he got the water all right
Came back stubbed his toe and fell down
He ran back home, he got another pail
He caught the water, before it hit the ground

He was a traveling man...
By 1941, when Washboard Sam and his Washboard band (Simeon Henry, William Mitchell, and Big Bill Broonzy) told the story of that same Traveling Man, and references to coon are gone:

He's a traveling man, He's a traveling man
He's a traveling man, He's a traveling man
He's a most-traveling man, ever been in this land

And when the law got after him, he sure got on the road
And when the law got after him, he sure got on the road
And if a train passed, he sure would get on board

He's a traveling man, he was seen for miles around
He's a traveling man, he was seen for miles around
He never got caught, til the police shot him down

Police shot him with a rifle and the bullet went through his head
Police shot him with a rifle and the bullet went through his head
Peoples come from miles around just to see if he was dead

They sent down South for his mother, she was grieving down in jail
They sent down South for his mother, she was grieving down in jail
When she opened up that coffin, don't you know that fool had disappeared


Let's finish with one from Memphis singer Furry Lewis who was a veteran of later day minstrel shows. It's a version of a song that Bily Cheatham was singing around the turn of the century when Furry would have been 7 or 8 years old. Cheatham called it I'm Gonna Start Me a Graveyard of my Own, In 1928, Furry Lewis called it Furry's Blues. It's a fantasy about killing all the people that have wronged him:

I believe I'll buy me a graveyard of my own
Believe I'll buy me a graveyard of my own
I'm going to kill everybody that has done me wrong

If you want to go to Nashville, man's ain't got no fare
If you want to go to Nashville, man's ain't got no fare
Cut your good girl's throat and the judge will send you there

I'm going to get my pistol forty rounds of ball
Get my pistol forty rounds of ball
I'm going to shoot my woman just to see her fall

I'd rather hear the screws on my coffin sound
I'd rather hear the screws on my coffin sound
Than to hear my good girl say I'm jumping down

Get my pencil and paper, I'm going to sit right down
Get my pencil and paper, I'm going to sit right down
I'm going to write me a letter back to Youngstown

This ain't my home, I ain't got no right to stay
This ain't my home, I ain't got no right to stay
This ain't my home, must be my stopping place

When I left my home, you would not let me be
When I left my home, you would not let me be
Wouldn't rest contented til I come to Tennessee
It's tough to know how similar Furry's Blues is to the older Billy Cheatham song because so few black performers from the minstrel days were recorded. But taking at least themes and ideas from black minstrel music was an undeniable part of blues recordings from the 1920s and 30s. Some of the blatantly racist lyrics from the black face minstrelsy of the ragtime era made it through to the era of race records and blues recordings. Though there are relatively few recordings of black performers from the earlier era, the music they made was popular and revisited decades later by performers that we've heard who clearly recalled the pop music of their youth fondly.



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