vrijdag 31 januari 2014
(That) Lonesome Valley (1925) / Little Bunch Of Roses (1928) / Can't You Hear That Night Bird Crying (1936) / Rough And Rocky (1945) / Reverend Mr. Black (1963)
Lonesome Valley, a spiritual from both white and black sources, was recorded by the Carter Family in 1930. A.P. Carter probably learned the song from Leslie Riddle , but popular versions by both Vernon Dalhart and Andy Jenkins had been circulating. The earliest recording of "That Lonesome Valley" was done in 1925 by the Jenkins Family (although there seems to be an unreleased 1924 recording by David Miller --> see further on in this page).
The song has been recorded by many predominently country artists with varying lyirics and under numerous titles, including "Lonesome Valley","I've Got To Walk The Lonesome Valley", "That Lonesome Valley", "Walk That Lonesome Valley", "Jesus Walked The Lonesome Valley", "You Got To Walk That Lonesome Valey", "Everybody Got To Walk This Lonesome Valley" and "John The Baptist".
The song was contained in John Wesley Work's "Folk Song Of The American Negro" (1907)
(o) Jenkins Family 1925 (as "That Lonesome Valley")
Andrew Jenkins [vcl/gt], Irene Spain [vcl/organ/piano], Mary Lee Spain [vcl]
Recorded April 1925 in Atlanta, GA
Released on Okeh 40377
(c) Al Craver (=Vernon Dalhart) (1926) (as "John The Baptist")
Vernon Dalhart, v; acc. poss. John Cali, lute.
New York, NY Friday, June 25, 1926
Released on Columbia 15086-D
(c) Pace Jubilee Singers (1926) (as "Everybody Got To Walk This Lonesome Valley")
Recorded September 13, 1926 in the Webster Hotel in Chicago, IL.
Released on Victor 20310
Pace Jubilee Singers – Everybody Got To Walk
Or to a sample here:
(c) Lester McFarland and Robert A. Gardner, "The Lonesome Valley"
Vocal duet with harmonica, mandolin and guitar.
Recorded on October 16, 1926
Released on Vocalion 5127
(c) Elzie Floyd and Leo Boswell
Recorded March 26, 1927
Released on Columbia 15167-D
(c) David Miller 1927
David Miller, v; acc. own g.
Recorded May 1927 in Richmond, IN.
Released on Gennett 6175, Champion 15317, Challenge 327, Herwin 75557
Challenge 327 as by Dan Kutter and Herwin 75557 as by Oran Campbell.
(c) Rev F.W. McGee 1927
Recorded June 7, 1927
Released on Victor 20858
(c) Carter Family (1930) (as "Lonesome Valley")
Sara Carter [vcl/autoharp], A.P. Carter [vcl], Maybelle Carter [vcl/gt]
Recorded November 24, 1930 Memphis, TN –
Released on Victor 23541, Bluebird B-6117 and Montgomery Ward M-4735
(c) Slim Duckett And Pig Norwood (1930) (as "You Gotta Stand Judgment For Yourself")
Slim Duckett & Pig Norwood – You Gotta Stand Judgement For Yourself
(c) Bill Elliott (1932) (as "Lonesome Valley")
Bill Elliott, v; acc. Bob Mitchell, o.
Recorded in Camden, NJ on February 5, 1932
Released on Victor 23658
and Montgomery Ward M-4337 ( as by Jim Baird)
(c) Carolina Ramblers String Band (1932) (as "That Lonesome Valley")
Steve Ledford, f/v; poss. Taft Ledford, f or g; unknown, h; Daniel Nicholson, bj/v; Audie Rodgers, g/v; George Ledford, v.
Recorded in New York, NY on February 17, 1932
Released on Banner 32474, Melotone M12428, Oriole 8148, Perfect 12818 and Romeo 5148
(c) Monroe Brothers (1936) (as "You've Got To Walk That Lonesome Valley")
Bill Monroe, Charlie Monroe, v duet; acc. Bill Monroe, md; Charlie Monroe, g.
Recorded in Charlotte, NC on February 17, 1936
Released on Bluebird B-6477 and Montgomery Ward M-5026
(c) Mainer's Mountaineers (1936) (as "Walk That Lonesome Valley")
J.E. Mainer, f/v; Junior Misenheimer, bj; Harold Christy, g; Beacham Blackweller, g; Wade Mainer, v; Zeke Morris, v.
Recorded in Charlotte, NC on June 15, 1936
Released on Bluebird B-6596 and Montgomery Ward M-7007
(c) Dixie Reelers (1936) ("Lonesome Valley – Part 2")
Ollie Bunn, v; Daddy John Love, v/g; Clarence Todd, v/g.
Recorded in Charlotte, NC on June 20, 1936
Released on Bluebird B-6713 and Montgomery Ward M-7099
(c) Heavenly Gospel Singers (1937) (as "Walk This Lonesome Valley")
Roosevelt Fenoy (vocals); Fred Whitmore (tenor); Henson Massey (baritone); Jimmy Bryant Singers, Jimmy Bryant (bass voice)
Recorded on February 16, 1937
Released on Bluebird B-6984
Heavenly Gospel Singers – Walk This Lonesome Valley
(c) Roy Acuff & His Crazy Tennesseeans (1937) (as "Lonesome Valley")
Roy Acuff, f/v/bj ; Clell Summey, sg/v; Jess Easterday, g; Red Jones, sb/v.
Recorded in Birmingham, AL on March 22, 1937
Released on Vocalion/Okeh 04730 and Conqueror 9256
(c) Woody Guthrie 1940
Library Of Congress, Washington, DC sessions with Alan Lomax
Recorded March 21, 1940
(c) Elvis Presley & the Million Dollar Quartet (1956) (as "Jesus Walked That Lonesome Valley")
Elvis Presley [gt/piano], Jerry Lee Lewis [vcl/piano], Carl Perkins [vcl/gt], Jay Perkins [gt], Charlie Underwood [gt], Clayton Perkins [bass], W.S. Holland [drums] (Producer: Sam Phillips)
Recorded December 4, 1956 [informal session] Sun Studio, 706 Union Ave., Memphis, TN –
(c) Little Richard (1959) (as "Jesus Walked This Lonesome Valley")
Billy Ed Wheeler, (with Jed Peters (=Mike Stoller and Jerry Leiber) used “Lonesome Valley” as the core of a song he called “Reverend Mr Black,” which was released by the Kingston Trio in 1963 becoming a top ten hit on the Billboard that year. “Reverend Mr. Black” was also recorded by Bobby Darin (1963), Faron Young (1963), and Johnny Cash (1981). Others who have recorded this song are Tex Ritter, Lonnie Donegan, John Stewart, Tim Grimm, and Sherwin & Pam Linton.
(c) Billy Ed Wheeler 1963 (as "Reverend Mr. Black")
Billy Edd Wheeler (Producer: Paul Cohen)
Recorded October 8, 1963 Nashville, TN -
Released on Kapp KS-3351
Billy Edd Wheeler's author's version was recorded and released after the hit-version by the Kingston Trio (who had used Billy Edd Wheeler's DEMO as a guide)
(c) Kingston Trio 1963 (as "Reverend Mr. Black")
John Stewart [vcl/gt/banjo], Nick Reynolds [vcl/gt], Bob Shane [vcl/gt] + Glen Campbell [banjo], Dean Reilly [bass]. Producer: Voyle Gilmore)
Recorded January 23, 1963 [no. 11009, 12:00-15:00] Capitol Recording Studio, 1750 North Vine St., Hollywood, CA –
Released on Capitol 4951
(c) Johnny Cash & The Carter Family (1963) (as "Lonesome Valley")
Recorded July 8, 1963 Columbia Recording Studio, 804 16th Ave. South, Nashville, TN –
Carter Family & Johnny Cash (Maybelle Carter [vcl], Helen Carter [vcl], Anita Carter [vcl], June Carter [vcl], Junior Huskey [bass], Bob Johnson. Producer: Don Law & Frank Jones) [overub session on September 4, 1963, Nashville, TN: Johnny Cash [vcl])
Released in 1964 on the album "Keep on the Sunny Side".
(c) Mississippi John Hurt (1965)
"Mississippi" John Hurt singing, "Lonesome Valley" on Pete Seeger's TV program, "Rainbow Quest".
(c) Vince Martin and Fred Neil (1964) (as "Lonesome Valley")
on the album "Tear Down The Walls"
(c) Kevin Coyne (1973) (as "Lonesome Valley")
on the abum "Marjorie Razorblade".
(c) Pete Seeger and Arlo Guthrie (1975) (as "Lonesome Valley")
Recorded live in the Music Hall, in Boston
(c) Bruce Springsteen 24-06-1993 East Rutherford, New Jersey
26-06-1993 New York City
Also on Satan's Jewel Crown album
(c) Eric Bibb (1994) (as "Lonesome Valley")
On the album "Spirits & The Blues".
(c) Fairfield Four (2000) (as "Lonesome Valley")
in movie "O Brother Where Art Thou?"
Baritone Vocals – James Hill (2) Bass Vocals [First Lead And Bass] – Isaac Freeman Lead Vocals [Second Lead] – Nathan Best Lead Vocals [Utility Lead] – Joseph Rice, Robert Hamlett
Tenor Vocals – Wilson Waters
More versions here:
The melody was also used a.o.
for "Little Bunch of Roses" (1928)
and "Who's Gonna Kiss Your Lips, Dear Darling" (1929)
and "Last Gold Dollar" (1929)
and "Can't You Hear That Night Bird Crying" (1936)
and "(Don't This Road Look) Rough And Rocky" (1945)
(c) Clarence Greene (1928) as "Little Bunch Of Roses")
(c) Carolina Tar Heels (1929) (as "Who's Gonna Kiss Your Lips, Dear Darling")
(c) Ephraim Woodie And The Henpecked Husbands (1929) (as "Last Gold Dollar")
(c) Blue Sky Boys (1936) (as "Can't You Hear That Night Bird Crying")
(c) T. Texas Tyler (1945) (as "Rough And Rocky")
"Rough And Rocky" has the exact same melody and two similar stanzas as the above mentioned "Can't You Hear That Night Bird Crying"
(c) Flatt & Scruggs (1954) (as "Don't This Road Look Rough And Rocky")
(c) Gene Clark (1972) (as "Rough And Rocky")
(c) Emmylou Harris (1979) (as "Rough And Rocky")
Emmylou Harris – Rough And Rocky - Remastered LP Version
Pete Seeger mixed up the lyrics of "Lonesome Valley" and "Rough And Rocky" for his 1975 version. (SEE YOUTUBE ABOVE)
He already sang that mixed-up version with Joan Baez around 1962:
This version was released on the album "Very Early Joan"
But already in 1944 Woody Guthrie had recorded a version of "Lonesome Valley" which included the "Rough And Rocky" verse. (So that's even before T. Texas Tyler recorded "Rough And Rocky" in 1945 !!!
Woody Guthrie – I'm Gonna Join That One Big Union
Or to a sample here:
donderdag 16 januari 2014
Ils La Volet Mon Trancas (1934) / Hackberry Hop (1935) / Route 90 (1953) / Hippy Ti Yo (1954) / Sweet Little Sixteen (1958) / Surfin USA (1963)
"Sweet Little Sixteen" is a rock and roll song written and originally performed by Chuck Berry, who released it as a single in January 1958. It reached number two on the American charts, Berry's second-highest position ever on that chart
The Beach Boys' 1963 song "Surfin' U.S.A." has the same melody, with new lyrics that focus on the Beach Boys' ongoing theme of surfing. Following litigation by Berry the song is credited to Berry/Wilson
But Chuck Berry himself may have borrowed the chord progression from Clarence Garlow's 1953 song "Route 90".
More versions of "Route 90" / "Sweet Little Sixteen" / "Surfin' U.S.A." on the next 2 links
Clarence Garlow on his turn might have borrowed the chord progression from Leo Soileau's 1935 song "Hackberry Hop". Hackberry is even a place on the old Route 90 !!
"Hackberry Hop" is also known as "Hippy Ti Yo", "Hip Et Taiau", "Les Huppes Taiauts", "T'as Vole Mon Chapeau", "Ils La Volet Mon Trancas".
The song is an old tune about a mysterious creature, women or a couple of dogs ('hip et taiaud' or 'les huppes taiauts') who prowl about stealing things off the farm, engendering the ire of the farmer which makes them return the items.
Read all about " Hippy Ti Yo" here:
NOT TO BE CONFUSED with "Whoopee Ti Yi Yo (Git Along Little Doggies)". But it is thought that such phrases as “Whoopie Ti Yi Yo!” found in the Western classic “Git Along Little Dogies (doggies?)” is derived from the exclamation “Hip et Taïaut” and its variations that were heard in the Cajun prairies.
Listen here to a medley of the 4 songs (in blue) mentioned above:
But the history of the song goes back even further !!!!
On October 9, 1934, one year before Leo Soileau's recording, a version of the song (as "T'as vole mon chapeau") was recorded by Breaux Freres.
But already on August 8, 1934, Joseph Falcon recorded a version of the song (as "Ils La Volet Mon Trancas").
In 1962 Joseph Falcon admitted he had picked up the song from 2 light-skinned black Creoles, more specifically 2 of Oscar Babineaux's sons, one being Sidney Babineaux, the accordion player.
Coincidence or not, in 1962 Sidney Babineaux recorded a version of "Zydeco Sont Pas Sale",
a song very reminiscent of "Ils La Volet Mon Trancas" (or "Hackberry Hop" or "Hip et Taiau")
Listen after 1 min and 41 seconds in the next clip:
But here are the recordings, beginning with the oldest version I could find:
(o) Joseph Falcon (1934) (as "Ils La Volet Mon Trancas") (=They stole my sled)
Cleoma Breaux Falcon Vocals, Guitar - Joe Falcon Accordion.
Recorded August 8, 1934 San Antonio Texas.
Released on Bluebird Records B-2191.
(c) Breaux Freres (1934) (as "T'as vole mon chapeau") (=You have stolen my hat)
Recorded October 9, 1934 San Antonio, TX –
Breaux Freres (Ophy Breaux [fiddle]; Amadie Breaux [accordion/vcl-1]; Clifford Breaux [gt])
Released on Vocalion 02961
(c) Leo Soileau & His Three Aces (1935) (as "Hackberry Hop")
Fiddle, Vocals – Leo Soileau
Guitar – Bill (Dewey) Landry, Floyd Shreve
Drums – Tony Gonzales
Recorded January 18, 1935, New Orleans, Louisiana.
Original issue: Bluebird B-2086.
(c) Clarence Garlow (1953) (as "Route 90")
Released in November 1953 on the Flair-label (#1052)
(c) Chuck Berry (1958) (as "Sweet Little Sixteen")
Recorded December 29–30, 1957 in Chicago, Illinois
Released in January 1958 on Chess 1683
Here's Chuck at the second ever Dick Clark Show on February 22, 1958
(c) Beach Boys (1963) (as "Surfin' U.S.A.")
Recorded January 5, 1963
Released March 4, 1963 on Capitol 4932
Here are the Beach Boys live in 1964
(c) Harry Choates & His Melody Boys 1947 (as "Hackberry Hop")
Recorded February 11, 1947 Lake Charles, LA -
Harry Choates & His Melody Boys (Esmond Pursley [gt], Joseph Manuel [vcl/banjo], Pee Wee Lyons [steel], B.D. Williams [bass], Curzy Roy [drums], Johnnie Manuel [vcl/piano]
Released on Cajun Classics 1007
(c) Luderine Darbone And His Hackberry Ramblers (1947) (as "Hippitiyo")
Lennis Sonnier [vcl/gt], Chink Widcamp [bass], Luderin Darbone [fiddle]
Recorded February 1947 New Orleans, LA –
Released on DeLuxe 5035
(c) Abe Manuel and the Louisiana Hillbillies (1954) (as "Hippy-Ti-Yo")
Released on J.D. Miller's Feature-label (#1098)
(c) Bobby Page And The Riff Raffs (1958) (as "Hippy Ti Yo")
(c) Link Davis (1961) (as "Come Dance With Me")
(c) Doug Kershaw (1973) (as "Hippy Ti Yo")
(c) Jimmy Newman (1973) (as "Hippy Ti Yo")
As I said above, the 1934 Joseph Falcon recording "Ils La Volet Mon Trancas" could have been influenced by a Sidney Babineaux song "Zydeco Sont Pas Salés".
"Zydeco Sont Pas Salés" is probably a corruption of the term "Les Haricots Sont Pas Salés"
The term zydeco, much like the music it describes, is rooted in rural Creole traditions. In Creole folk etymology, zydeco is said to be cognate with the French "les haricots", or “beans”.
In other words, zydeco and its many variants (for example, zodico, zotico, zadeco, zordico, zarico—there is no standard spelling, although zydeco is today the most common) are simply phonetic representations of “les haricots,” or more specifically, of the liaison between the plural article's final consonant and the noun (“'s'haricots”), with the tongue-flapped French r assuming the character of an English d. The term's musical associations are customarily traced to a floating lyric—“les haricots sont pas salés”—literally, “the snap beans aren't salted,” a metaphor for hard times. As one of Nick Spitzer's informants explained, “In the old days somebody would meet you and he'd say, 'Tu vas faire z'haricots? and that would mean are you gonna get your beans in this year or really 'How are you doin'?' So you might say back to him, 'Ouais, Je vas faire z'haricots, mais z'haricots sont pas salé.' That would mean that you were gonna have beans, but no meat. You'd have no meat not even salt-meat, to flavor the beans. You was barely gettin' by. (quoted from David Evans)
Jimmy Peters with "J'ai Fait Tout Le Tour Du Pays" was probably the first one to sing about the "beans that weren't salted", recorded in June 1934 by Alan Lomax in the village of Lake Arthur.
Nick Spitzer in one of his books:
In this traditional love lyric performed as a juré, the group's leader, Jimmy Peters, enumerates various misfortunes—in one verse, for instance, he laments "Toi, comment tu veux je te vas voir, / Mais quand mon chapeau rouge est fini? / Toi, comment tu veux je te vas voir, / Mais quand mon suit est tout déchiré? ("You how can you want me to see you /When my red hat is worn? / You, how can you want me to see you /When my suit is all torn?”)—underscored by the refrain “O mam, mais donnez-moi les haricots. Mais o cherie, les haricots sont pas salés” (“Oh momma, give me some beans. / But oh dear, the beans aren't salted”).
It was on May 11, 1965, almost thirty-one years after Jimmy Peters sang about the snap beans, that Clifton and Cleveland Chenier entered the Gold Star studio in Houston.
Then the pair, backed by drummer Madison Guidry, launched into what would become Chenier's signature piece, "Zydeco Sont Pas Salé".
On it, Chenier strips down his piano accordion and treats it like an old single-key button model, repeating notes of the same chord. Over this mighty rhythm he sings some lines about two mischievous dogs named "Hip and Taïaut" that date back to a 1934 Cajun record by Joseph and Cleoma Falcon, "Ils la volet mon trancas" ("They Stole My Sled"); Joe Falcon once explained that he heard the tune from a Creole accordionist named Babineaux. Chenier couples the old song with the lines about the snap beans:
O Mama! Quoi elle va faire avec le nègre?
Zydeco est pas salé, zydeco est pas salé.
T'as volé mon traineau, t'as volé mon traîneau.
Regarde Hip et Taïaut, regarde Hip et Taïaut.
Oh Mama! What's she going to do with the man?
The snap beans aren't salty, the snap beans aren't salty.
You stole my sled, you stole my sled.
Look at Hip and Taïaut, look at Hip and Taïaut.
In Chenier's "Zydeco Et Pas Salé" — today considered the anthem of zydeco — the lines about the snap beans are reunited with the same beat heard on the Lomax recordings. The result still sounds more like a juré performance than anything ever recorded on the accordion, before or since.
"But Clifton's daddy was an accordion player, and he said that his daddy played one of them juré songs, and they called that `Zydeco est pas salé.' Which means the snap beans don't have no salt in them. So Clifton says, `That "Zydeco est pas salé" song is good, but the way Daddy played that, that's the wrong speed.' He says, `I'm going to take that same song, and I'm going to put a different (slower) speed on it and them people are going to be able to dance that.' And he did, too. And when he started, everybody wanted to play the accordion, everybody wanted to play what Clifton played.". (quoted from: Michael Tisserand)
(c) Clifton Chenier (1965) (as "Zydeco Et Pas Sale")
Recorded at Gold Star Studios, Houston, Texas, on May 11, 1965
Released on Arhoolie Recrds.
Listen here to Clifton's "Zydeco Et Pas Salé"
The album below contains 3 versions of "Zydeco Sont Pas Salés": Jimmy Peters (1934), Sidney Babineaux (1962) and Clifton Chenier (1965)
(c) Zachary Richard (1980) (as "Les Haricots Sont Pas Sales")
Live in Montreal.
zaterdag 11 januari 2014
Most of the versions of "Big Mamou" are credited to Link Davis, though he only wrote the English words for it and copyrighted the song in 1952.
His version was the first ever release (#18001) at the start of the country-branch of the OKEH-label, a subsidiary of the Columbia-label.
Link Davis probably learned it from Harry Choates, with whom he had worked in 1950.
Harry Choates recorded a version of "Big Mamou" in 1951 on the Humming Bird label.
But Choates had already recorded a version of the song in 1950 with a different title "Gra Mamou" (on the Macy's Recordings label).
And already in 1946 Harry Choates had recorded a version for the Gold Star-label, with the ORIGINAL title "Basile Waltz"
Leo Soileau already recorded a version of the song as "Le Gran Mamou" in 1935 on the Victor label.
But Leo Soileau on his turn had already recorded a version of the song in 1928 with yet another title ("Basile").
In between the 2 versions of Leo Soileau, in 1934, Joe Falcon and Cleoma Breaux Falcon had also recorded a version of the song (yet with another title and text). "Ma Valse Prefere". On the Decca-label.
"Mamou" and "Basile" are two towns in the Evangeline parish (a parish located in the U.S. state of Louisiana.)
Here are the recordings beginning with the oldest version I found:
(o) Leo Soileau and Mayuse Lafleur (1928) (as "Basile - Waltz")
Leo Soileau, f; Mayuse Lafleur, ac/v.
Recorded in Atlanta, GA on Friday, October 19, 1928
Released on Victor 21769
Less than two weeks after the recording session, Mayuse Lafleur was shot to death during a quarrel involving moonshine at a local dance after jumping to the aid of a friend, Alexander Bellon, who was shot first. He was only 22 at the time of his death.
(c) Cleoma Falcon 1934 (as "Ma Valse Preferee")
Joseph Falcon [accordion] & Cleoma Breaux Falcon [vcl/gt]
Recorded December 22, 1934 New Orleans, LA –
Released on Decca 17005
(c) Leo Soileau and His Three Aces (1935) (as "Le Gran Mamou")
Fiddle, Vocals – Leo Soileau
Guitar – Bill (Dewey) Landry, Floyd Shreve
Drums – Tony Gonzales
Recorded January 18, 1935, New Orleans, Louisiana.
Original issue: Bluebird B-2194.
Leo Soileau and His Three Aces (ca 1935)
(c) Harry Choates and His Fiddle (1946) (as "Basile Waltz")
Recorded ca. June 1946 Quinn Recording Co., 3104 Telephone Road, Houston, TX
Harry Choates (Esmond Pursley [gt], Abe Manuel [gt], Joe Manuel [vcl/banjo], B.D.Williams [bass])
Released on Gold Star 1313-A
Also on Modern 20-511, DeLuxe 6000, Starday 284 and D 1132
(c) Harry (Jole Blon) Choates and his Fiddle (1950) (as "Gra Mamou")
Harry Choates:Vocals & Fiddlle
Either Joe Manuel or Eddie Pursley:Guitar
Ronald "Pee Wee" Lyons:Steel Guitar
Johnnie Ruth Manuel:Piano
Recorded at ACA Studios 612 Westheimer, Houston, TX. c. March, 1950
Released on Macy's Recordings #124-A
(c) Harry Choates and his Fiddle 1951 (as "Big Mamou (Original) (Grosse Mama)"
Released on Humming Bird 1012
(c) Link Davis with Benny Leader’s Bayou-Billies (as "Big Mamou")
Link Davis, Vcl/fiddle with Frank Juricek, steel gtr; Bill Buckner, gtr; Clyde Brewer, piano; Benny Leader, bass; others unidentified.
Recorded at ACA Studio, Houston, December 2, 1952
Released on OKEH 18001 (first ever release on the start of the country-branch of the Okeh-label, which was a subsidiary of the Columbia-label)
(c) Smiley Lewis (1953) (as "Big Mamou")
In the spring of 1953 Smiley Lewis made his own variation of "Big Mamou", still crediting Link Davis.
In 1953 Eddie Shuler made a cover-version (crediting "Shuler" !?)
(c) Pete Hanley (1953) (as "Big Mamou") (#19 Hit USA)
(c) Rusty Draper (1953) (as "Big Mamou")
Recorded March 1953 Universal Recording Corp., 111 East Ontario Ave., Chicago, IL
(c) Ella Mae Morse (1953) (as "Big Mamou")
(c) Dolores Gray (1953) (as "Big Mamou")
(c) Jimmy Newman (1961) (as "Big Mamou")
Recorded April 12, 1961 Bradley Film and Recording Studio, 804 16th Ave. South, Nashville, TN – Jimmy Newman (unknown musicians. Producer: Owen Bradley)
Released on Decca 31281(45) and DL-74221 (LP)
(c) Everly Brothers 1961 (as "Gran Mamou")
(c) Waylon Jennings 1964 (as "Big Mamou")
(c) Rod Bernard (1969) (as "Big Mamou")
Released on the JIN-label (#45-250)
(c) Clifton Chenier (1970) (as "Big Mamou")
Recorded at Gold Star Studios--Houston, Texas on November 6, 1969.
(c) Fiddlin' Frenchie Burke And The Outlaws (1974) (as "Big Mamou")
Released on Music Creek MC-560 and after regional succes distibuted nationally by 20 Century.
It was a #39 C&W hit for Frenchie at the end of 1974.
(c) Commander Cody (1976) (as "Big Mammau")
Recorded live in England in January 1976.
(c) Queen Ida & the Bon Temps Zydeco Band (live 1978) (as "Grand Mamou")
(c) Amos Garrett / Doug Sahm / Gene Taylor (1988) (feat. Queen Ida) (as "Big Mamou")
Released on the album: "The Return of the Formerly Brothers"
(c) Hank Williams Jr (1989) (feat. Jimmy Newman) (as "Big Mamou")
Released on the album "Lone Wolf"
More versions here:
zaterdag 4 januari 2014
"Little Sadie" is a 20th-century American folk ballad. It is also known variously as "Bad Lee Brown", "Cocaine Blues", "Transfusion Blues", "East St. Louis Blues", "Late One Night", "Penitentiary Blues" and other titles.
It tells the story of a man who is apprehended after shooting his wife/girlfriend. He is then sentenced by a judge.
The early versions refer to the Sheriff of Thomasville, North Carolina (sometimes mentioned Bad Texas Bill) apprehending the murderer in Jericho, South Carolina (in Charleston County, near Hollywood, South Carolina).
Other versions (the "Cocaine Blues" versions) refer to the Sheriff of Jericho Hill apprehending the murderer in Juarez, Mexico
Before it was published (part of) the lyrics of "Little Sadie" / "Bad Lee Brown" was already present in the lyrics of older songs.
W.H. Thomas (Some current folk-songs of the negro, 1912, page 10) reports a similar piece: "I Dreamt Last Night":
W.H. Thomas's report is also mentioned in Dorothy Scarborough's On the Trail of Negro Folk-Songs, 1925, page 243)
Dorothy Scarborough in On the Trail of Negro Folk-Songs, 1925, pages 87-89) reports another similar piece, "The Coon-Can Game".
and Carl Sandburg (American Songbag, 1927, pages 310-311) found a related item (Coon Can (Poor Boy)) in Fort Smith, Ark.
See also the "Bad Man Ballad" which Lomax (American Ballads and Folk Songs, 1934, pages 89-91) "learned from a tongue-tied Negro convict at Parchman, Mississippi."
Ernest "Buddy" Baker was probably the first one to record a version of this ballad, using a different title "Penitentiary Blues"
(o) Buddy Baker (1928) ("Penitentiary Blues")
Recorded June 21, 1928 (Chicago, Illinois. 952 North Michigan Ave.
Released on Victor 21549-A
Here's the lyrics Buddy Baker sings:
(c) John Dilleshaw and the String Marvel 1929 ("Bad Lee Brown")
John Dilleshaw, g/v.; prob. Pink Lindsey, f-1.
Recorded in Atlanta, GA Friday, March 22, 1929 (Okeh unissued)
Matrix 402406-B -1, 4 :
Released in 1978 on LP: "Folk Music in America, Vol. 9, Songs of Death & Tragedy" (Library of Congress LBC9)
Read all about John Dilleshaw here: http://www.1001tunes.com/fiddlers/dilly1.html
Clarence Ashley was the first one to record a version, using the more familiar title "Little Sadie"
(c) Clarence Ashley (1930) ("Little Sadie")
Clarence Ashley, v; acc. own bj.
Recorded in Johnson City, TN Wednesday, October 23, 1929
Released on Columbia 15522-D
In the 1930 recording here above, "Little Sadie" may have been a prostitute:
I woke next morning 'bout half past nine,
The buggies and the hacks all (swarmed?) in line,
The gents and the gamblers all standing around,
They're gonna take Sadie to the burying ground.
This verse does not appear in Ashley's 1962 recording with Doc Watson.
(c) Negro convict (probably Joe "Seldom Seen" Baker) of the State Penitentiary in Parchman, Mississippi 1933
Recorded by John A. Lomax in August 1933.
(c) Riley Puckett 1934 (as"Chain Gang Blues")
Recorded March 29, 1934
Released on Bluebird 5818
(c) Willie Rayford 1939 ("Bad Man Ballad")
On May 21, 1939 John and Ruby Lomax recorded a version by a convict of the Cummins State Farm, near Varner, Arkansas.
(c) Woody Guthrie 1944 ("Bad Lee Brown")
(alternate title "Cocaine Blues" or "East Texas Bill")
Recorded April 19, 1944
Previously unissued take; Smithsonian acetate 3767
Finally released in 1999 on the Asch Recordings vol 4
In 1947 T. J. "Red" Arnall adapted "Little Sadie" and retitled it "Cocaine Blues".
This version was originally recorded by W. A. Nichol's Western Aces (vocal by "Red" Arnall) on the S & G label, probably in 1947
Arnall is also sometimes credited with the version of "Cocaine Blues" written and recorded by Billy Hughes (also in 1947). The music is similar, bearing a marked resemblance to "Little Sadie", however the lyrics in Hughes' vary considerably from Arnall's. For instance, Hughes has the Cocaine Kid, not Willy Lee, killing "his woman and a rounder, too" in Tulsa, being captured in El Paso, and sentenced to "ninety-nine years way down in Mac." It ends with:
For you'll become an addict and blow your lid.
Take a look at what it did to the Cocaine Kid.
(c) Billy Hughes 1947 (as "Cocaine Blues")
Billy Hughes (Everett Billy Hughes [vcl], Lloyd Roy Adams [gt], George Chumura [ld gt], Richgard K. Hamilton [ld gt], Johnny Tyler [rh gt], Alan H. Barker [bass])
Recorded February 14, 1947 Broadcast Recorders, 1537 Cahuenga Blvd., Hollywood, CA -
Released on King 636
(c) Roy Hogsed 1947 (as "Cocaine Blues")
Roy Hogsed (Rusty Nitz [bass], Gene Dewez [accordion]. Producer: Charles Washburn)
Recorded May 20, 1947 [19:30-22:00] Universal Recorders, 6757 Hollywood Blvd., Hollywood, CA
Released on Coast 262 and Capitol 40120
(c) Dick Dyson & His Musical Texans 1948
Paul Blant: vocal
Recorded in Dallas, TX –
Released on Tri-State 113 and Coast 113
(c) Elmer Christian and The Bar X Cowboys 1948 ("Cocain Blues")
(c) Johnny Cash (1960) (as "Transfusion Blues")
Johnny Cash (Johnny Cash [vcl/ac gt], Luther Perkins [el gt], Johnny Western [gt], Don Helms [steel], Marshall Grant [bass], Buddy Harman [drums], Gordon Terry [fiddle], Floyd Cramer [piano]. Producer: Don Law)Recorded February 7, 1960 [14:00-19:00] Bradley Film and Recording Studio, 804 16th Ave. South, Nashville, TN –
Released on the album "Now, There Was a Song !"
Note that the song was renamed "Transfusion Blues", because cocaine was taboo.
The song was featured on Johnny Cash's Columbia album Now, There Was a Song! substituting the line "took a shot of cocaine" with "took a transfusion" along with some other minor lyrical changes.
In 1968 Johnny Cash released this song under the original title "Cocaine Blues" on Johnny Cash at Folsom Prison in 1968.
(c) Cisco Houston (1959) (Badman Ballad)
(c) Kingston Trio (1960) (Bad Man's Blunder)
Bad Man's Blunder, which also opens the #1 selling album String Along, became the original Kingston Trio's final Top 40 single. It was cut by the Trio and issued as a single as a favor to composer Cisco Houston who was in the hospital and terminally ill.
(c) Bob Dylan (1970) (as "Little Sadie") and (as "In Search of Little Sadie")
Al Kooper (organ or piano)
David Bromberg (guitar)
Emanuel Green (violin)
Recorded on March 3, 1970, Columbia Studios, NYC, NY,
Released on "Self Portrait"
(c) Hedy West 1967 (as "Little Sadie")
On the album "Ballads" (Topic Records 12T163)
Here's Hedy West performing Little Sadie on Pete Seeger's Rainbow Quest:
(c) Paul Jones 1967 (as "Little Sadie")
On the album "Love Me, Love My Friends" (His Master's Voice CSD 3602)
(c) John Renbourn 1971 ( as "Little Sadie")
On the album: "Faro Annie" (Transatlantic Records TRA 247)
The Grateful Dead/Jerry Garcia versions of the song follow the Clarence Ashley version fairly closely. The Grateful Dead performed the song a handful of times in acoustic sets in 1969, 1970 and 1980.
Jerry Garcia also performed the song over 40 times, usually but not always, in an acoustic setting. "Litte Sadie", as performed by the Jerry Garcia/John Kahn duo, is included in the Jerry Garcia Songbook.
(c) George Thorogood & The Destroyers 1978
On the album "Move It On Over" (Rounder Records 3024)