dinsdag 23 september 2014

44 Blues (1929) / Vicksburg Blues (1930) / Forty Four (1954)


"Forty-Four" or "44 Blues" is a blues standard whose origins have been traced back to early 1920s Louisiana.

"Forty Four" was published in Thomas W. Talley's 1922 collection Negro Folk Rhymes: Wise & Otherwise. As such, this could be a precursor to the "Forty Four" Blues songs,

https://archive.org/stream/negrofolkrhymes00tallgoog#page/n88/mode/2up

"The Forty-Fours," as its earlier form was sometimes referred to, was a piano-driven "barrelhouse honky-tonk blues" that was performed as an instrumental.
Little Brother Montgomery, who is usually credited with the development of the song, taught it to another blues pianist along the way by the name of Lee Green; Green, in turn, taught it to Roosevelt Sykes.
As Sykes explained: "He [Lee Green] was the first guy I ever heard play the "44" Blues. Several people had been playing it through the country of course — Little Brother Montgomery and several others, but nobody had ever recorded it and there was no words to it, no words or lyrics at all. So Lee Green, he took a lot of time out to teach me how to play it." By the time he recorded it in 1929, Roosevelt Sykes supplied the lyrics and called the song "44 Blues":
It was not until after Sykes recorded "44 Blues" that Green and Montgomery recorded their versions of "The Forty-Fours." While instrumentally both were similar to Sykes' version, the subject matter and lyrics were different. Lee Green recorded his version, titled "Number Forty-Four Blues" , two months after Sykes.
About one year later, Little Brother Montgomery recorded his version titled "Vicksburg Blues".
Of the three, Roosevelt Sykes' version was the most popular and "was to be far more influential than Green's version." "[Sykes' lyrics] played on the differing interpretations of the phrase 'forty-fours' — the train number 44, the .44 caliber revolver and the 'little cabin' on which was the number 44, presumably a prison cell." "Undoubtedly, these overlays of meaning generally appealed to other singers, accounting for the frequent use of Sykes' lyrics."

Well I walked all night long, with my .44 in my hand (2x)
Now I was looking for my woman, found her with another man

Well I wore my .44 so long, Lord it made my shoulder sore (2x)
After I do what I want to, ain't gonna wear my .44 no more

Now I heard my baby say, she heard that 44 whistle blow (2x)
Lord it sounds like, ain't gonna blow that whistle no more

Now I got a little cabin, and it's number 44 (2x)
Lord I wake up every morning, the wolf be scratching on my door

http://en.wikipedia.org/wiki/Forty-Four_(song)

http://www.originals.be/en/originals.php?id=6615


(o) Roosevelt Sykes (1929)  (as "44 Blues")
Roosevelt Sykes, voc, p
Recorded June 14, 1929 at 11 Union Square, New York City
Released on Okeh 8702

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Listen here:





(c) Lee Green (1929)  (as "Number Forty-Four Blues")
Recorded August 16, 1929 in Chicago.
Released on Vocalion 1401

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Ah, my baby cryin and I didn’t hear the 44 whistle when she blows
Ah, my baby cryin and I hear the 44 whistle when she blows
And then I feel mistreated and your sweet mama bound to go.

Ah, baby, when you get lonely and think you want to go
Yes, baby when you get lonely and think that you want to go
You know that you ain’t no better, mama, than the black woman that I had before

Some of these mornins mama, baby and it won’t be long
Ah some of these mornins, baby and it won’t be long
You gonna look for your daddy, baby, and I’m goin to be gone.

I got blues will last me nine months from today.
Baby, I got blues will last me nine months from today.
I’m gonna get my sweet woman to drive my blues away.

[Piano Instrumental]

Ah, little baby when you get lonely and want to go.
Ah baby, baby, when you get lonely and you want to go
You ain’t no better, baby, than the black woman that I had before
Listen here:





(c) James Wiggins (1929)  (as "Forty-Four Blues")
James Wiggins, voc; Blind Leroy Garnett, p
Recorded October 12, 1929 in Richmond, IN;
Released on Paramount 12860-A and on Broadway 5061 (as by James Harris)

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James Wiggins closely follows Roosevelt Sykes "44 Blues"

Listen here:





(c) Little Brother Montgomery (1930)  (as "Vicksburg Blues")
Recorded September 1930 in Grafton, WI.
Little Brother Montgomery: vocals and  piano
Released on Paramount 13006-A

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I've got the Vicksburg Blues and I'm singin it everywhere I go.
I've got the Vicksburg Blues and I'm singin it everywhere I go.
Now the reason I'm singin', my babe says she don't want me no more

I've got the Vicksburg Blues and I'm singin it everywhere I please.
I've got the Vicksburg Blues and I'm singin it everywhere I please.
Now the reason I'm singin', it is to give my poor soul ease

[Piano solo]

Now I ain’t gonna be your Lord, I'm down no more

Now I don’t like this old place, mama, and Lord and I never will
Now I don’t like this old place, mama, and Lord and I never will
I can sit right here in jail and look at Vicksburg on the hill.

Listen here:





Due to the song's popularity, many versions of "Forty-Four" appeared over the following years, including some that bore little resemblance to the original except for the title. Sykes, Green, and Montgomery recorded it themselves ten times between 1929 and 1936.

Roosevelt Sykes re-recorded the song in 1930 with his alias Willie Kelly.

(c) Willie Kelly (1930)  (as "Kelly's 44 Blues")
Roosevelt Sykes, voc, p.
Recorded June 12, 1930 in Cincinnati, OH;
Released on Victor V-38608-A

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Lord I say good morning Mr pawnshop man : as I walked in his door
Lord I say good morning Mr pawnshop man : as I walked in his door
I says I feel bad this morning : and I really wants my forty‑four

Lord I was at a party last night : I was out there till about half past two
Lord I was at a party last night : I was out there till about half past two
I'm going back out there tonight : I'm out to have some shooting to do

Lord the policeman walked around me : they walked around me both night and day
Lord the policeman walked around me : they walked around me both night and day
When they know I got my forty‑four : they won't have a word to say

Then I made up in my mind : and I really don't care how I go
Then I made up in my mind : and I simply don't care how I go
Before I'll be mistreated : I'm going to shoot my forty‑four

Listen here:




And on December 11, 1933 Roosevelt Sykes recorded "New 44 Blues" (released on Bluebird B 5323)

On November 4, 1930 Lee Green recorded a version called "Train Number 44", accompanied by Roosevelt Sykes (released on Vocalion 1566)

Listen here: Lee Green – Train Number 44

And on August 24, 1934 Green recorded a version called "44 Blues" (released on Decca 7016)

Little Brother Montgomery recorded "Vicksburg Blues No. 2" on August 10, 1935 (released on Bluebird B 6072) http://www.wirz.de/music/montgome/grafik/b6072a4.jpg
And "Vicksburg Blues Part 3" on October 16, 1936 (released on Bluebird B 6697) http://www.wirz.de/music/montgome/grafik/b6697b4.jpg



(c) Mae Glover (1931) (as "Forty-Four Blues")
Sometimes Mae Glover is credited for writing "Forty-Four Blues", but her version was only recorded on February 24, 1931

http://www.document-records.com/fulldetails.asp?ProdID=DOCD-5185

Mae Muff (Glover):Vocals James Parker:Trumpet Charles O'Neil:Piano
Recorded in Richmond, IN. Tuesday, February 24, 1931
Originally issued on Champion 16351
And on Superior 2783 (as by Alberta Washburn)
Also released on Varsity 6053 (as by Mae Muff) (as "Big Gun Blues")

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Listen here:





(c) Johnnie Temple (1936)  (as "New Vicksburg Blues")
Johnnie Temple, voc; Joshua Altheimer, p; Johnnie Temple or Charlie, McCoy, g
Recorded November 12, 1936 in Chicago, IL;

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http://www.discogs.com/Johnnie-Temple-New-Vicksburg-Blues-Louise-Louise/release/4048986

Listen here:

Johnnie Temple – New Vicksburg Blues



 (c) Big Maceo (1945)  (as "Maceo's 32-20")
The "Forty-Four" theme was also used by Big Maceo in 1945 in his "Maceo's 32-20".
Big Maceo, voc, p; Tampa Red, g, # sp; Tyrell Dixon, dr
Recorded July 5, 1945 in Chicago, Ill.;

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Listen here:

http://grooveshark.com/s/Maceo+s+32+20/2gsSYg?src=5



(c) Big Boy Crudup (1947)  (as "Crudup's Vicksburg Blues")
Arthur Crudup, voc, g; Ransom Knowling, b; Judge Riley, dr
Recorded April 9, 1947 in Chicago, IL

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Listen here:





(c) The Howlin' Wolf (1954)  (as "Forty Four")
Recorded in October, 1954. Chicago.
Howlin' Wolf, v, h; Otis Spann, p; Jody Williams, Hubert Sumlin, g; Willie Dixon, b; Earl Phillips, d.
Released on Chess 1584

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In 1954, when Howlin' Wolf recorded his version, "Forty Four" took on a new outlook.
Backing Wolf, who sang and played hamonica, were Hubert Sumlin and Jody Williams (electric guitars), Otis Spann (piano), Willie Dixon (bass), and Earl Phillips (drums).
Together they transformed "Forty Four" into a Chicago blues, with prominent guitar lines and an insistent "martial shuffle on the snare drum plus a bass drum that slammed down like an industrial punch-press". Wolf retained Sykes' handgun reference and added "Well I'm so mad this morning, I don't know where in the world to go."

I wore my forty-four so long, I've made my shoulder sore
I wore my forty-four so long and I made my shoulder sore
Well, I'm wonderin' everybody, where'd my baby go

Well, I'm so mad this mornin', I don't know where in the world to go
Well, I'm so mad this mornin', I don't know where in the world to go
Well, now I'm lookin' for me some money, pawned gun to have some gold

With Howlin' Wolf's gruff and overpowering vocal style, the overall effect was menacing.

Listen here:





(c) Rising Sons (1965)  (as ".44 Blues")
With Gary Marker, Ry Cooder & Taj Mahal;
Only released in '92. (crediting Willie Dixon)

http://www.discogs.com/Rising-Sons-2-Featuring-Taj-Mahal-and-Ry-Cooder-Rising-Sons-Featuring-Taj-Mahal-And-Ry-Cooder/release/2603100

Listen here:





(c) Captain Beefheart (1967)  (as "Sure 'Nuff 'n Yes I Do")
The Rising Sons arrangement (HERE ABOVE) influenced Capt. Beefheart's "Sure 'Nuff 'n Yes I Do" (Ry Cooder arrangement) for sure, with both Gary Marker & Ry Cooder involved.

http://www.discogs.com/Captain-Beefheart-And-His-Magic-Band-Safe-As-Milk-/release/1965335

Listen here:






(o) Otis Spann (1965)  (as "Vicksburg Blues")

http://www.discogs.com/Otis-Spann-Otis-Spanns-Chicago-Blues/release/3914691

Listen here:

Otis Spann – Vicksburg Blues



(c) Johnny Winter (1968) (as "Forty-Four")
In 1968 "Forty-Four" was brought into the blues-rock age by Johnny Winter on his The Progressive Blues Experiment album.
Winter's version was played at a faster tempo and had a more spare sound (trio of guitar, bass, and drums) dominated by Winter's guitar.

Listen here:





(c) Little Feat (1971)  (as "Forty-Four Blues / How Many More Years")
Little Feat recorded "Forty-Four Blues" (coupled with another Howlin' Wolf song listed as "How Many More Years," but actually "No Place To Go") on their 1971 debut album Little Feat. Little Feat's version, with piano and harmonica, was closer to Howlin' Wolf's, but it also featured the addition of slide guitar by Ry Cooder.





(c) Hound Dog Taylor (1971)  (as "44 Blues")

http://en.wikipedia.org/wiki/Hound_Dog_Taylor_and_the_HouseRockers

Listen here:

http://grooveshark.com/s/44+Blues/1OsPge?src=5



(c) Robert Plant and the Sensational Space Shifters (2012)  (as "44 Blues")
During their 2012 tour, Robert Plant and the Sensational Space Shifters performed "44 Blues", inspired by the Howlin' Wolf version.

Listen here:






In 1930 Roosevelt Sykes (as Willie Kelly) also recorded a song called "32-20 Blues", which is sort of a follow-up of his "44 Blues".

SEE NEXT LINK ON MY SITE: http://jopiepopie.blogspot.nl/2014/09/some-scream-high-yellow-1926-32-20.html

The bluesscheme of the tune itself is also similar to other bluessongs like Walter Rhodes "Crowing Rooster", Gus Cannon's Jug Stompers' "Minglewood Blues" and Hambone Willie Newbern's "Roll And Tumble Blues". 

SEE NEXT LINK ON MY SITE: http://jopiepopie.blogspot.nl/2014/09/crowing-rooster-1927-minglewood-blues.html





Some Scream High Yellow (1926) / 32-20 Blues (1930) / 22-20 Blues (1931)


"32-20 Blues" is a blues song by Delta blues musician Robert Johnson. It was recorded during his second recording session in San Antonio, Texas, on November 26, 1936.
The title refers to .32-20 Winchester ammunition, which could be used in handguns as well as smaller rifles. The name .32-20 refers to the .32-inch-diameter (8.1 mm) bullet and standard black-powder charge of 20 grains (1.3 g).
The song is a remake of the Skip James song "22-20 Blues". Skip James refers to .22-20 caliber, which actually does not exist. This was done on the request of Paramount Records who wanted successful “gun blues” to cover Roosevelt Sykes’ .44 Blues

(SEE LINK ON THE BOTTOM OF THIS TOPIC)


But before Skip James, in 1930, Roosevelt Sykes cut a similar-titled song "32-20 Blues", with the same subject (about a woman cheating on his man) and the same blues-pattern.

http://www.originals.be/en/originals.php?id=6521

http://www.keeponliving.at/song/32-20_blues.html

http://www.secondhandsongs.com/topic/6993



(o) Willie Kelly (=Roosevelt Sykes) (1930)  (as "32-20 Blues")
Recorded on June 12, 1930 - Cincinnati OH - 62901-2
Released on Victor 38619.

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Now I got a 32-20, shoot just like a 45.
Now I got a 32-20, shoot just like a 45.
Lord, if I ever go at my woman, I'm gonna bring her dead or alive.

Lord, I carry my 32-20 in my right hand.
Lord, I carry my 32-20 in my right hand.
Lord, I shoot my woman that waste her time with that monkey man.

Yes sir, all your men look alike to me.
Yes sir, all your men look alike to me.
Lord, if I catch you with my woman, you might as well be dead in the deep blue sea.

Lawd, I shoot steel jackets and no lead balls at all.
Lawd, I shoot steel jackets, well, no lead balls at all.
Lawd, if I ever shoot you, you will see St. Peter or St. Paul.

Now I see you going down thru the lonesome lane.
Now I see you going down thru the lonesome lane.
Now ev'rybody got this 32-20 of mine the same.

Listen here:




(c) Skip James (1931) (as "22‑20 Blues")
Recorded in Grafton, Wis., c. Feb. 1931 (L‑765‑1)
Released on Paramount 13066.

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If I send for my baby and she don't come
If I send for my baby and she don't come
All the doctors in Wisconsin, they won't help her none

And if she gets unruly and gets so she don't wanna do
My baby gets unruly and she don't wanna do
I'll take my .32-20, I'll cut her half in two

You're talkin' about your .44-40, buddy, it'll do very well
Talkin' about your .44-40, it'll do very well
But my .22-20, Lord, it's a burnin' hell

I had a .38 Special, buddy, it's most too light
Aw, that .38 Special, buddy, it's most too light
But my .22-20 make the caps alright

Aw, if she gets unruly, thinks she don't wanna do
She gets unruly and she don't wanna do
I'll take my .22-20, I'll cut her half in two

I, I, I can't take my rest
I, I, I can't take my rest
And my .44 layin' up and down my breast

Listen here:




(c) Robert Johnson (1936)  (as "32‑20 Blues")
Recorded in San Antonio, Texas on November 26, 1936 (SA‑2616‑1)
Released in February 1937 on Vocalion 03445.

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Also issued in April 1937 on Perfect 7-04-60 (1st number is year, 2nd/3rd number is month, and last digits are sequential issue number within month)
And in the same month on Oriole 7-04-60.

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'F I send for my baby, and she don't come
'F I send for my baby, man, and she don't come
All the doctors in Hot Springs sure can't help her none

And if she gets unruly, thinks she don't wan' do
And if she gets unruly and thinks she don't wan' do
Take my 32-20, now, and cut her half in two

She got a .38 special but I believe it's most too light
She got a .38 special but I believe it's most too light
I got a 32-20, got to make the caps1 alright

If I send for my baby, man, and she don't come
If I send for my baby, man, and she don't come
All the doctors in Hot Springs sure can't help her none

I'm gonna shoot my pistol, gonna shoot my gatling gun2
I'm gonna shoot my pistol, gotta shoot my gatling gun
You made me love you, now your man have come

Ahoh, baby, where you stayed last night
Ahah, baby, where you stayed last night
You got your hair all tangled and you ain't talking right

Her .38 special, boys, it do very well
Her .38 special, boys, it do very well
I got a 32-20 now, and it's a burning

If I send for my baby, man, and she don't come
If I send for my baby, man, and she don't come
All the doctors in Wisconsin3 sure can't help her none

Hey, hey, baby, where you stayed last night
Hey, hey, baby, where you stayed last night
You didn't come home until the sun was shining bright

Ahoh boy, I just can't take my rest
Ahoh boy, I just can't take my rest
With this 32-20 laying up and down my breast

Notes
1: "caps" were percussion caps, a paper or metal container holding an explosive charge, as for a pistol
2: "Gatling” or “Gat” was a common slang term for a revolver in the 1920’s."
3: Robert changed the reference to Wisconsin throughout the song to Hot Springs, Arkansas, except in the third from last verse when he forgets to do so and uses Skip's original text instead.
Listen here:



Robert Johnson's "32-20 Blues" is also similar in melody to "Some Scream High Yellow".


(O) Bo Weavil Jackson (=Sam Butler) (1926)  ( as "Some Scream High Yellow")          
Recorded in Chicago, c. Oct. 1926 (2677‑2)
Released on Paramount 12423.

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Now, the rolling mill, Good Lord, burnt down last night
Now, the rolling mill, Good Lord, burnt down last night
And they ain't shippin' no iron in this town today

I think I will, travelin' on my mind
Sometime, I b'lieve, travelin' on my mind
I ain't got no right to leave, I ain't got no right to change my mind

Now, did you dream lucky and wake up cold in hand?
Now, did you dream lucky, wake up cold in hand?
Then you'll want to see some good gal, ah, ain't got no man

Now, sometime I think I will, again I think that I won't
Sometime I think that I will, again I think that I won't
Sometime I think that I do, Lord, then I think that I don't

Mmmmmmm, mmmmmm, mmmmmmm
Mmmmmmm, mmmmmm, mmmmmmm
Sometime I think that I will, and then I think that I won't

Some screamin' high yella, I screams black or brown
Some scream high yella, I screams black or brown
'Cause high yella may mistreat you but black won't turn you down

Mama, I got a notion, honey, and I believe I will
I got a notion, mama, and I believe that I will
Catch a long jumpin' Judy and go on across the hill

Listen here:




The tune itself is also similar to many other Bluessongs like Gus Cannon's Jug Stompers' "Minglewood Blues" and Hambone Willie Newbern's "Roll And Tumble Blues".  (SEE LINK ON THE BOTTOM OF THIS TOPIC)


http://www.originals.be/en/originals.php?id=4184

http://en.wikipedia.org/wiki/Rollin'_and_Tumblin'

Minglewood Blues - Cannon's Jug Stompers:


Roll and Tumble Blues - Hambone Willie Newbern:




(c) Muddy Waters (1942)  (as "32-20 Blues")
McKinley Morganfield (v,g), Charles Berry (g)
Recorded July 1942 - Clarksdale MS?  (6667-B-3 Library of Congress unissued).
Finally released in 1993 on: The Complete Plantation Recordings, The Historic 1941-42 Library of Congress Field Recordings (Chess CHD 9344)

http://www.discogs.com/Muddy-Waters-The-Complete-Plantation-Recordings/release/791563

Listen here:




(c) Rolling Stones (1972)  (as "32-20 Blues")
Outtake "Exile on Main Street" album
Recorded on June 23, 1972 in the Sumet-Burnet Recording Studio in Dallas

Listen here:





(c) Bob Dylan (1993)  (as "32-20 Blues")
Recorded May 1993 in Malibu CA
Unreleased World Gone Wrong session
Finally released on The Bootleg Series Vol. 8 – Tell Tale Signs: Rare and Unreleased 1989–2006

http://www.bobdylan.com/us/songs/32-20-blues

Listen here:





(c) Keith Richards (1994)  (as "Keith's Boogie")





2004 - Eric Clapton (2004)  (as "32-20 Blues")

http://en.wikipedia.org/wiki/Me_and_Mr._Johnson






(c) Rory Block (2006)  (as "32-20 Blues")
Released on The Lady and Mr. Johnson

http://en.wikipedia.org/wiki/The_Lady_and_Mr._Johnson

Listen here:




As I said above "32-20 Blues" is sort of a follow-up of  Roosevelt Sykes' "44 Blues".

SEE NEXT LINK ON MY SITE: http://jopiepopie.blogspot.nl/2014/09/44-blues-1929-vicksburg-blues-1930.html


The bluesscheme of the tune itself is also similar to other bluessongs like Walter Rhodes "Crowing Rooster", Gus Cannon's Jug Stompers' "Minglewood Blues" and Hambone Willie Newbern's "Roll And Tumble Blues".

SEE NEXT LINK ON MY SITE: http://jopiepopie.blogspot.nl/2014/09/crowing-rooster-1927-minglewood-blues.html




Crowing Rooster (1927) / Minglewood Blues (1928) / Roll And Tumble blues (1929) / If I had Possession Over Judgment Day (1937) / Rollin' and Tumblin' (1950)


"Rollin' and Tumblin'" (or "Roll and Tumble Blues") is a blues song first recorded by American singer/guitarist Hambone Willie Newbern in 1929.
Called a "great Delta blues classic", it has been interpreted by hundreds of Delta and Chicago blues artists, including well-known recordings by Muddy Waters.
"Rollin' and Tumblin'" has also been refashioned by a variety of rock-oriented artists.

Hambone Willie Newbern's "Roll and Tumble Blues" shares several elements of "Minglewood Blues", by Gus Cannon's Jug Stompers.
But both are also similar in melody to "The Crowing Rooster", already recorded in 1927 by Walter Rhodes with "Pet" and "Can".
("The Crowing Rooster" itself was almost literally covered by Charley Patton in 1929 as "Banty Rooster Blues" (see further on in this topic)


(o) Walter Rhodes with "Pet" and "Can" (1927)  (as "The Crowing Rooster")
Walter Rhodes, voc, voc effects, accordion; 'Pet' & 'Can' (Maylon & Richard Harney). g, sp
Recorded Dec. 10, 1927, Memphis, Tenn.;
Released on Columbia 14289-D

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Going to buy me a rooster : put him in my back door (2x)
See a stranger coming : he'll flap his wings and crow

What you want with a rooster : he won't crow 'fore day (2x)
What you want with a woman : won't do nothing she say

What you want with a hen : won't cackle when she lay (2x)
What you want with a man : won't do nothing he say

Going to take my picture : hang it up against the wall (2x)
And if I ask you what about it : daddy that's all that's all

I'll take my picture : put it in a frame (2x)
So if I die : you can see me just the same

I know my dog : anywhere I hear him bark (2x)
I can tell my baby : if I see her in the dark

Listen here:





(o) Cannon's Jug Stompers (1928)  (as "Minglewood Blues")
Gus Cannon, bj, jug; Ashley Thompson, g, voc; Noah Lewis, hca
Recorded January 30, 1928 at Memphis Auditorium in Memphis, Tenn;
Released on Victor 21267.

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Don't you never let one woman worry your mind (2)
Then she keep you worried, worried all the time

Don't you wish your Sarah was little and cute like mine (2)
She's a married woman but she comes to see me some time

Don't you never let your woman rule your mind (2)
She keep you troubled, worried all the time

Well I got a letter, lord, you ought to heard it read (2)
If you're coming back baby now be on your way

Listen here:





(c) Hambone Willie Newbern (1929)  (as "Roll And Tumble Blues")
Hambone Willie Newbern recorded "Roll and Tumble Blues" on March 14, 1929 in Atlanta, Georgia for Okeh Records.

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And I rolled and I tumbled and I cried the whole night long
And I rolled and I tumbled and I cried the whole night long
And I rosed this morning mama and I didn't know right from wrong

Did you ever wake up and find your dough‑roller gone
Did you ever wake up and find your dough‑roller gone
And you wrings your hands and you cry the whole day long

And I told my woman Lord [just] before I left her town
And I told my woman Lord [just] before I left her town
Don't she let nobody tear her barrelhouse down

And I fold my arms Lord and I [slowly] walked away
And I fold my arms Lord and I [slowly] walked away
Says that's all right sweet mama your trouble going to come some day

Listen here:




Noah Lewis then wrote a different song, called "New Minglewood Blues", loosely based on the earlier "Minglewood Blues".
And all the verses were borrowed from 2 earlier songs:

"Water Bound Blues" by Texas Alexander (recorded June 15, 1929)

Lyrics borrowed:
I was raised in the desert, born in a lion's den
I was raised in the desert, born in a lion's den
Says, my chief occupation takin' monkey men's women

Listen here (at 2 min and 7 seconds in the YT below)

http://weeniecampbell.com/wiki/index.php?title=Water_Bound_Blues


"It Won't Be Long" by Charley Patton (recorded June 14, 1929)

Lyrics borrowed:
If you ever go down Memphis, stop by Menglewood
If you ever go down Memphis, stop by Menglewood
You Memphis women don't mean no man no good

http://www.taco.com/roots/minglewood.html

Listen here (at 34 seconds in the spotify-file right here below)

Charley Patton – It Won't Be Long


"New Minglewood Blues" was recorded on November 26, 1930 by Noah Lewis's Jug Band
Noah Lewis, h/v; John Estes, g; Yank Rachel, md; Ham Lewis, j.
Released on Victor 23266

Listen here:

http://grooveshark.com/s/New+Minglewood+Blues/36tERB?src=5


This version of "New Minglewood Blues" was covered by the Grateful Dead in 1967 on their first album as "New New Minglewood Blues".

http://www.whitegum.com/introjs.htm?/songfile/NEWMINGL.HTM

http://www.discogs.com/Various-The-Roots-Of-The-Grateful-Dead/release/3780628



Other bluesmen recorded their own versions of "Minglewood blues"/ "Roll And Tumble Blues", with varied lyrics.


(c) Charley Patton (1929)  (as "Banty Rooster Blues")
Recorded June 14, 1929 in Richmond, IND
Released on Paramount 12792-B

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LYRICS:
http://bluesdust.freehostia.com/component/content/article/2-b/166-banty-rooster-blues-charley-patton.html

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As I said earlier on in this topic "Banty Rooster Blues" itself was in fact a literal cover of "The Crowing Rooster" by Walter Rhodes

http://www.secondhandsongs.com/work/88319/versions#nav-entity

On the same day Charley Patton also used the melody for another song.
(c) Charley Patton (1929)  (as "It Won't Be Long")
Recorded June 14, 1929 in Richmond, IND
Released on Paramount 12854

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When he was 15 years of age, Sleepy John Estes and family moved to Brownsville, Tennessee. Brownsville was also home to his cousin, Hambone Willie Newbern, an important early influence. So Estes probably reworked Newbern's "Roll And Tumble Blues" and wrote some new words.

(c) Sleepy John Estes (1929)  (as "The Girl I Love She Got Long Curly Hair"
Sleepy John Estes (vocals and guitar), Yank Rachell (vocals), Johnnie Hardge (piano)
Recorded September 24, 1929 in Memphis, TEN.
Released on Victor V-38549-B

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http://adp.library.ucsb.edu/index.php/matrix/detail/800026684/BVE-55581-The_girl_I_love_she_got_long_curly_hair

Now, I'm goin' to Brownsville an take that right hand road
Now, I'm goin' to Brownsville take that right hand road
Lord, I ain't gon' stop walkin' 'till I get in sweet mama's do'

Now, the girl I'm lovin' she got the great, long, curly hair
Now, the girl I'm lovin' she's got the great, long, curly hair
An her mama an her papa they sho' don't 'llow me there

If you catch my duffel hangin' upside yo' wall
If you catch my duffel hangin' upside yo' wall
Now, you know by that, babe I need my ashes hauled

Now, what cha' gon do, babe yo' doughroller gone?
What you gon do, babe yo' doughroller gone?
Go in yo' kitchen, Lordy cook until she comes.

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In 1938 Estes re-recorded the song as "Browsville Blues"
In 1969 Led Zeppelin covered "The Girl I Love, She Got Long Curly Hair" for BBC radio.

http://en.wikipedia.org/wiki/The_Girl_I_Love_She_Got_Long_Black_Wavy_Hair



(c) Garfield Akers (1930)  (as "Dough Roller Blues")
Recorded February 21, 1930, Memphis, Tenn.; Garfield Akers, voc, g;
Released on Vocalion 1481

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Yes, I rolled and I tumbled and I cried the whole night long
Yes, I rolled and I tumbled and I cried the whole night long
Yes, I rolled this mornin', and I didn't know right from wrong

Have you ever woke up then, and found your dough roller gone?
Have you ever woke up then, found your dough roller gone?
Then you wring your hand and you cried "oooo" whole day long

Yes, I told my woman just before I left the town
Yes, I told my woman just before I left the town
Don't you let nobody tear that old barrelhouse down

Yes, I fold my arm, and I begin to walk away
Says, I fold my arm, then I begin to walk away
I said, "That's all right, sweet mama, your trouble's gonna come some day

Listen here:





(c) Robert Johnson (1936)  (as "If I Had Possession Over Judgment Day")
Recorded November 27, 1936 in San Antonio, TX;
Robert Johnson, voc, g
Not issued on a 78 record.
Released in 1961 on the following album

http://www.wirz.de/music/johnsonr/grafik/cl16544.jpg

http://www.wirz.de/music/johnsonr/grafik/cl1654b4.jpg

Robert Johnson "borrowed" 2 verses from Hambone Willie Newbern.

If I had possession, over judgment day
If I had possession, over judgment day
Lord, the little woman I'm lovin' wouldn't, have no right to pray

And I went to the mountain, lookin' as far as my eyes could see
And I went to the mountain, lookin' as far as my eyes would see
Some other man got my woman, and these lonesome blues got me

And I rolled and I tumbled and I, cried the whole night long
And I rolled and I tumbled and I, cried the whole night long
Boy, I woke up this mornin', my biscuit roller gone

Had to fold my arms and I, slowly walked away
(spoken: I didn't like the way she done)
Had to fold my arms and I, slowly walked away
I said in my mind, "Yo' trouble gon' come some day

Now run here, baby, set down on my knee
Now run here, baby, set down on my knee
I wanna tell you all about the way they treated me

Listen here:





While he was still under contract with the Chess Brothers' Aristoctrat-label, Muddy Waters recorded a version of "Rollin' and Tumblin'" for the rival Parkway label, featuring his band mates Little Walter and Baby Face Leroy Foster.
The Parkway label credits the Baby Face Leroy Trio, with vocals by Leroy, and Muddy Waters as the songwriter. They recorded 2 parts on both sides of a 78 RPM.
But unlike most such releases that are divided into parts, "Rollin’ and Tumblin'" was really two takes of the song, one with sung lyrics and the other with wordless moaning. The original Parkway release listed the moaning take as Part 1 and the lyrics take as Part 2.

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Leroy Foster, voc, dr; Little Walter, voc, hca; Muddy Waters, g, voc
Recorded January 1950 in Chicago, IL;

http://myweb.clemson.edu/~campber/parkway.html

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Leonard Chess was not amused that Muddy Waters had recorded the song for the Parkway-label and in February 1950 Leonard Chess insisted that Waters record the song again for the Chess Brother's Aristocrat-label (less than a month after Waters had recorded the version for the rival Parkway label).
Whatever the motive behind it, the Aristocrat session, which would be the last to use only Big Crawford's bass for accompaniment, was superb. It produced a new two-part "Rollin' and Tumblin'", released on Aristocrat 412. For the second part, Muddy recycled lyrics from two 1948 sides that Aristocrat had left in the vault: "Kind Hearted Woman" and "Down South Blues".

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Muddy Waters (v,g), Big Crawford (b)
Recorded February 1950 in Chicago, IL;

http://myweb.clemson.edu//~campber/aristocrat.html

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In 1948 Muddy Waters had already used the tune, though not the words, for his "Down South Blues" which he recorded for the Aristocrat-label.

http://myweb.clemson.edu/~campber/aristocrat.html

It was re-reased in 1960 on the next album

http://www.discogs.com/Muddy-Waters-More-Real-Folk-Blues/release/1310596 http://www.discogs.com/Muddy-Waters-More-Real-Folk-Blues/release/1310596

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A few months after Baby Face Leroy and Muddy Waters 78s came out, John Lee Hooker recorded his "Rock N' Roll" recorded in Detroit, with slideless guitar playing and foot-tapping. His opening lyrics paid hommage to Newbern’s version, and he ended the same way as Baby Face Leroy’s "Rollin' and Tumblin' Part 2":
Engineer blew the whistle and the fireman rung the bell
Engineer blew the whistle and the fireman rung the bell
Lord, I didn’t have time to tell my baby ‘Fare you well’

(c) John Lee Hooker (1950)  (as "Rock N' Roll")
Recorded in Detroit on April 28, 1950.
Produced by Bernie Besman.
Released on Modern 767.

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http://www.johnleehooker.info/recording_details.php?r=701

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An alternate take from the same session was released in 1970.
John Lee Hooker  (as "Rollin' Blues" (alt. take of "Roll N' Roll")
Recorded April 28, 1950 in Detroit.
Released on Specialty album "Alone" (SPS 2125)

 http://www.johnleehooker.info/recording_details.php?r=702

http://www.discogs.com/John-Lee-Hooker-Alone/release/3551818

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(c) Sunnyland Slim (1954)  (as "Going Back to Memphis"
Sunnyland Slim, voc, p; Snooky Pryor, hca; Eddie Taylor or Floyd Jones, g
Recorded early 1954 in Chicago, IL;
Released on Blue Lake 105.

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http://www.secondhandsongs.com/release/41734

http://www.wirz.de/music/jonesfl/grafik/bl105a4.jpg

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(c) Elmore James (1960)  (as "Rollin And Tumblin")
And of course Fire-boss Bobby Robinson is credited as "author" !
Elmore James, voc, g; saxes; prob. Johnny Acey, p; Jimmy Spruill, g; Homesick James, b-g; Sam Myers, dr
Recorded May 23/4, 1960 in New York
Released on Fire 1024

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(c) Howlin Wolf (1961) (as "Down In The Bottom")
Howlin' Wolf, voc, # g; Johnny Jones, p; Hubert Sumlin, Jimmy Rogers, g; Willie Dixon, b; Sam Lay, dr
Recorded  May 1961 in Chicago, IL;
Released on Chess 1793

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Howlin Wolf's "Down In The Bottom" was in fact a re-working of Bumble Bee Slim's "Meet Me In The Bottom" (1936), which itself was a re-working of Buddy Moss' "Oh Lordy Mama" (1934).

http://en.wikipedia.org/wiki/Hey_Lawdy_Mama_(blues_song)

http://www.popmatters.com/post/140422-howlin-wolf/



Since the 1960s the song has also been played and recorded by numerous blues-rock bands, including

(c) Cream (1966)  (as "Rollin' And Tumblin'")
On their debut, Fresh Cream (credited to Muddy Waters)

http://www.discogs.com/Cream-Fresh-Cream/release/1419841

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(c) Yardbirds (1966) (as "Drinking Muddy Water")

Listen here:




(c) Canned Heat (1967)  (as "Rollin' And Tumblin'")
On their eponymous debut album (credited to Muddy Waters)

http://www.discogs.com/Canned-Heat-Canned-Heat/release/5083728

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(c) Captain Beefheart (1967)  (as "Sure 'Nuff 'N Yes I Do")
With a first line ("I Was Born In The Desert") borrowed from "New Minglewood Blues" / "Water Bound Blues".

http://www.discogs.com/viewimages?release=2025053




(c) Johnny Winter (1968)  (as "Rollin' And Tumblin'")
On his debut album (credited to Muddy Waters)

http://www.discogs.com/Winter-The-Progressive-Blues-Experiment/release/5482175

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(c) Blues Creation on their 1969 debut album

Listen here:




(c) Fleetwood Mac (1971)  (as "Rambling Pony No. 2")
Recorded in 1967 and previously unreleased.
Finally released in 1971 on the album The Original Fleetwood Mac

http://discog.fleetwoodmac.net/songs.php?sid=187&perfid=15303

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But already in 1967 Peter Green's Fleetwood Mac released a version (as "Rambling Pony") on the B-side of "I Believe My Time Ain't Long".
Recorded on September 9, 1967 at CBS Studio, New Bond Street, London.
Original Release: CBS/Blue Horizon #3051

http://discog.fleetwoodmac.net/discog.php?pid=817

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(c) Bonnie Raitt (1971)  (as "Rollin' And Tumblin'")
Live at Syracuse University, New York, March 27th, 1971





(c) Eric Clapton (1992)  (as "Rollin' And Tumblin'")
On his Unplugged album

Listen here:




(c) Eric Clapton (2004)  (as "If I Had Possession Over Judgement Day")
On his album Me and Mr. Johnson

Listen here:





(c) Bob Dylan (2006)  (as "Rollin' And Tumblin'")
The song was recorded by Bob Dylan for his 2006 album Modern Times.
Dylan claims authorship of the song on most versions of his record. While musically the arrangement is very similar to the Muddy Waters version, Dylan's introduces all new verses, though retaining the two opening lines.

Listen here:





100+ versions here: http://hylblog.edu.hel.fi/wpmu/mrahikka/rollin-and-tumblin/
and another great history of the song here http://jasobrecht.com/rollin-tumblin-story-song/

http://www.originals.be/en/originals.php?id=4184

http://www.keeponliving.at/song/rollin'_and_tumblin'.html

http://en.wikipedia.org/wiki/Rollin'_and_Tumblin'


The blues-pattern of "Crowing Rooster" / "Minglewood Blues" / "Rool And Tumble Blues" is also similar to other bluessongs like "44 Blues" and "32-20 Blues"

SEE NEXT LINK http://jopiepopie.blogspot.nl/search/label/44%20Blues%20%281929%29

SEE NEXT LINK http://jopiepopie.blogspot.nl/search/label/32-20%20Blues%20%281930%29


dinsdag 2 september 2014

Faith’s Review and Expectation (1779) / Gallaher and St. Mary's (1829) / New Britain (1835) / Amazing Grace (1900)

John Newton is the author of the lyrics to "Amazing Grace". The name he gave this hymn was "Faith's Review and Expectation", we have come to know it as "Amazing Grace" which is the first line of the hymn.
Newton was born in 1725 in Wapping, London, England. Despite the powerful message of "Amazing Grace", Newton's religious beliefs initially lacked conviction; his youth was marked by religious confusion and a lack of moral self-control and discipline.
After a brief time in the Royal Navy, Newton began his career in slave trading. The turning point in Newton's spiritual life was a violent storm that occurred one night while at sea. Moments after he left the deck, the crewman who had taken his place was swept overboard. Although he manned the vessel for the remainder of the tempest, he later commented that, throughout the tumult, he realized his helplessness and concluded that only the grace of God could save him. Prodded by what he had read in Thomas à Kempis' Imitation of Christ, Newton took the first step toward accepting faith.
These incidents and his 1750 marriage to Mary Catlett changed Newton significantly. On his slave voyages, he encouraged the sailors under his charge to pray. He also began to ensure that every member of his crew treated their human cargo with gentleness and concern. Nevertheless, it would be another 40 years until Newton openly challenged the trafficking of slaves.
Some three years after his marriage, Newton suffered a stroke that prevented him from returning to sea; in time, he interpreted this as another step in his spiritual voyage. He assumed a post in the Customs Office in the port of Liverpool and began to explore Christianity more fully. As Newton attempted to experience all the various expressions of Christianity, it became clear that he was being called to the ministry. Since Newton lacked a university degree, he could not be ordained through normal channels. However, the landlord of the parish at Olney was so impressed with the letters Newton had written about his conversion that he offered the church to Newton; he was ordained in June 1764.
In Olney, the new curate met the poet William Cowper, also a newly-born Christian. Their friendship led to a spiritual collaboration that completed the inspiration for "Amazing Grace," the poem Newton most likely wrote in Kineton, Warwickshire around Christmas 1772.The lyrics are based on his reflections on an Old Testament text he was preparing to preach on, adding his perspective about his own conversion while on his slave ship, the Greyhound, in 1748.
Newton's lyrics have become a favourite for Christians, largely because the hymn vividly and briefly sums up the doctrine of divine grace. The lyrics are based on 1 Chronicles 17:16-17, a prayer of King David in which he marvels at God's choosing him and his house. Newton apparently wrote this for use in a sermon he preached on this passage on New Year's Day 1773, and for which he left his sermon notes, which correspond to the flow of the lyrics.

Read all about John Newton’s own sermon notes for his hymn HERE

"Faith's review and expectation" debuted in print in 1779 in Newton and Cowper's "Olney Hymns", but settled into relative obscurity in England.

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The bottom of page 53 and page 54 of Olney Hymns shows the text of Hymn 41 (XLI) "Faith’s Review and Expectation", which evolved into "Amazing Grace".

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http://memory.loc.gov/diglib/ihas/loc.rbc.pre.79197/pageturner.html?page=94&section=&size=640

http://memory.loc.gov/diglib/ihas/loc.rbc.pre.79197/pageturner.html?page=95&section=&size=640

Full lyrics of the original version of Amazing Grace as published in 1779 in Olney Hymns, pp. 53-54.
********************************
I. Chronicles.
HYMN 41
"Faith’s Review and Expectation"
Chapter 8, 16-17.
Amazing grace! How sweet the sound,
That saved a wretch like me!
I once was lost but now am found
Was blind, but now I see.

'Twas grace that taught my heart to fear,
And grace my fears relieved;
How precious did that grace appear
The hour I first believed!

Through many dangers, toils, and snares,
We have already come;
'Tis grace hath brought me safe thus far,
And grace will lead me home.

The Lord has promised good to me,
His word my hope secures;
He will my shield and portion be
As long as life endures.

Yes, when this flesh and heart shall fail,
And mortal life shall cease,
I shall possess, within the veil,
A life of joy and peace.

The earth shall soon dissolve like snow,
The sun forbear to shine;
But God, who called me here below,
Will be forever mine.
********************************
Source: John Newton. Olney Hymns, in three books. Book I. On select Texts of Scripture. Book II. On occasional Subjects. Book III. On the Progress and Changes of the Spiritual Life. London: printed and sold by W. Oliver, No 12, Bartholomew-Close; sold also by J. Buckland, No 57, Pater-Noster-Row; and J. Johnson, No 72, St Paul's Church-Yard, MDCCLXXIX [1779].

The complete book Olney Hymns is online : Click HERE

As I said above, in the UK, the song, initially, wasn't very popular.
In the United States however, "Amazing Grace" was used extensively during the Second Great Awakening in the early 19th century. It has been associated with more than 20 melodies, but in 1835 it was joined to a tune named "New Britain" to which it is most frequently sung today.

The first known instance of Newton's lines joined to music was in "A Companion to the Countess of Huntingdon's Hymns" (London, 1808), where it is set to the tune "Hephzibah" by English composer John Jenkins Husband.

http://www.markrhoads.com/amazingsite/TunePages/Hephzibah.htm

The melody of "Amazing Grace", that we are familiar with today, is based on the pentatonic or five-note scale (heard by striking the five black notes on a piano); in fact, in its earliest form, the melody employed only these five pitches. Refinements to the tune are attributed to William Walker, who in 1835 entitled it "New Britain" and published it in a book of hymns entitled The Southern Harmony. This collection was reprinted four times during Walker's lifetime; it sold an estimated 600,000 copies. By the Civil War, as Turner notes, "Amazing Grace" was a vital part of American life."

The Southern Harmony, first published in 1835, is the earliest pairing of the words for "Amazing Grace" with the "New Britain" tune, which is the tune we have come to associate with the hymn.
William Walker took the tune from a song "Harmony Grove", contained in the songbook "Virginia Harmony" (1831), made some changes, arranged it, and named it "New Britain".
The Southern Harmony was an enormously successful tune book for singing schools and played a large role in popularizing "Amazing Grace" in America.            

The Southern Harmony, 1835, title page

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"New Britain", from The Southern Harmony
This is the first time the tune and words to "Amazing Grace" were paired.

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But the melody of "New Britain" / "Amazing Grace" is older than 1835.
It was already printed in the next Book:

The Virginia Harmony, 1831, title page

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This is the second shape note tune book to feature the melody that we have now come to associate with "Amazing Grace" (Columbian Harmony was likely the first to feature the tune in 1829). Compiled by Methodist lay preacher James P. Carrell and Presbyerian elder David L. Clayton, Virginia Harmony lists the tune as "Harmony Grove".
The melody wasn't matched with the words to "Amazing Grace", but with an Isaac Watts hymn, "There is a Land of Pure Delight".

"Harmony Grove", from The Virginia Harmony, tune in the tenor

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The melody of "New Britain" / "Amazing Grace" / "Harmony Grove" is in fact an amalgamation of two melodies ("Gallaher" and "St. Mary") first published in the "Columbian Harmony" by Charles H. Spilman and Benjamin Shaw (Cincinnati, 1829). Spilman and Shaw, both students at Kentucky's Centre College, compiled their tunebook to satisfy "the wants of the Church in her triumphal march". Most of the tunes had been previously published, but "Gallaher" and "St. Mary" had not.

The Columbian Harmony, 1829, title page
First book in which the tune now associated with "Amazing Grace" appears

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"Gallaher", from The Columbian Harmony tune in the tenor voice

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"St Mary's", from The Columbian Harmony tune in the tenor voice

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However, an 1828 manuscript by Lucius Chapin (1760-1842), who was famous in his day as a hymn tune writer, raises the possibility that Lucius was the composer of the tune for Amazing Grace:

SEE NEXT LINK:

Did Lucius Chapin write the Amazing Grace tune? | Shenandoah Harmony



First time the familiar title of "Amazing Grace" was used for the Newton lyrics coupled with the New Britain tune is in 1900 in Edwin Othello Excell's hymnal, Make His Praise Glorious.
Excell altered some of Walker's music, making it more contemporary and European, giving "New Britain" some distance from its rural folk-music origins. Excell's version was more palatable for a growing urban middle class and arranged for larger church choirs.

https://archive.org/stream/makehispraiseglo00exce#page/n225/mode/2up

http://www.loc.gov/item/00002402/

The final stanza—‘When we’ve been there ten thousand years’—was added by Edwin Othello Excell in 1909 and was taken from a version included in Harriet Beecher Stowe's 1852 novel "Uncle Tom's Cabin"
Excell's 1909 stanza selection and arrangement of Amazing Grace became the most widely used and familiar setting of that hymn by the second half of the twentieth century


Here's another detailed history of "Amazing Grace"on the LOC site:

http://lcweb2.loc.gov/diglib/ihas/html/grace/grace-timeline.html

http://www.fresnostate.edu/folklore/ballads/LxU096.html



The first company to record "Amazing Grace" was Brunswick Records which in 1922 released a small series of recordings of Sacred Harp songs. Brunswick created a special label for this series that incorporated shape-note notation in its design.


(o) The Original Sacred Harp Choir (vocal choir)  (as "New Britain")
Recorded ca. July 1922 in New York City.
Released on Brunswick 5150

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http://www.loc.gov/item/ihas.200049050/

Listen here:

http://lcweb2.loc.gov/natlib/ihas/service/amazinggrace/200049050/0001.mp3


As we can see on the label of the 78 RPM pictured ABOVE, the Original Sacred Harp Choir took their version from page 45 of The Original Sacred Harp:

The first edition of The Sacred Harp, published in 1844 and compiled by B. F. White, set "Amazing Grace" to the tune of "New Britain," but put it in four-part, rather than three-part harmony as in The Southern Harmony. Historian Steve Turner states that "this was to become the most influential tune book of the shape-note movement."

Here's page 45 of the Original Sacred Harp:

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The second version I found is a very beautiful one by The Wisdom Sisters.
They were very likely the first ones to use the familiar title "Amazing Grace".

(c) The Wisdom Sisters (vcl duet unaccompanied)
Recorded April 23, 1926. Atlanta, Ga.
Released on Columbia 15093-D

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Listen here:

http://canary-records.bandcamp.com/track/amazing-grace-usa


(c)  H. R. Tomlin (sermon with singing; assisted by Rigoletto Quintette of Morris Brown University) Recorded August 19, 1926 in New York City.
Released on Okeh 8378

Listen here:



Next up: 3 versions by the Rev. J.M. Gates from 1926. Here's the first one:

Rev. J. M. Gates  (as "Amazing Grace") (spoken intro; with singing; unacc.)
Recorded September 7, 1926 in New York City
Released on Pathe Actuelle 7514 and Perfect 114


Listen here:



And here's the second one:

(c) Rev. J. M. Gates  (as "Amazing Grace") (sermon with singing)
Recorded September 10, 1926. Camden, New Jersey.
Released on Victor 20216-A 

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And the third one

(c) Rev. J. M. Gates ( as "Amazing Race") (sermon with singing)
Recorded December 6, 1926. New York City.
Released on Gennett 6013, Champion 15199, Silvertone 5021, Herwin 92003, Paramount 12782 and Black Patti 8015

Listen here:





(c) Allison's Sacred Harp Singers (1928) (vocal group with organ)  (as "Jewett")
Recorded May 7, 1928 in Richmond, Ind.
This is the "Amazing Grace" lyrics sung to another tune:
Released on Gennett 6675

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http://www.loc.gov/item/ihas.200049053/

Listen here:

http://lcweb2.loc.gov/natlib/ihas/service/amazinggrace/200049053/0001.mp3



(c) Vaughan Quartet (1929)  (as "Amazing Grace")
Recorded November 4, 1929. Richmond, Ind.
Released on Vaughan 1750

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(c) Rev J.C. Burnett and his Congregation (1938) (as "Amazing Grace")
Recorded August 1, 1938 in New York City
Released on Decca 7494

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Next up: 4 versions recorded by the Lomaxes:

(c) Jesse Allison, Vera Hall, and Dock Reed (1939)
This recording is among more than 3,000 acetate discs that John A. Lomax, his wife Ruby Terrill Lomax, and John's son, Alan Lomax, made for the fledgling Archive of American Folk-Song during the 1930s (recorded in Livingston, Alabama, May 26, 1939, AFS 2684 A1). This recording features a trio of singers, singing a highly ornamented variant of the "New Britain" melody and using the lining-out lyric technique.

http://www.loc.gov/item/ihas.200049055/

Listen here:

http://lcweb2.loc.gov/natlib/ihas/service/amazinggrace/200049055/0001.mp3



(c) Leadbelly (1940)  (as "Amazing Grace")
On August 23, 1940 Huddie Ledbetter recorded "Amazing Grace", during a marathon recording session with Alan Lomax, at the Library of Congress in Washington, D.C.

http://www.loc.gov/item/afc9999005.13042

2 versions were released on the Leadbelly album: "The Library Of Congress Recordings"  (Elektra ‎– EKL-301/2)               

http://www.discogs.com/Leadbelly-The-Library-Of-Congress-Recordings/release/1658263

Listen here:

http://grooveshark.com/s/Amazing+Grace/3Qtqls?src=5



(c) Blind Willie McTell (1940)  (as " Amazing Grace" )
Recorded November 5, 1940 in Atlanta, Georgia.
Blind Willie McTell was recorded in an Atlanta hotel room in 1940 by John Lomax on one of his last trips to the South on behalf of the Library of Congress. The story goes that Willie McTell (age 42) was spotted by Lomax playing for tips in the parking lot of the Pig ‘n Whistle BBQ. Lomax pulled into the parking lot and offered McTell one dollar plus cab fare to meet him at his hotel room for an impromptu recording session the next morning. Despite the meager compensation, McTell agreed and the historic session took place. That morning in November McTell recorded 14 tracks, including five folk ballads that he had never recorded before.
His slide maneuvers on "Amazing Grace" are strikingly reminiscent of Blind Willie Johnson's technique.

http://www.allmusic.com/album/complete-library-of-congress-recordings-1940-mw0000271231

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(c) Sacred Harp Singing Society, led by Uncle Bill Hardeman (1942)
George Pullen Jackson, a distinguished scholar of sacred American music, accompanied Alan Lomax to document the 1942 Sacred Harp Singing Convention in Birmingham, Alabama. They recorded 28 discs of hymns, fuguing-tunes, and anthems, along with several interviews. This version of "Amazing Grace" is in the shape-note singing style, from The Sacred Harp book, in four-part harmony using the "New Britain" melody (recorded by Alan Lomax and George Pullen Jackson in Birmingham, Alabama, August 1942. AFS 6702 A4).

http://www.loc.gov/item/ihas.200049059/

Listen here:

http://lcweb2.loc.gov/natlib/ihas/service/amazinggrace/200049059/0001.mp3



(c) Dixie Hummingbirds (1946)  (as "Amazing Grace")
Recorded in February 1946
Released on Apollo 108

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In the year 2000 it became the 7th gospel record inducted into the Grammy Hall of Fame.

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(c) Mahalia Jackson (1948)  (as "Amazing Grace")
Herbert James Francis, organ;
Recorded in Chicago on December 20, 1947
Released on Apollo 194

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(c) Fairfield Four (1948)  (as "Amazing Grace")

Released on Bullet 292

Listen to a sample here:

http://www.allmusic.com/song/amazing-grace-mt0046454461



(c) Golden Gate Quartet (1949)

Released on the compilation "Our Story" Columbia 494053

http://www.discogs.com/Golden-Gate-Quartet-Our-Story/release/5238109

http://www.discogs.com/Golden-gate-Quartet-Golden-Years-1949-1952/release/3621792

Listen here:

http://lcweb2.loc.gov/natlib/ihas/service/amazinggrace/200149296/0001.mp3



(c) Sister Rosetta Tharpe with Lottie Henry and the Rosettes 
Recorded February 21, 1951 in New York City.
Released on Decca 14575

http://www.loc.gov/item/ihas.200049049/

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Listen here:

http://lcweb2.loc.gov/natlib/ihas/service/amazinggrace/200049049/0001.mp3



(c) Carl Smith with The Carter Sisters and Mother Maybelle (1952)
Carl Smith and Carter Family (Mother Maybelle, Anita, June, Helen Carter [vcl], Grady Martin [el gt], Velma Smith [rh gt], Johnny Sibert [steel], Hal Smith [bass], Gordon Stocker [piano]. Producer: Don Law)
Recorded April 11, 1952 Castle Studio, The Tulane Hotel, 206 8th Ave. North, Nashville, TN -
Released on Columbia 20986

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http://www.loc.gov/item/ihas.200149074/

Listen here:

http://lcweb2.loc.gov/natlib/ihas/service/amazinggrace/200149074/0001.ram



(c) Maceo Woods at the Hammond Organ (1955)  (as "Amazing Grace")  (instrumental)
Recorded September 1954
Besides recording his singing group, Vee-Jay also recorded Maceo Woods as a solo artist playing his Hammond organ, first in April and again in September 1954. The second session produced his gospel hit, "Amazing Grace," which according to gospel expert Lee Hildebrand remains the "best-selling instrumental in African-American gospel history."
"Amazing Grace" came about from Woods’ work on Vivian Carter’s radio show. Woods' job was to play organ interludes on the show, and at one point he was noodling around on "Amazing Grace." Carter was taken with the number, immediately taped a complete run-through of the gospel classic, and made it the theme for her show. Then the number was released in January 1955 as a single on Vee-Jay 122.

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Listen here:

http://grooveshark.com/s/Amazing+Grace/3Ukjcl?src=5



(c) Jesse Fuller (1957)  (as "Amazing Grace")  (instrumental)
Recorded in Oakland, Ca, April 22, 1955; prod. by Tom Spinosa
Released in 1957 on 10 inch album: Frisco Bound! with Jesse Fuller

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http://www.wirz.de/music/fullefrm.htm

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(c) Weavers (1960)  (as "Amazing Grace")
Recorded April 1, 1960.
Released 1963 on The Weavers at Carnegie Hall Vol. 2

http://en.wikipedia.org/wiki/The_Weavers_at_Carnegie_Hall_Vol._2

Listen here:

http://grooveshark.com/s/Amazing+Grace/3U9BYH?src=5



(c) The Soul Stirrers (1963)  (as "Amazing Grace")
Recorded under the direction of Sam Cooke on Feb. 27, 1963 at Universal Studios, Chicago.

http://www.recordconnexion.nl/soulstirrers-3.htm

Released on the next album:

http://www.recordconnexion.nl/Sar/sar504.htm

Listen here:

http://grooveshark.com/s/Amazing+Grace/1Cr5GF?src=5



(c) Big Brother & The Holding Company (Medley of Amazing Grace / Hi Heel Sneakers)
Recorded at The Matrix on January 31, 1967.

http://www.discogs.com/Big-Brother-And-The-Holding-Company-The-Lost-Tapes/release/2681768

http://en.wikipedia.org/wiki/The_Lost_Tapes_(Big_Brother_and_the_Holding_Company_album)

Listen here:

Big Brother & The Holding Company – Amazing Grace - Live at The Matrix, 1967



(c) Judy Collins (1970)  (as "Amazing Grace")

Judy Collins decided to record "Amazing Grace" in the late 1960s amid an atmosphere of counterculture introspection; she was part of an encounter group that ended a contentious meeting by singing "Amazing Grace" as it was the only song to which all the members knew the words. Her producer was present and suggested she include a version of it on her 1970 album Whales & Nightingales. Collins, who has a history of alcohol abuse, claimed that the song was able to "pull her through" to recovery. It was recorded in St. Paul's, the chapel at Columbia University, chosen for the acoustics. She chose an a cappella arrangement that was close to Edwin Othello Excell's, accompanied by a chorus of amateur singers who were friends of hers. Collins connected it to the Vietnam War, to which she objected: "I didn't know what else to do about the war in Vietnam. I had marched, I had voted, I had gone to jail on political actions and worked for the candidates I believed in. The war was still raging. There was nothing left to do, I thought ... but sing 'Amazing Grace'." Gradually and unexpectedly, the song began to be played on the radio, and then be requested. It rose to number 15 on the Billboard Hot 100, remaining on the charts for 15 weeks, as if, she wrote, her fans had been "waiting to embrace it". In the UK, it charted 8 times between 1970 and 1972, peaking at number 5 and spending a total of 75 weeks on popular music charts.

http://www.45cat.com/record/eks45709

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(c) Mieke Telkamp (1971) (as "Waarheen, waarvoor...")
In 1971 the Dutch singer Mieke Telkamp got her first golden record for "Waarheen, waarvoor", a song with original Dutch lyrics by Karel Hille, written on the melody of "Amazing Grace".
She recorded "Waarheen, waarvoor" together with the Hi-Five under the direction of Harry de Groot, after an idea of Frank Jansen, who also did the production.
Telkamp's version stayed on the Dutch charts for 24 weeks and in later years was frequently heard on funerals.
As we can hear, Telkamp's version is a clear blueprint of Judy Collins version.

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(c) Royal Scots Dragoon Guards (1972)  (as "Amazing Grace")  (instrumental)
Another act which is clearly a blueprint of Judy Collin's version is the Chart-Topping version by the Royal Scots Dragoon Guards.
Although Collins used it as a catharsis for her opposition to the Vietnam War, two years after her rendition, the Royal Scots Dragoon Guards, senior Scottish regiment of the British Army, recorded an instrumental version featuring a bagpipe soloist accompanied by a pipe and drum band. The tempo of their arrangement was slowed to allow for the bagpipes, but it was based on Collins': it began with a bagpipe solo introduction similar to her lone voice, then it was accompanied by the band of bagpipes and horns, whereas in her version she is backed up by a chorus. It hit number 1 in the UK singles chart in April 1973, spending 24 weeks total on the charts, topped the RPM national singles chart in Canada for three weeks, and rose as high as number 11 in the U.S. As of 2002, it is the best-selling instrumental record in British history, and a controversial one, as it combined pipes with a military band. The Pipe Major of the Royal Scots Dragoon Guards was summoned to Edinburgh Castle and chastised for demeaning the bagpipes.

http://www.45cat.com/record/rca2191

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(c) Johnny Cash and The Carter Family (1970)  (as "Amazing Grace")
In October 1970 Johnny Cash recorded a version (together with the Carter Family) which was used for the Columbia motion picture "I Walk the Line" starring Gregory Peck and Tuesday Weld.

http://en.wikipedia.org/wiki/I_Walk_the_Line_(soundtrack_album)

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Johnny Cash – Standing on the Promises / Amazing Grace


(c) Johnny Cash and The Carter Family (1975) (as "Amazing Grace")
In June 1974 Johnny Cash recorded a full orchestra version of "Amazing Grace" released on his 1975 album Sings Precious Memories, dedicating it to his older brother Jack, who had been killed in a mill accident when they were boys in Dyess, Arkansas. Cash and his family sang it to themselves while they worked in the cotton fields following Jack's death. Cash often included the song when he toured prisons, saying "For the three minutes that song is going on, everybody is free. It just frees the spirit and frees the person."

http://en.wikipedia.org/wiki/Sings_Precious_Memories

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Johnny Cash – Amazing Grace


(c) Byrds (1970)  (as "Amazing Grace")
In June 1970 The Byrds recorded a version for the "Untitled" album, which was originally intended to be the final track on the album
It was not included on the album, although a live version is included on "(Untitled)/(Unissued)" (issued in 2000), with "Amazing Grace" appearing as a hidden track.

http://en.wikipedia.org/wiki/Untitled_(The_Byrds_album)#cite_note-allmusic3-40

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The Byrds – Amazing Grace


(c) Rod Stewart (1970)  (as "Amazing Grace")
In November 1970 Rod Stewart recorded "Amazing Grace" which was included on the "Every Picture Tells a Story" album. "Amazing Grace" is not listed on the label on most editions, and on some CDs is part of "That's All Right".

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(c) Elvis Presley (1972)  (as "Amazing Grace")
Elvis Presley recorded a version of "Amazing Grace" on March 15, 1971.
It was released on his "He Touched Me" album.

http://en.wikipedia.org/wiki/He_Touched_Me_(album)

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(c) Aretha Franklin (1972)  (as "Amazing Grace")
In January 1972 Aretha Franklin recorded "Amazing Grace" as the title song of an album released in June 1972.

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(c) Amazing Rhythm Aces (1975)  (as ""Amazing Grace (Used to Be Her Favorite Song)"
In 1975 the Amazing Rhythm Aces recorded a variation on "Amazing Grace".
"Amazing Grace (Used to Be Her Favorite Song)" was released as a single and made #9 on the country chart, although it stalled at #72 on the pop chart.

http://www.discogs.com/Amazing-Rhythm-Aces-Amazing-Grace-Used-To-Be-Her-Favorite-Song-The-Beautiful-Lie/release/1544118

Listen here:

http://lcweb2.loc.gov/natlib/ihas/service/amazinggrace/200049064/0001.mp3



(c) Yes (1976)  (as "Amazing Grace")  (instrumental)
Recorded at Advision studios, London on November 4th, 1976, the traditional "Amazing Grace" performed as a solo here by Chris Squire, was finally released on the remastered version of the Yes-album "Going For The One".

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(c) Daniel Lanois (1989)  (as "Amazing Grace")
Daniel Lanois recorded "Amazing Grace" for his debut-album "Acadie" in 1989.
The melody of "Amazing Grace" is virtually unrecognizable and only Aaron Neville's singing gives you a hint of its identity.

http://www.discogs.com/Daniel-Lanois-Acadie/release/2765011

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(c) Bob Dylan (2002)  (as "Amazing Grace")
Sung in the background of the movie "Masked and Anonymous". Never issued on CD.

http://en.wikipedia.org/wiki/Masked_and_Anonymous

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(c) Pete Seeger (2009)
From Pete Seeger's 90th Birthday Concert (Clearwater Concert), Madison Square Garden, 5/3/09. Pete Seeger leads the audience in Amazing Grace.

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More versions here:

http://www.originals.be/en/originals.php?id=179

100+ coverversions are on the next site:

http://www.secondhandsongs.com/work/13226/versions#nav-entity


Discography of Recordings in the Library of Congress:

http://www.loc.gov/item/ihas.200149088/


Finally: "Amazing Grace" also bears some resemblance to "Must Jesus Bear This Cross Alone".
SEE NEXT LINK: http://jopiepopie.blogspot.nl/2014/09/the-cross-1843-bearing-cross-1846.html