1 Blind Lemon Jefferson, ca. 1927, Courtesy Documentary Arts

In order to corroborate this theory, a complete list list complete a theory, this corroborate to order In

2 By placing these new songs in the context of Jefferson’s of context the in songs new these placing By Monge and Evans: New Songs of Blind Lemon Jefferson Lemon of Blind Songs New and Evans: Monge

1

of Jefferson’s visual references in the new songs is provided in the Appendix the in provided is songs new the in references visual Jefferson’s of obtained in the earlier article. for statistical comparisons with the results The main purpose of this essay is to examine newly discovered material by one of the great creative forces in the blues, Blind will attempt Lemon to Jefferson. explain the We material’s peculiarities and try to solve certain presents. it problems other known music and his blues in particular, as well as within the broader other known music and his blues in particular, add they how show to try will we tradition, music folk American of spectrum music, personality, life, Jefferson’s of understanding our modify or confrm, to, and artistic stature. In we particular, will investigate certain themes in the lyrics of these new songs. One of these is the theme of violent attacks and outbursts, either suffered or perpetrated by the blind Another singer. is the theme of blindness itself. As explained in an the earlier article underlying by Monge, the sub-theme many the cryptic visual constitute references and in Jefferson’s blindness lyrics his unveil with a psychological preoccupation output. lyrical his of whole

New Songs of Blind Lemon Jefferson Produced by The Berkeley Electronic Press, 2003

Blind Lemon Jefferson Lemon Blind Evans and David Monge Luigi New Songs of of Songs New New Songs of Blind Lemon Jefferson 2 - -

The importance

here most likely were were likely most here Jefferson by recorded at some point, any such recordingsappear to have been lost or destroyed. of this material goes beyond helping to fll some of the gaps discog in Jefferson’s raphy. In fact, not only does the mate Since Since Chicago Music Publishing

7

Since then, record collectors have searched unsuccessfully unsuccessfully searched have collectors record then, Since

6

Evidently, Okeh was allowed to keep its lone 78 on the market, market, the on 78 lone its keep to allowed was Okeh Evidently, At the time of his Okeh sessions, which took place on March 14 14 March on place took which sessions, Okeh his of time the At

but the song copyrights had to be assigned to Chicago Music. All this may have caused the other titles Paramount, for them of to one re-record remain to Jefferson unissued, allowing thus and 15, 1927, in Atlanta, Georgia, Jefferson had been recording recording been had Jefferson Georgia, Atlanta, in 1927, 15, and total a recorded He year. a than more for Records Paramount for sides two only but Brockman, Polk agent Okeh for songs eight of were 8455) Okeh Blues,” Box “Match b/w Moan” Snake (“Black issued, probably because Records Paramount claimed Jefferson plans Okeh’s blocked and artists recording exclusive its of one as to release the other six titles. rial provide addi-tional information unissued about Jefferson’s recordings for Okeh Records, but it also includes previouslyunknown titles made for Paramount Records. In Samuel one artistry, earliest of and most in-depth studies of Jefferson’s the Stop “English instrumental Charters was the the frst of to publish the music music and lyrics of “Elder the and Town” in Green’s Time.” Company was Jefferson’s publisher, and, since Jefferson probably probably Jefferson since and, publisher, Jefferson’s was Company had a closer relationship with its owner J. Williams than Mayo with the Paramount Record our Company, speculation is that temporary switch Jefferson’s to Okeh would not have affected his publishing relationship with Chicago the Indeed, two issued songs Okeh as are original as Company. Music Publishing any around this other time, by Jefferson blues but recorded the Possibly, “traditional.” way some in all are songs known fve other “traditional” only record to Jefferson get to tried Brockman Polk royalties mechanical paying and negotiating avoid to as so songs may Williams However, Company. Publishing Music Chicago to have forced Okeh to pay these for royalties its two issued sides, perhaps in compliance with an exclusive publishing agreement between Chicago it and Music is Jefferson. Consequently, very likely that Okeh or Brockman assigned these titles to Chicago Music Publishing Company as some sort of settlement in the sessions. Okeh “illegal” Jefferson’s fallout over for possible test of pressings these titles. Because none has been found so we far, assume that recordings of these songs are lost In this article forever. we are now presenting the same material as Charters with some further comments, plus the new songs copyright deposits. all the other available from All of these

4 Journal of Texas Music History, Vol. 3 [2003], Iss. 2, Art. 3 2, Art. Iss. 3 [2003], Vol. History, Music of Texas Journal Although the songs under discussion

5 - -

Many Many of his

3

The new material, most of which we present here for the frst the for here present we which of most material, new The When the Wortham area experienced an oil boom in the early the in boom oil an experienced area Wortham the When Blind Lemon Jefferson Jefferson Lemon Blind

time, comes from typed and hand written copyright deposits of the songs: Chicago following Music Publishing the Company includes at and the D.C., Library of Washington, in Congress Stop “English Town,” in Green’s “Elder Blues,” Man “Laboring Time,” “I Labor So Far from Home,” “Light House “Money Blues,” Tree Mama Blues,” and “Pineapple Blues.” Besidesthese, we will also discuss three titles different completely alternatebear cases two in which versionssongs, known of already became aware We previously issued recordings. from Jefferson’s of the existence of these copyright deposits through a number of different published sources, as well as our own research in the Library of Congress. 1920s, Jefferson performed there for tips from “wildcatters” and “wildcatters” from tips for there performed Jefferson 1920s, 1925, By he “sports.” was back performing in Dallas, where he and store record a of proprietor Ashford, T. R. by discovered was frst his made and Chicago to traveled Jefferson parlor. shoeshine end the and then Between 1926. early or 1925 late in recordings along blues, mostly titles, released 90 about recorded he 1929, of with a few spirituals and other types of folksongs. formed and recorded to the present day, and his improvisational guitar style served as a prototype for modern electric lead more many for opportunities created also success His guitar blues. the in born was Jefferson recordings. make artiststo self-accompanied in 1893 displayed in soon Couchman, he near As Texas. Wortham, However, best birth. can from be blind was he determined, With himself. of care take and around get to ability remarkable a music in interest early an showed he education, formal no or little and took up guitar playing and singing. 1912 By he was riding Central and Ellum Deep the in performing and Dallas to trains area. One of his musical partners in this early period was Track the infuential singer Texas and songwriter Leadbelly (Huddie Ledbetter). ence on other musicians. have songs his of Versions con-tinued to be per was the first important self-accompanied blues singer-guitarist to make recordings. were made for Paramount Records in Chicago or in Richmond, in or Chicago in Records Paramount for made were March, in Atlanta in session one of exception the with Indiana, in 1927, performing for Okeh Records, widely, which resulted traveled in the Jefferson release of period, two this During songs. circumstances uncertain under died He venues. other and theatres in 1929, late in December, Chicago, either from a heart attack two. the of combination a perhaps or death, to freezing from or Wortham. in is buried He records sold quite well, and he was a great infu http://ecommons.txstate.edu/jtmh/vol3/iss2/3 3 Reg. # Reg. E667071 E659646 E659647 E664771 E664772 E693046 E693572 388 E U.S. Unpub. 389 E U.S. Unpub. 392 E U.S. Unpub.

Reg. Date Date Reg. 15, 1927 June 5, 1927 April 5, 1927 April 20, 1927 May 20, 1927 May 31, 1928 May 21, 1928 June 18, 1928 Oct. 18, 1928 Oct. 18, 1928 Oct.

 Recording Date Date Recording 14, 1927 March 14, 1927 March 14, 1927 March 14, 1927 March 15, 1927 March 1927 Sept./Oct. 1928 February 1928 or Aug. July 1928 or Aug. July 1928 or Aug. July

transcription of The the texts lyrics. may not have been nglish Stop Time” are nglish likely Time” Stop to be the most valuable for

Certain peculiarities of the style of notation and similarities in similarities and notation of style the of peculiarities Certain made be can inaccuracy scribe’s the on observations same The ript suggest that all of the lead sheets were prepared by the same same the by prepared were sheets lead the of all that suggest ript Matrix Number Number Matrix 80526-B probably 80527-B probably 80528-B probably 80529-B probably 80536-B probably * 20035/6/7/8/ or 20072 * 20382/3 * 20748/52/53 or 20817 * 20748/52/53 or 20817 * 20748/52/53 or 20817 transcribed exactly, and it is quite possible that some or all of the of all or some that possible quite is it and exactly, transcribed texts are truncated, although our guess is Tight that “I Labor So “It’s Far Bad,” Black “Too Blues,” House “Light Home,” from are Blues” “Pineapple and Blues,” Mama “MoneyTree LikeThat,”copyright the in as is here lyrics the of presentation Our complete. submissions, which include some evident mistakes. Moreover, and sheet lyric the between discrepancies textual slight are there has punctuation Only notes. musical the under written lyrics the been standardized, adding commas, periods, apostrophes, etc., where needed in order to make the texts more readable. Figure this on data publishing and recording available the all reports 1 of songs. group “Laboring Man Blues” Blues” “Laboring Man man to set a woman down, working takes a hard It Blues,” “Elder Green’s in Town,” “I Labor So Far from Home,” Home,” from “I Far Labor So Town,” in Green’s “Elder Blues,” and “E House “Light melodies. actual Jefferson’s into insight providing are others the but degree, some to accurate be also might Blues” the mark. far from probably sc melodies the In Company. Publishing Music Chicago for scribe of the blues songs, in general there is no indication of a fatted or “blue” third in the frst line, but the third is usually fatted in the second line and in melodic phrases where it follows the seventh The Blues”). “Pineapple (e.g., scale the of degree fourth degree of the scale is written as natural, with no suggestion of a blue note, The except in fact “Laboring that Man Blues.” the should F and C of keys “simple” the in written all are sheets lead not be taken as an indication that actually Jefferson performed the pieces in those keys. This was a normal practice in writing lead sheets. for the

Place of Rec. of Rec. Place Ga. Atlanta, Ga. Atlanta, Ga. Atlanta, Ga. Atlanta, Ga. Atlanta, Chicago, Il. Chicago, Il. Chicago, Il. Chicago, Il. Chicago, Il.

Issue # Issue unissued unissued unissued unissued unissued unissued unissued unissued unissued unissued

Monge and Evans: New Songs of Blind Lemon Jefferson Jefferson Lemon of Blind Songs New and Evans: Monge 8 Rec. Co. Rec. Okeh Okeh Okeh Okeh Okeh Paramount Paramount Paramount Paramount Paramount

L. Jefferson L. Jefferson L. Jefferson L. Jefferson L. Jefferson L. Jefferson L. Jefferson L. Jefferson L. Jefferson L. Jefferson L. Jefferson Author Author

reliable indicators of what Jefferson actually sang. On the blues blues the On sang. actually Jefferson what of indicators reliable

The only title known to have been recorded by Jefferson which which Jefferson by recorded been have to known title only The The melodies printed on the lead sheets discussed here are

Data on Jefferson’s new songs on Jefferson’s Data

titles at least, the scribe virtually used generic blues melodies. At best, the melodic lines of real Jefferson’s melody and that of the lead sheet might share the same are especially generalinclined to this opinion contour. on the basis We of the three blues tunes that seen have we issued of that versions known are Man “Laboring of sheets lead the hand, other the On recordings. remains remains untraced in any form is “‘Stillery Blues” (recorded for Okeh), clearly a song Brockman, more Polk by or composed been less have may thematically piece This dealing alcohol. with who would not have Company to allowed register it for copyright, or it may be an alternate Chicago Music version Publishingof some Paramount title that Jefferson recorded a few months before or after the Okeh session. In the latter case, we Jefferson’s of one to similar be probably would it that assume can that subject, same the on recordings Paramount later) (or earlier 12373) or 1926, Paramount (ca. May Blues” is, “Chock House “Old Rounders Blues” (ca. August 1926, Paramount 12394), neither of which was registered for copyright. A with the connectionformer title is particularly suggestive if one considers The meaning is a type of homemade beer. the fact that “chock” may easily have extended to a beer house and is or very“juke” word common more currently likely the of variant phonetic a “jook.” the However, title of the song would be inaccurate, as beer is fermented, not distilled. un “Easy Rider Blues” (ca. April 1927, Paramount 12474). Jefferson Jefferson 12474). Paramount 1927, April (ca. Blues” Rider “Easy (ca. November Moan” Snake Black “That recorded had already “Match re-record soon would he and 12407), Paramount 1926, “Easy with paired Brockman be would which of case, takes both twice, the Blues” Box Whatever record. Paramount a on Blues” Rider or to claim publisher to be the tried to have not appears himself of authorship claimed he although songs, the of any of authorship time this around offce copyright the in registered songs other many artists with whom he was associated. that were recorded by Laboring Man Blues Blues Laboring Man Easy Rider Town in Green’s Elder Time Stop English Home from Far I Labor So Blues Light House Bad Black Too That Like Tight It’s Blues Mama Tree Money Blues Pineapple * presumably Song Title Title Song Figure 1: Figure New Songs of Blind Lemon Jefferson Produced by The Berkeley Electronic Press, 2003 New Songs of Blind Lemon Jefferson 4

In In fact,

11

In light of the of light In

10 vocabulary. wedding. In fact, only French dictionaries dictionaries French only fact, In

9  by by which Italian groups that played on homemade

be better written as two quarter notes. There are also two

charivari charivari arch, arch, 1927, or an alternate take of the Paramount recording The frst full of measure 1 stanza opens with a half note that This song could be either from the Okeh recording session in session recording Okeh the from either be could song This ush your mouth, woman, and don’t be raising sand. be raising mouth, woman, and don’t ush your ’m broke and hungry, got nowhere to go. to go. got nowhere and hungry, broke ’m report this word, which is meaning it usedhas today in withthe American South, thethat is, a samerowdy a following often denotative party, or celebration use of the word “shiveree.” Paul use Oliver uses of Paul the the more word common “shiveree.” bands “Mexican were these that explains and “shivaree” spelling and mariachi groups who played in South TheyTexas. were also known as bands, ‘shivaree’ their name being a corruption of known.” once were instruments of “Easy Rider Blues.” Since the latter is thought to have been recorded in April, and since the date of registration of the new transcribed is sheet lead the that likely more is it 5, April is song recording. the unissued Okeh from would alternative notes at the beginning of measure 10, perhaps an “Easy Rider” Rider” “Easy gone, my easy rider’s tell me where Oh, home. me away from drove The woman I love rider died on the road, Easy I need no man, coming a time when a woman won’t There’s H M mutual infuence of Mexican and African-American music in the the in music African-American and Mexican of infuence mutual Southwest, especially during the frst quarter of the twentieth it is not surprising encountered that Jefferson Texas, century in this expression and that it was part of his Jefferson was born in and traveled extensively throughout Texas. Texas. throughout extensively traveled and in born was Jefferson custom The is “shivaree” known all over the States United and Canada, but it does seem to be especially common in the Lone Star State. In the context of this more Jefferson song, however, sexual activity, to a kind of dance or music, or even likely refers thus extending the meaning word’s further, as also happens in words such as “zydeco,” “jook,” “rag,” “boogie,” etc., “jump,” which are “strut,” used to signify a type of music, “shimmy,” a type of dance, a music/dance place, or event. In the the by case suggested been have might of meaning dance the word “shivaree” the of occurrences Other “shiver.” word the of sound similar Blues” in Chair the “shivaree” blues used with “Rocking a similar meaning are in Band’s Earl Jug Louisville Original McDonald’s “Brown Glinn’s Lillian 14226-D), Columbia 1927, 30, (March Skin (December Blues” 2, 1927, Columbia 14275-D), Robert Brunswick 1929, 23, September (ca. Blues” “Alabama Wilkins’s October (ca. Blues” Rain of “Showers EdwardThompson’s 7205), 23, 1929, Paramount 13018) and “East Blind Willie McTell’s Vocalion 1933, 21, (September Well)” You (Fare Blues Louis St. unissued; JEMF 106). Journal of Texas Music History, Vol. 3 [2003], Iss. 2, Art. 3 2, Art. Iss. 3 [2003], Vol. History, Music of Texas Journal

ves to gamble, can’t set you down. down. set you to gamble, can’t ves (some of them AA, others AB), rather than 4 quatrains 4 than rather AB), others AA, them of (some

’t got nobody in this town. in this town. got nobody ’t From the linguistic point of view, it is to interesting note the the linguistic point of view, From From From the textual point of view, in the transcription we can The text of “Laboring Man Blues” has been printed as 8 ote minor inconsistencies between the page of text and the page page the and text of page the between inconsistencies minor ote akes a hard laboring man to give you all you need. all you you laboring man to give akes a hard ou ain’t got no business ‘round here dipping in with me. dipping in with here ‘round got no business ou ain’t s far ‘cross the sea when (sic) I can’t see. the sea when (sic) I can’t s far ‘cross f you know what to do, you can gain her back. you what to do, know f you with music.The music transcription has “Now I ain’t got nobody, nobody, got ain’t I “Now has transcription music.Themusic with got ain’t “I has transcription lyric the while town,” this in nobody nobody in this town.” More important is the modifed reprise “Wartime his in sang Jefferson that reference visual subtle the of girl the “Well, 12425), Paramount 1926, November (ca. Blues” living I in and love Memphis, the one she’s I crave to see/Well, and write the to fool me,” won’t which is here disappointingly rendered (or perhaps only poorly transcribed) as “The girl that I love and who I crave to see/Is far ‘cross the sea when (sic) see.” I can’t as in the lead sheet, This so that it will conform to the melody. is a two-line know of proto-blues. We no other tune quite like it, although it strikes us as having a strongly traditional favor. The instrumental introduction appears to be derived from the for melody the in breaks no are There melody. the of line second inaccurate is sheet lead the that suggests which responses, guitar in this respect. n I ain’t got nobody in this town, got nobody in this town, I ain’t I ain couplets If your darling sugar quits you, what the world of that, what the world sugar quits you, darling your If I to see, and who I crave that I love The girl I A man loves to gamble, can’t set you down, down, you set to gamble, can’t A man loves A man lo Takes a hard laboring man to give you all you need, all you you man to give laboring a hard Takes T If you can’t do the shiveree, do the shiveree, can’t you If Y It takes a hard working man to set a woman down. to set a woman down. man working takes a hard It down, you set can’t to roustabout A man loves down. you set can’t to roustabout A man loves http://ecommons.txstate.edu/jtmh/vol3/iss2/3 Blind Lemon Jefferson, “Laboring Man Blues”, ca. June 1927 ca. June Blues”, “Laboring Man Jefferson, Lemon Blind 5

13

Hoffman. New New Orleans pianist Jelly Roll

Nevertheless, Nevertheless, it suggests an early 14

15 

16 unk and all down and out, don’t worry me. and out, don’t unk and all down

his being driven away from home. The second couplet is d, lawd, lawd, lawd, boys, she’ll make a panther squall. she’ll boys, lawd, lawd, d, lawd,

detected in the text only because the two visual references in in references visual two the because only text the in detected Early versions of “Don’t You Leave Me Here,” or, in some cases, cases, some in or, Here,” Me Leave You “Don’t of versions Early there. there. If we analyze the melody of “Elder Green’s in we Town”, The highly visual content typical lyrics of cannot Jefferson’s bound. e’s gonna tear down the old Church of God and build a barrelhouse barrelhouse a build and God of Church old the down tear gonna e’s

mmediately realize it is close to the standard melody of “Alabama “Alabama of melody standard the to close is it realize mmediately is searching for his woman at the station after their argument and Morton Morton claimed to have created the tune in Mobile, Alabama, to claim his as accuracy much as has probably this but 1905, in have invented jazz in 1902. I’ve got a high brown, and she’s long and tall, and she’s got a high brown, I’ve Law care, don’t Green Elder care, don’t Green Elder H i Bound.” This could indicate either a transcription of more-or-less Jefferson singing a accuratetraditional tune or simply the fact that the scribe had the standard melody in mind and imposed it singing. on It Jefferson’s appears to be a variant of a New Orleans melody up shows that frst It has Texas. to migrated westward and northwardValley River Mississippi up the as “I’m Alabama Bound” published in New Orleans in 1909, credited to a white theatre pianist named Robert The tune can be viewed as a version of an convention AAB blues the with the retaining but length, in compressed lines two frst of starting each line respectively with a suggestion of the tonic, subdominant, and dominant harmonies (I, IV and V). Blind Boone used the melody also in 1909 as one of the strains in his Rag “Boone’s Medley no. 2.” probably the last in the logical sequence of events and summarizes summarizes and events of sequence logical the in last the probably the tragic facts that have occurred, i.e., the death woman’s on loneliness and the The homelessness. road preceding third and Jefferson’s altercation couple’s the form dialogic in reprises couplet bluesman. the by recalled is it as home from escape woman’s the the causing and quarrel the to end an putting stanza the is This woman to leave. be the issued version of the song (“She left me this morning with a face covered with that’s and frowns” are “fair brown”) absent due to the truncation. in Town” Green’s “Elder in town, Green’s Elder in town, Green’s Elder He’s got it printed all over his old automobile, he’s Alabama worry me [again], worry me, don’t Don’t When I get dr acquaintance with this tune by a New Orleans musician. Morton Morton musician. Orleans New a by tune this with acquaintance tune known well a is it and Here,” Me Leave You “Don’t it called under this title.

This approach often

12 Monge and Evans: New Songs of Blind Lemon Jefferson Jefferson Lemon of Blind Songs New and Evans: Monge verses.

“Easy “Easy Rider [Blues]” is one of many blues songs occurring Although the scribe’s transcription of this song is sketchy, it is safe is it sketchy, is song this of transcription scribe’s the Although

manifests itself through an apparently illogical narrative sequence sequence narrative illogical apparently an through itself manifests of stanzas, which can be understood more clearly as associative song, issued complete the in As juxtapositions. contrastive and/or different from abandonment/separation with deals fragment this points of view. The frst couplet describes the bluesman who in in both black and white tradition beginning in the 1920s that other with along rider” see, “see or rider” “easy phrase the contain different rather are lyrics and melody Jefferson’s verses. traditional from most other versions. Jefferson’s song remains more or less composing of method early his refects and text in non-thematic lyrics by combining traditional structure to the Paramount version, which contains eight stanzas. eight contains which version, Paramount the to structure This hypothesis is strengthened by two factors: 1) the issued and unissued songs basically present the same succession of strophes, the to corresponding sheet lead the in stanzas three surviving the frst three in the in issued version spite of the text’s lack of any spelling a from Apart chronological story-line; 2) if copyright. it had not for been a full recording, it submitted been have not would and “Now” of presence the notice we [sic]), (“comeing” problem stanza) (frst love” I woman “The before respectively you” “Now and “Hush your mouth” (third stanza), as not are well elements as These the omission transcription. musical the in “woman” of found in the lyric portion of the lead sheet. to assume that this tune had a text similar in length, content, and and content, length, in similar text a had tune this that assume to attempt attempt to indicate melodic variation. The lead sheet has two identical versions considerably of the a last is two measures, sheet each lead containing two the of melody The notes. whole joined released the on sings Jefferson that melody the of version distorted of range overall the only preserving Blues,” Rider “Easy of version lacks It lines. the of contour descending generally the and octave an extensions metrical his and syncopation characteristic Jefferson’s at the ends of his lines, and it does not indicate his singing of blue notes at the third and seventh degrees of his melody. The instrumental introduction of the lead sheet is obviously derived from the third line of the vocal melody. Jefferson played guitar on of in tuning the version “Easy G of issued standard position C. of key the in written was sheet lead the although Blues,” Rider has Blues” Rider “Easy issued the in singing his of transcription A been transposed to C for ease of comparison.

New Songs of Blind Lemon Jefferson Produced by The Berkeley Electronic Press, 2003 New Songs of Blind Lemon Jefferson 6 Such

20 It It mentions the city

18 unscrupulous pastors. surname. Pentecostalists Pentecostalists are typically known

19

The stanzas about Elder Green/Elder Brown/Jimmy Bell give give Bell Brown/Jimmy Green/Elder Elder about stanzas The Unlike Patton’s Unlike longer Patton’s versions of the song, text Jefferson’s

for their highly emotional style of worship and singing and the their into styles and tunes, instruments, secular of incorporation music. The Pentecostal movement gained adherents following rapidlythe Azusa Street Revival of 1906-07 in Los Angeles, and industrial in and cities to migrants black among particularly mining communities. Many of those who remained in older denominations or lived more secular lives ridiculed the “saints” or “holy rollers” and circulated rumors and reports of unholy doings in their services and of these songs, to some degree, the quality of a narrative folk ballad. ballad. folk narrative a of quality the degree, some to songs, these This person is consistently depicted as a ladies’ man, drinker, hypocrite, hustler, rambler, and The all-around mixed devilish fellow. however, always, are terms these in him describe that verses with other frst-person verses with similar themes, suggesting a strong identifcation betweenmost in verses theblues like Green, singer Elder about verses and The the preacher. reprobate merely instead are but story-line chronological no develop cases, illustrate and order any in sung be could that vignettes of series a the in originated that ballads folk Many character. Green’s Elder twentieth the of beginning the around tradition African-American and “Casey such Jones,” “Stagolee,” as “Railroad Bill,” century, display these characteristics—lack of a chronological story-line frst- and third-person of mixture and chronology, fractured a or person verses. These characteristics, which have been noted in Laws, Malcolm G. as scholars such by material this of overviews minor of often is story-line the that suggest Oliver, Paul and Jr., Greene Greene Blues,” ca. John October Orleans. 1929, New Paramount mentions 12972), text Its which takes. alternate two in exists essentially the same song published “Ol’ Elder Brown’s,” Work with a change of color in the mentions Elder Green in only two of its four stanzas. Both of these are unique to text Jefferson’s and are not found in other any known versions. The frst of these stanzas clearly his linkssong to the better known Bound” “Alabama title. His last denominational Green’s a possible clue to Elder stanza provides is meant affliation, to if The be the capitalized. word “church” Church of God would have been a pentecostal or “sanctifed” church, possibly the Church of God in Christ, where ministers are often called “Elder.” reports reports could easily have coalesced around a possibly fctional, composite character known as Elder around Green 1909 when Pentecostal the and popularized was tune Bound” “Alabama the was in its initial phase of growth. movement of Shreveport, Louisiana. probably Work collected his version Natchez, Mississippi, near blues Tennessee. Nashville, guitarist 1958 in Bell” “Jimmy a recorded Carradine) (William Cat-Iron (Folkways FA 2389), which is also part of this complex, with Another changes. harmonic of suggestions any of shorn tune its related tune describing an unnamed preacher of questionable virtue is “The Got Drunk Preacher and Laid His Down Bible” Ramblers, Tennessee the by 259) Brunswick 1928, 17, (February a white string band.

- Journal of Texas Music History, Vol. 3 [2003], Iss. 2, Art. 3 2, Art. Iss. 3 [2003], Vol. History, Music of Texas Journal Mississippi bluesman Charley Patton recorded recorded Patton Charley bluesman Mississippi

17

The The fgure of Elder Green, or some preacher other reprobate

Thomas in Texas. in Thomas B-3; Flyright SDM 265), Leadbelly of Texas/Louisiana (March 1, (March Texas/Louisiana of Leadbelly 265), SDM Flyright B-3; 602, DLP Document [49-B]; unissued Congress of Library 1935, Reprise (1961, Texas of Lipscomb Mance and versions), later and R2012 and RS 6404, 1964; Arhoolie collected 1077). Bound” “Alabama Elder of versions Green printed also early in appeared Gates and Thomas H. Will and Alabama in White Newman by or church member, appears in a number of recorded versions of versions of recorded in a number appears member, or church New of Jackson 12289), Charlie Papa of those as Paramount such Bound,” 1925, “Alabama May ca. Bound,” Alabama (“I’m Orleans 78 unissued Congress of Library 1934, (May Texas of Harris Pete entitled more simply Leave “Don’t Me Here,” were recorded by Monette Moore (February 25, 1927, Victor 20653), Laura (April Hull Harvey Papa 1977), Banner 1927, March (ca. Smith 3, 1927, Gennett 6106 or Black Patti 8002), Henry [Robert Sam Thomas Washboard 1443), Vocalion 1929, 7, October (ca. Brown] (March 14,differing them of most 04331), 1938, Vocalion 1938, 7, Bluebird(July Hattie Johnson are tune B7501),this using songs andOther another. Merline one from textually “Black Hand Hudson’s Blues” (December 6, 1928, 1927, 13, (June Columbia In” Me Ease “Don’t Thomas’s Henry Mouth 14279-D), Loud You “Don’t Davenport’s Cow Cow 1197), Vocalion (August Barker’s Lu Blue and 7486), Decca 1938, 12, (May Me” 1938, 4, (October Johnson’s Merline and 7506) Decca 1938, 11, Make You Me 04455) High.” Vocalion “Don’t More distantly by recorded frst Go,” Don’t Please “Baby of tunes the are related 1935, 31, (October Williams Joe Big guitarist blues Mississippi Bluebird B6200), Alabama singer Vera Hall’s “Another 4049-A-4 Man Congress of Library 1940, 31, (October Gone” Done and 4049-B-1, issued on Archive of American Folk Song 16), Natchez, Mississippi, bluesman Baby [Leonard Doo’s Caston] Log” (June Your Gonna “I’m 4, Walk 1940, Decca 7773) and [William Carradine] Cat-Iron’s Log” to Goin’ Your “I’m Walk (1958, Folkways FA harmonic 2389). suggest not In does and these scale four blues pentatonic pieces, a in the usually tune is changes. Themes of violence and incarceration are prominent, but many versions mention New Orleans, linking the tune to its likely place of origin. the only version of this tune with Elder Green in the title (“Elder (“Elder title the in Green Elder with tune this of version only the http://ecommons.txstate.edu/jtmh/vol3/iss2/3 Blind Lemon Jefferson, “Elder Green’s in Town”, ca. April 1927 ca. April Town”, in Green’s “Elder Lemon Jefferson, Blind 7

David Evans recorded two versions of “Stop Time” that are similar similar are that Time” “Stop of versions two recorded Evans David

Advertisement for Penitentiary Blues, Courtesy Documentary Blues, Arts for Penitentiary Advertisement in the slide of played them two guitars—one and possibly piano Bumble by 1936, 6, February on Chicago in recorded style—was Bee Memphis Slim (Amos 03197). Easton) and (Vocalion Memphis Minnie Time” (Lizzie Stop Douglas) Orleans “New River titled and Mississippi the across Louisiana, Algiers, in born was Minnie may thus musicians these by played tune The Orleans. New from have been originally a localized instrumental showpiece of the New Orleans area. It features sudden syncopations and pauses in tap or to accompany even suggest intended perhaps the playing, title. tune’s the to contribute undoubtedly pauses These dancing. 1934, at the 15, guitarist an from unknown was recorded December A “Stock-Time” on Milledgeville in Penitentiary State Georgia easy to play. easy (An to outstanding play. guitarist like of Jefferson, course, diffcult.) that truly variations typically adds are had The to frst was Both one another. 1970. 24, on 14, July August from Babe Stovall on Owens Eli from second the and 1966, of part central south the in Mississippi, Tylertown, near up grown Louisiana, Bogalusa, and Orleans New in living were and state the at A the with tune, time of similar respectively recordings. their

21 23

). The left hand seldom ). 7 Monge and Evans: New Songs of Blind Lemon Jefferson Jefferson Lemon of Blind Songs New and Evans: Monge It It should be noted that many of

22 

that the term in “old” the second line of the frst stanza

Jefferson’s only known purely instrumental tune, “English Stop Stop “English tune, instrumental purely known only Jefferson’s “English Stop Time” Time” Stop “English The references “He’s got it printed all over his old automobile, old his over all printed it got “He’s references The From From the more strictly textual viewpoint, it should frst be

e’s Alabama bound” and the stronger descriptive “I’ve got a high high a got “I’ve descriptive stronger the and bound” Alabama e’s Time,” Time,” is in the style of ragtime own guitar display (Jefferson’s pieces “Coonjine.” and such Man,” “Candy as Dance,” “Buck related tune a has 12493] Paramount 1927, June [ca. Dogs” “Hot to that of “Candy Man.”) These ragtime tunes are performed normallyin the key of C on the guitar and feature elaborate and syncopated right-hand picking subdominant, primarytonic, the the of of alternation positions with simple left-handV and dominant (I, seventh chords IV, brown, and she’s long tendency brown, and and to she’s tall” confrm Jefferson’s in his lyrics. visualize was not present in Charters’s earlier printing of this song. The reason for such a minor difference is irrelevant from the interpretive viewpoint and is very likely due to a brackets, in mistake. “again” word the printed have we In stanza second the because it is another probably mistake made the by scribe, who might have inadvertently introduced it to indicate a repetition repetitions the to similar me,” worry “Don’t phrase verbal the of the by speculation is strengthened Our in stanzas one and four. fact that this is the only unrhymed stanza in the song and one the Unfortunately, songs. related of corpus vast the in few the of musical transcription contains the words of only the frst and fourth stanzas and not the second. h importance to singers and their audiences and that the interest lies instead in depictions of character and dramatic moments. and characters the with singers the of identifcation obvious The events of their songs, as well as the frequent use of a three-line form in these songs, led D. K. Wilgus to coin the term “blues ballad” to describe them. these “blues ballads” also these circulate “blues in ballads” Anglo-American folksong originated there. probably tradition, and some noted ventures above the third fret of the guitar.Thus these pieces sound sound pieces these guitar.Thus the of fret third the above ventures fairly actually are but non-musician the to impressive and diffcult

New Songs of Blind Lemon Jefferson Produced by The Berkeley Electronic Press, 2003 Blind Lemon Jefferson, “English Stop Time”, ca. May 1927 ca. May Time”, Stop “English Jefferson, Lemon Blind New Songs of Blind Lemon Jefferson 8

It It

27 Bronson. 26 Jefferson’s telling of Jefferson’s

28 Oliver Oliver summarizes the

25 earlier. this piece from the tradition and

chose Therefore, what was already noted by scholars by noted already was what Therefore,

24

The last section of the song—the man’s response to his wife’s to his wife’s response The last section of the song—the man’s on turns evidently piece entire the view, of point textual the From There is extensive literature on the background of Jefferson’s In addition to Child’s early commentary, British and North

ballad’s history as follows: “A troubadour song which was popular popular was which song troubadour “A follows: as history ballad’s in Europe, translated into German and published in Germany as a broadside in the late ‘The or eighteenth (Gudeman) century, it was Goodman’ known ‘Our as as and France in Jaloux’ ‘Le in Britain.” and ‘TheWife’ Kind Cuckold’ Merry appears actually to textual be into fall much to seems better version known in Jefferson’s North Britain. America Great in than A Type in which the deceptions take place on the same night, phrase other “the night” although is Jefferson’s ambiguous and could C). refer to successive nights (Type and the section immediately before it seems to have two alternative alternative melody, the in two irregularities metrical some deception—contains have to seems it before immediately section the and endings. (It is presented here as in the copyright submission.) Jefferson frequently performed such irregular measures in his blues, but they seem odd in a traditional stemming song from such the as Anglo-American this, Jefferson’s understanding balladdiffculty some had scribe tradition.the possibly, Quite sing not does written, as tune, the of section fnal the as rhythm, for notes eighth of series the is spot awkward Another well. very two as better sound would which my,” pot coffee a but “nothing measures of quarter The notes. text accompanying the melody miles thousand “Ten as line last to next the has sheet lead the in ten thousand miles I go.” I traveled, the because found interesting, is it that fact more the theme, former even the for As it “travel.” and “seeing” makes ballad folk traditional a in blind performer actually adapted it Of course, to he his may sensitivity. have performed interest main agent’s Okeh this Since Brockman. Polk please to it some steer to tried was he hillbilly music that and, likely consequently, he is liked it the “old best, time” the music black of aspect our with consistent being Besides direction. that in artists his of attempt possible Brockman’s about speculation discussed already why furtherexplain would this royalties, mechanical pay to not Jefferson swung to the traditional side of his repertoire for the “I Labor So Far from Home,” because the origins of this song go go song this of origins the because Home,” from Far So Labor “I ballad. In fact, this is a version of Child back to an old European ago century a over analyzed was which Goodman,” and “Our English 274, of no. compilation extensive his in Child James Francis by ballads. Scottish American versions of this international ballad type have been extensively studied by Coffn and Renwick, and John John Minton and Paul Oliver 1929, 6, for(December Special” another “Drunkard’s African-American Jones’s Coley version, Columbia 14489-D), is also version, true which for Jefferson’s was recorded nearly two years the story in the third person is typical of many older versions of versions older many of typical is person third the storyin the of any match not does and unique quite is tune His ballad. this the eight tune groups identifed by Bronson, although it shares with Group F the characteristic of the second line ending on the supertonic. Journal of Texas Music History, Vol. 3 [2003], Iss. 2, Art. 3 2, Art. Iss. 3 [2003], Vol. History, Music of Texas Journal 

ought to be. Jefferson’s tune is altogether different from the other versions, versions, other the from different altogether is tune Jefferson’s

Old man went the other night his loving wife to see, the other night his loving man went Old he ought to be. What should he see but some old man lying where Oh wife, oh wife, dear loving wife, come quickly and tell to me, I ought to be. What man is this lying in my bed where see? you old fool, blind fool, old man can’t You my mother sent to me. (sic) a baby nothing by That’s I go, ten thousand more traveled, I’ve thousand miles Ten with whiskers on before. saw a baby I never Old man went the other night his loving wife to see, the other night his loving man went Old What should he see but someone’s coat where his coat ought to be. wife, come quickly and tell to me, oh wife, dear loving Wife, Whose coat is this hanging on my rack where my coat ought to be. see? you fool, blind fool, old man, can’t Old nothing but a blanket my mother sent to me. That’s I go, ten thousand more traveled, I’ve thousand miles Ten on before. saw a blanket with coat sleeves I never Old man went the other night his loving wife to see, the other night his loving man went Old his horse ought to be. What should he see but someone’s horse where and tell to me, Oh, wife, oh wife, dear loving wife, come quickly my horse ought to be. Whose horse is this hitched in my rack where see? you fool, blind fool, old man, can’t old You sent to me. that my mother nothing but a milk cow That’s I go, ten thousand more traveled, I’ve thousand miles Ten with a saddle on before. saw a milk cow I never You old fool, blind fool, old man, can’t you see? you fool, blind fool, old man, can’t old You sent to me. nothing but a coffee pot my mother That’s more [miles] I go, Ten thousand miles I’ve traveled, ten thousand saw a coffee pot with boot heels on before. I never “I Labor So Far from Home” Home” from Far “I Labor So wife to see, the other day his loving man went Old boots ought to be. What did he see but someone’s boots where his wife, come quickly and tell to me, oh wife, dear loving Wife, my boots my bed where these lying under (sic) boots are Who’s by John A. and Alan Lomax (AFS 260B-1), containing the sound sound the containing 260B-1), (AFS Lomax Alan and A. John by Memphis and Slim Bee Bumble by recording The dancing. tap of a simulation of this sound. Minnie also contains although it also contains suggestions of alternation of the three basic chords in the key of C and a suggestion of pauses. It has three distinct musical themes, although the elements of the thirdfrst two. It is possible, of combinescourse, that the lead It playing. guitar Jefferson’s rendering at attempt poor a is sheet certainly is a simplifed version of his tune, whatever that may have been, containing only a basic melody line without might have changed or notes or bassharmonies. however, Jefferson, personalized the more typical traditional tune as the heard in in “English” the word the of use His above. discussed recordings title suggests that his tune is some sort of special variant. http://ecommons.txstate.edu/jtmh/vol3/iss2/3 9

- 34

Jefferson Jefferson himself used the theme of Textually, it is particularly interesting interesting particularly is it Textually,

35 36

Nuts’s [John Knutz] untitled text (1960, collected by Nuts’s Mack

“Cat Man Blues” was recorded later in variant form by Blind Blind form later in by variant was recorded Blues” “Cat Man If one compares Jefferson’s “I Labor So Far from Home” Apart from Coley Jones’s “Drunkard’s Special,” other American American other Special,” “Drunkard’s Jones’s Coley from Apart Part Part 1” and “Cabbage Head - Part 2” (July 1948, Aristocrat this ballad in a more personalized form in his “Cat Man Blues” this ballad in form a personalized in more his Blues” “Cat Man 12921): 24, 1929, Paramount (September Boy Fuller (April 29, 1936, ARC unissued [take 1]; ARC 7-01-56 7-01-56 ARC 1]; [take unissued ARC 1936, 29, (April Fuller Boy 03134 [take 2]). Vocalion or the from deriving texts African-American other of the each with structure both in differences great notice can one ballad, European the In arrangements. and tunes the as well as words, of choice considering and surprising, are dissimilarities these Jones, Coley of case very was Jefferson where Dallas, in worked and from was he that 1912. from starting active 803, vocalist “Doc” Jo Jo Adams), Sonny Boy Williamson’s [Aleck [Aleck - Williamson’s Boy Sonny Adams), Jo Jo “Doc” Johnny vocalist 894), 803, Checker 1958, 27, (March Baby” Up “Wake Miller] Q. “Cabbage McCormick), [Roy Professor Byrd] Longhair’s “Cabbagehead” Lucas’s Bill Lazy 2057), CD Rounder 1971, (September on mostly based apparently 1007; Philo 1973, 13, (May Head” version with further infuence from Jo Williamson’s Boy Sonny (1992, Gitanes Baby” Up “Wake Adams) Jo and Buddy Scott’s 517 515-2; a modernized version of the same title recorded by Sonny Boy Williamson). When I come home last night I heard a noise; asked my wife, “What was that?” When I come home last night I heard a noise; asked my wife, “What was that?” She said, “Don’t be so suspicious, that wasn’t a thing but cat.” a taken all kinds of chance, I’ve the world, I been all through taken all kinds of chance, the world, I been all over seen a cat come home in a pair of pants. never I’ve But But what is relevant here is the special irony it has for a blind demonstrating singer, that even sighted people can be “blind.” man cuckolded the that state ballad this of versions all Virtually is “blind” or “cannot see” in a metaphorical sense. As best we in ballad this of singer blind only the is Jefferson determine, can the English language, although many singers who contributed versions to folklorists remain unidentifed and to see is not mentioned. ability or inability normallysinger’s the are examine to able been have we that ballad this of versions black Stockton, Maude text by Carolina 1917 from recited a North (ca. mid Blues” [Beaman] “Cabbage Head Lottie Kimbrough’s (April Cowboy” Western “The Ridge’s Percy 2201), Meritt 1926, 10, 1934, AFS 200 B-1; Rounder 11661-1821-2; a composite Jackson’s Harry 274), no. Child from verses containing folksong (probably “TheCowboy” April Western 1939; another similar “Blind Mouth] Egg [alias Helton’s Mitchell folksong), composite Fool” (probably April 1939), Will “Our Starks’s Head “Cabbage Good Man” Archia’s Tom 6652-A-1), AFS 1942, 9, (August

its

30 pathological

Because traveling traveling Because

29 personal But in this song fuzzy song this in But

32 Monge and Evans: New Songs of Blind Lemon Jefferson Jefferson Lemon of Blind Songs New and Evans: Monge blindness subtext. Its development runs parallel parallel runs development Its subtext. blindness but is also revelatory of a of revelatory also is but

31

Jefferson’s bold selection of Jefferson’s this song for inclusion

explicit 33

The appeal of this song to blues singers, who often deal with In general, in his other lyrics, Jefferson unconsciously tends to tends unconsciously Jefferson lyrics, other his in general, In Juxtaposing this text to the rest of Jefferson’s lyrical production, we we production, lyrical Jefferson’s of rest the to text this Juxtaposing

distress. distress. themes of sexual cheating and deception, is easy to understand. to easy is deception, and cheating sexual of themes blindness. disguise and/or scatter visual references, so that “[R]eiterated hints hints “[R]eiterated that so references, visual scatter and/or disguise impact moderate a have to seem piece same the within vision at effect cumulative overall no and song, the of subject main the on even reached, ever is thematicism real a of speak to one allowing depictions.” image-studded most the in to the main subject of the song, that of cuckoldry. Yet, blinding Yet, cuckoldry. of that song, the of subject main the to often are cuckolding) of effect psychological (the castration and associated in a sense. Freudian It is true, of course, that such a symbiotic—relationship almost time to time from mutual—and not does therefore and ballad traditional the in inherent already is blindness with dealing of way instinctive Jefferson’s refect directly when composing a song. immediately notice that it is so deeply imbued with visual references references visual with imbued deeply so is it that notice immediately that it stands implications out and even words in of his density very the visually-oriented lyric, repertoire. the In of texture the fact, in that, say to us prompt can we interaction their and sight to repertoire connected Jefferson’s in time only and frst the for song, this an of speak Okeh Okeh session. Whatever the case, especially considering all the possible implications in the thematic song’s development, it is not surprising that it appealed to Jefferson, and we can regret that only it is not available on record. As far as the theme of lyrics. it is certainly is concerned, not new in Jefferson’s “travel” is It enough to refer to classics such as “Long Lonesome Blues” (ca. March 1926, 12354, Paramount two takes; ca. May 1926, March (ca. Blues” Southern “Dry take), one 12354, Paramount 1927, 14, (March Blues” Box “Match 12347), Paramount 1926, and takes), two 12474, Paramount 1927, April ca. 8455; Okeh The 12593). Paramount 1927, October (ca. Special” “Sunshine “signals blues Jefferson’s in travel of theme the of use widespread its importance as an expression of feelings shared by much of the population of the black belt,” and for freedom.” individual Jefferson with equated “physical is mobility in his repertoire is mitigated, however, by his choice of narration of choice his by however, mitigated, is repertoire his in in the third person. This gives him the option of consciously distancing himself from the ballad. “old man” protagonist of the function acquires a broader sense and does not merely confne itself to being “a mordant and individualistic response to the malaise,” social is one of those “activities requiring eye-body coordination,” eye-body requiring “activities those of one is images are focused, and sparse references are brought together to together brought are references sparse and focused, are images secular a still is it blues, a not Although unity. consistent a form sometimes infexible—though rather “the from far are We song. very powerful—explicit thematic unity of some gospel songs” where visually impaired evangelists face addressing matter-of-factly, God directly theirand lamenting” their “sightlessness “irretrievable condition” through straightforward mentions of

New Songs of Blind Lemon Jefferson Produced by The Berkeley Electronic Press, 2003 New Songs of Blind Lemon Jefferson 10

er a shadow er a shadow

es in them (sic)

outieoreenie outieoreenie and spurs hair pin with rolling a v moustache moustache toenails saddle in them (sic) two sleeves with two ears with corns with two golf balls c) incongruity saddle heel-tops brim mustache saddle and bridle boots wear[ing] hat band feets four wheels hair saddle saddle hat band stumbled ov saddle hatband two sleev mustache 5.6 foot baby saddle spurs [not stated] saddle pockets hair boot heels saddle coat sleeves whiskers [not stated] hat band

’s ’s

y

s counter

’

y y y w-born bab -identifcation cabbage head pin rolling

cabbage head milch-cow milch-cow churn strainer bab cabbage head potatoes sweet milk cow blanket cabbage pair of house shoes baseball bat b) woman milk-cow milk-cow ne coffee pot empty pair of shoes tricycle tricycle cabbage milk cow coffee pot milk cow blanket bab little baby little baby milkcow washpan blanket cabbage head milk cow milk cow old cabbage shadow next-door neighbor milk cow milk cow milk churn bab milk cow milk cow bed quilt cabbage head

frying pan washpan

w in bed

’

w

head thing in the thing

same old fello horse hat fello head foot head mule coat [not stated] [not stated] hot-che-babba in a) mans perception dat tied out dar dat on de foor up dat hangin’ dat in de bed hoss [sic] head hat feet sticking in the shoes car head mule boots horse coat old man mule hat coat head horse boots head mule coat head

hat hat

art 2

ess

Journal of Texas Music History, Vol. 3 [2003], Iss. 2, Art. 3 2, Art. Iss. 3 [2003], Vol. History, Music of Texas Journal

Cabbagehead Wake Up Baby Baby Up Wake untitled Blues Cabbage Head Fool Blind 1 - Part Cabbage Head - P Cabbage Head Song Title Title Song The Adulter

The Western Cowboy Cowboy Western The Wake Up Baby Baby Up Wake I Labor So Far from Home Home from Far I Labor So Cabbage Head Cabbage Head The Western Cowboy Cowboy Western The Drunkard’s Special Special Drunkard’s

outh)

iller)

rchia’s vocalist) vocalist) rchia’s gg M

oc” Jo Jo Adams Jo Jo oc” leck M itchell Helton itchell Helton arry Jackson arry Jackson ohn Knutz) oley Jones oley Jones lind Lemon Jeferson lind Lemon Jeferson uddy Scott J ohnny Q. Nuts ohnny Q. Nuts

“D B J Longhair Professor Lottie Beaman Maude Stockton Stockton Maude Figure 2: Key words or phrases in the African-American versions of the ballad “Our Goodman.” Goodman.” “Our of the ballad versions in the African-American or phrases words 2: Key Figure Vocalist

(Tom A (Tom (alias E M Sonny Boy Williamson Williamson Boy Sonny (A B Lazy Bill Lucas Lucas Lazy Bill ( H Percy Ridge Percy C

http://ecommons.txstate.edu/jtmh/vol3/iss2/3 11

 “Light House Blues” Blues” House “Light

We We are now dealing with Paramount Jefferson’s recordings, ffth, a and octave an song, Jefferson’s of range melodic wide The

sea, Cherry wine,

This ain’t my home, this ain’t my home, I’ve got a lighthouse on the think of me. I wonder do my rider ever worried all the time, I’m worried today, I’m worried today, I’m keep her off my mind. mama, can’t a high brown She’s my head, last night, talking out last night, laid down I laid down was dead. I love I got a letter this morning that the girl no black, wear mama, don’t Texas, if I die in Texas, I die in If come sneaking back. ‘Cause just as soon as I’m down, my ghost will which textually and musically tend to be less traditional than recordings. his Okeh is not uncommon for his blues. The specifc melody, however, is only The recordings. other Jefferson’s of any of that to close not other song in which he uses internal repetition in the frst line is The 12443). Paramount 1926, December (ca. Blues” Luck “Bad printed lyrics were not placed beneath the melody in the lead explains This melody. the match precisely not do they and sheet, has one stanza of line frst the in like” tastes “sure phrase the why it as it, sang Jefferson that unlikely very is It brackets. in put been Following stanzas. other of the structure the with is inconsistent a four-and-a-half bar instrumental introduction (apparently extracted and adapted from Jefferson’s fnal four-and-a-half bars of vocal melody and perhaps some of his guitar work), there is a melodic the of composite a be to appears This melody. twelve-bar although song, the of recording his in sang Jefferson that variations we cannot be of certain the this. Obviously, frst line of text in of the line second the to form again sung was stanzas Jefferson’s tune (measures 5-8) but without the internal repetition found in the frst line. The two-note harmonies in measures 1, 2, 6, and 9 in used melody the of variants represent to attempts are probably triad “horse”-”milk cow”-”saddle” in second Jefferson’s stanza African-American and Anglo-American in recurrent most the is The and two “blanket” versions. in key Jefferson’s words “coat” can string same the but common, somewhat also are stanza third sequence The 39. and 8 transcriptions Bronson’s in only found be reprised is stanza last Jefferson’s in man”-”baby”-”whiskers” “old transcription no. 5, in and, Bronson’s with slight variations, in 16 and 50. transcriptions no. drinks so good it keeps me drinking all the time. It I do, my gal, tell the whole wide world my gal, I love I love what she do. care I don’t just a fool about that woman and I’m Michigan Michigan water [sure tastes like], Michigan water sure tastes like a

37 The

39 label.

Monge and Evans: New Songs of Blind Lemon Jefferson Jefferson Lemon of Blind Songs New and Evans: Monge Only in two cases (transcriptions

38

Bronson.

What strikes one immediately in comparing this text with Stockton’s, Jefferson’s, Ridge’s, Jackson’s and Williamson’s are are Williamson’s and Jackson’s Ridge’s, Jefferson’s, Stockton’s,

Stockton’s, Beaman’s, Helton’s, and Lucas’s “moustache” through through large portion of the semantic feld of “moustache” hairiness is from covered, Lucas’s and Helton’s, Beaman’s, Stockton’s, “whiskers.” to Jefferson’s “hair” and Scott’s Archia’s, Jones’s, the ones compiled by ability Child to is manipulate Jefferson’s a centuries-old composition without marring the The content. blindness and his travel experience and on refrain the cuckold’s “I Labor So Far all the interacting key expressions in Jefferson’s versions. available other the in detected be also can Home” from is stanzas four Jefferson’s of each in images three of string the Yet, versions ffty-eight the of any in as same the exactly seldom very transcribed by the only black versions analyzed in this study that do not use the use not do that study this in analyzed versions black only the Percy Longhair’s, Professor stanzas. the of any in image “cabbage” string same the present stanzas frst Jackson’s Harry and Ridge’s, of to words “mule” (“horse”-”milk prefer Scott cow”-”saddle”) and Lucas as Williamson, Jefferson’s second Jones, while stanza, “dat as animal the to refers simply Stockton Maude and “horse,” tied out The dar.” frst third identifcation stanza in Jefferson’s lexeme (“coat”) is the of also found exception the in With second Jones’s and and Williamson’s respectively. stanza third Lucas’s singers, white by versions some in occur does which “beard,” to compare the three interconnected delineating the deception keyin each stanza, that is, a) wordsthe person, or phrases animal, part of the body or object perceived by the husband as extraneous; b) his counter-identifcation; wife’s c) the term or expression revealing the incongruity in her objection (See Fig. 2). no. no. 32 and 58) is the series of objects denoting the husband’s metaphorical blindness (“boots”-”coffee identical pot”-”boot to the heels”) one in frst Jefferson’s stanza. In “Six used Henderson Red and Bankston Emmet singers the Drunk” Nights a string of references similar to but Jefferson’s recorded their song for Okeh (45292) in 1928, that is, about one year after Jefferson recorded his own version for the same

New Songs of Blind Lemon Jefferson Produced by The Berkeley Electronic Press, 2003 Blind Lemon Jefferson, “I Labor So Far from Home”, ca. May 1927 ca. May Home”, from Far “I Labor So Lemon Jefferson, Blind New Songs of Blind Lemon Jefferson 12 A variant of Jefferson’s

43

The Dalton Brothers are listed as the are proprietors Brothers The Dalton

42

Besides the use of internal repetition in the frst line, White’s Besides the use of internal in repetition the frst White’s line, of this building, and they also ran the Orpheum Theatre across across Theatre of this building, and they also ran the Orpheum the street at 1521-3 Main. This is just east of Akard and not far from the used Depot old where to Jefferson Union perform around 1912. Apparently, Jefferson was often seen playing at an As away. two or block a only Central, and Elm of corner the undoubtedly would White Leroy performer, vaudeville itinerant have been in and out of Union Depot many times and would have had the opportunity to encounter Jefferson. Since he was he verythat is likely it material, character” “Negro in interested would listen to performers like him. sixth stanza also occurs in a B6742), Bluebird 1935, 23, (April Bound” recording “Alabammy by Honey, Lasses [White] & stanza, Jefferson’s as complex folksong same the partof is which song a third Jefferson’s earlier. discussed Town” in Green’s “Elder only Blues,” “Nigger published the in appear not does however, Main Street. Main tune and Jefferson’s have their (“drinking last all five the time” notes in Jefferson’s in tune). common Otherwise,tunes are the dissimilar. More interesting, however, are the lyriccorrespondences. The frst line of third Jefferson’s stanza is a variant of the frst line of the eleventh stanza of “The Blues,” Negro and Jefferson’s entire sixth stanza is a ninth variantstanza of of “The the Negro Blues.”

White

41 was 1520

Journal of Texas Music History, Vol. 3 [2003], Iss. 2, Art. 3 2, Art. Iss. 3 [2003], Vol. History, Music of Texas Journal White registered his

40 Dallas Dallas City Directory White of Dallas.

In In fact, in addition to its textual relationship in the Contrary to what one might frst assume, “Light House

tune with a set of ffteen three-line stanzas for copyright for stanzas three-line ffteen of set a with tune 1913, In title. former the under 1912, 9, November on a shortened version of the piece was published under the latter infelicitous title, containing only six stanzas, fve of which are close variants of stanzas in the longer version and one of which is new. All line. frst the in repetition internal the contain of the stanzas frst stanza to “Michigan Water Blues,” Jefferson’s “Light “Light Jefferson’s Blues,” Water “Michigan to stanza frst House Blues” is related textually and musically to an by Blues” Blues”/”Nigger “Thesong, Negro older even Leroy “Lasses” Blues” Blues” is not a version of “Michigan Blues,” Water which was composed by Clarence Williams in 1923 and recorded by Sara Martin (ca. April 9, 1923, Okeh 1923, 8060), Alberta 24, Hunter (May (May McCoy Viola 12036), Paramount 1923, 1923, May late (ca. Sylvester Hannah A3921), Columbia Pathé Actuelle 021005), and Lena Wilson (August 9, 14651, 1923, two Vocalion The versions). frst line of repetition, internal the including song, Jefferson’s in text is indeed similar to the frst line of “Michigan Water Blues,” but melody Jefferson’s is essentially different, being considerably more wide-ranging, and his text is otherwise composition. different Like from Williams’s text, it however, Williams’s is comprised of blues lyric thematic unity. commonplaces with no overall full measure of the introduction, low C, is written as a whole note. note. whole some stanzas. In the a original lead sheet the frst as note of the third written is C, low introduction, the of measure full quarter a to changed been has and error an certainly almost is This instead measure the to beats four normal the give to order in note rest, quarter fnal the lacks piece the of measure last The seven. of which has been supplied here. was a blackface minstrel who made some recordings in who was made a some blackface recordings minstrel the 1920s and 1930s and appeared on noted the Grand Ole application copyright his however, 1912, In Opry. in Theatre Hour Happy the with associated was he that Bush was version 1913 the of publisher the and Dallas, & Gerts of Dallas. The address of the Happy Theatre Hour in the 1912 http://ecommons.txstate.edu/jtmh/vol3/iss2/3 13 The

47 has much more more much has

46



Even Even from a superfcial reading of the text, it is evident that If we include the fnal hemistich (“my ghost will come sneaking sneaking come will ghost (“my hemistich fnal the include we If ead on You Blues” (ca. 12578), October 1927, “I Blues” Paramount ead on You

ut when she starts to loving, man, she’s out this world. out this world. man, she’s ut when she starts to loving, quit. man, it just won’t me, ut when she started to loving in the book. man, it ain’t ut when it came to loving, ack”), we have a text replete with no less than fve scattered (and (and scattered fve than less no with replete text a have we ack”), he’s got this old fashioned loving, boys, it just won’t stop. it just won’t boys, old fashioned loving, got this he’s Too Black Too Bad” is either a bad transcription or an unissued alternate take of “Long Lastin’ Lovin’” (Paramount 12666), which which 12666), (Paramount Lovin’” Lastin’ “Long of take alternate is reported as 1928. having around March been recorded “Too Black Bad” Bad” Black “Too I wonder why my partner looking so sad, sits around He made (sic) a girl last night, if he quits bad. her it’ll be too black made woman and cunning as a squirrel, a well She’s B color of chocolate drop, brownskin, a dark She’s S hit, made a When I frst met this woman, I thought I’d B I met her at a sociable, she acted just like a crook, B “ got a letter this morning, my pigmeat mama was dead.” got a letter this morning, b unusual Quite sight. to references covert inconsistent) apparently ain’t this home, my ain’t “This occurrence frst the is them among in the stanza giving got a light house on the sea” my home, I’ve the title to the song. This verse was sung in slightly changed form (“My home here, in ain’t it’s the lighthouse on the sea”) otherwise their close and open to Singers Blues Southern the by different composition bearing the same title (April Gennett 1, 6828 6043). or Roger Varsity Garnett also Congress recorded 1929,a of Library the for 1939, 23, May on Blues” “Lighthouse More CD. on issued been yet not has song the but (2677-A-2), high a “She’s descriptive the are sight to references conventional a got (“I reading at hints recurrent Jefferson’s and mama” brown mama don’t letter this and morning”) colors (“If I Texas, die in The wear fnal no depiction black”). of the a “ghost,” relatively lyrics, blues country in appearance uncommon composite rhymes with a slight variant of the line closing “Gone “Gone closing line the of variant slight a with rhymes composite D fact that the Library of Congress only holds a registered copyright copyright registered a holds only Congress of Library the that fact one the On issue. the clarify help not does Bad” Black “Too for transcription faulty a is this that hypothesis the favor may it hand, the with registered understandably yet wrongly take issued the of hypothesis the supports it hand, other the On title. original song’s of an alternate take in that the entry is in any Black case “Too Bad” and not “Long As Lovin’.” Lastin’ a matter of fact, if we songs recorded extant Jefferson’s of some that account into take visual strength than its only other occurrence in Jefferson, the 1927, June [ca. Dogs” (“Hot show” a of ghost a “Not colloquial 12493]). Paramount

44 Monge and Evans: New Songs of Blind Lemon Jefferson Jefferson Lemon of Blind Songs New and Evans: Monge This fact adds weight to the hypothesis

45 them, ‘collected’ them in the streets and vaudeville vaudeville and streets the in them ‘collected’ them,

these foating verses; for the most part, at least, he had to had he least, at part, most the for verses; foating these

overheard overheard

illiams’s composition, and two more stanzas are in some way illiams’s Leadbelly’s Leadbelly’s two versions of “Fort Worth and Dallas Blues” All of this suggests the interesting possibility that Leroy White Leroy that possibility interesting the suggests this of All Despite Despite the fact that the frst stanza is derived from Clarence theatres theatres of emerging Dallas’s African American entertainment The title of the community. song identifes, in generic fashion, and music.” of the words the original source related to Leroy “Lasses” White’s “The Blues,” Negro this related song to White’s Leroy “Lasses” epitomizes a typically Jeffersonian combination of traditional verses. most Moreover, of the his images/themes in in Jefferson “Light by House used be would or used been already had Blues” issued recordings, the only exception being the use of the term strophe second the Altogether, stanza. third the in house” “light his in employed later were Two verses. Jefferson’s of three reprises last two issued songs, “Mama, I love you, tell the whole round world I do” from “The Cheaters Spell” (September 24, 1929, Paramount 12933) and “‘Cause a I’m fool about that woman, want nobody don’t else” from Me “Bootin’ ‘Bout” (September what care don’t “Papa phrase The 12946). Paramount 1929, 24, had been you do” used in by Jefferson “Long Lonesome Blues” (ca. March 1926, 12354, Paramount two takes; ca. May 1926, The fourth stanza is an extension take). 12354, one Paramount of the line “I am worried about my keep mama, her I off can’t 1929, March (ca. 2” no. Moan Snake Black “That in mind” my last down Paramount 12756). laid The (“I ffth mixes Blues” the frst Worried hemistich of the “Lemon’s in stanza introductory 1928, February ca. blues,” worried lowdown Lemon’s with night 12622) with the second hemistich of the fnal Paramount verse of “Old Rounders (“I Blues” got to dreaming so, I was talking This 12394). all out of my head,” 1926, ca. Paramount August (January 24, 1935, ARC unissued, issued on Columbia CK46776; CK46776; Columbia on issued unissued, ARC 1935, 24, (January Rounder on issued unissued, Congress of Library 1935, February Jefferson’s of 1097), which he four attributed to Jefferson from stanza around the of 1912 line last the of variant a contain period, “Light House Blues.” may have learned “The Negro Jefferson’s in Blues” source intermediate fromsome from least none at or otherJefferson, than musical circle. It is clearly also possible version. unpublished long the sing intermediary some or thatWhite Jefferson heard African- in verses these of origin ultimate the case, the Whatever the state Seroff and Abbott certain. almost is tradition American not did White Lasses “Obviously song: White’s about following compose have in the unpublished “The Negro the Blues.” also the Moreover, night, last eighth cried (“I Blues” Negro “The of text the in line fourthstanza the in form variant in found also is before”) night “Booger of Rooger Jefferson’s Blues” (“I cried all night and all ca. December a by blues Jefferson that night recorded before”), 12425). 1926 (Paramount that Jefferson was singing some version of “Light House Blues” as as Blues” House “Light of version some singing was Jefferson that “Light among similarities musical and textual The 1912. as early may Blues” Water “Michigan and Blues,” “Nigger Blues,” House unissued. to remain recording caused Jefferson’s have W

New Songs of Blind Lemon Jefferson Produced by The Berkeley Electronic Press, 2003 New Songs of Blind Lemon Jefferson 14

We We cannot, of course, know what the scribe for Chicago The tune of this piece, like that of “Light House Blues,” is “Long is Lovin’” Lastin’ performed with the guitar in the A Music Music Publishing Company actually heard as the basis for his cases other all in that know we However, sheet. lead transcribed where Jefferson recorded alternate versions of the same song, he played in the same key each time. and Blues” On Box such as “Match comprised of traditional verses, some of his blues variation considerable display could he Blues,” Lonesome “Long and guitar part, although the latter always in his lyrics, melody, remained in the same key and tuning. On his more textually thematic and original variations. minor bluesonly display song such same the as of versions this recorded piece, however, his there is a high likelihood that the Consequently, actual melody the of those like much were Bad” Black “Too partof guitar and not is It Lovin’.” Lastin’ “Long titled song the of version released simple a to transposed melody the have to sheet lead a for unusual key such as C. All of the tunes presented a here were submitted F, in is which That,” Like Tight “It’s for except C of key the in the scribe key with only one However, fat in the key signature. of the issued record was changed when he recorded an alternate alternate an recorded he when changed was record issued the of the strengthens also this way, a In later. weeks few a probably take Black Bad” is the “Too transcription hypothesis that Jefferson’s Lovin’.” take of “Long Lastin’ of an unissued alternate written without melodic any lyrics Jefferson’s beneath approximating the tune notes,composite a and be to likewise appears it phrasing. does It not exactly ft any of the printed The stanzas. order in repeated be to meant obviously is stanza each of line frst to make this a typical The twelve-bar AAB fnal measure blues. of the song in the lead sheet contains a half-note C joined to a here normalized been has This S. D. by followed C quarter-note and melody twelve-bar the of repetition for symbols of use the by ending of the fnal stanza. the alternative tenth fat a of range vocal a has and tuning standard of position limited more a has Bad” Black “Too A. high to sharp F low from melody transcribed The it. above sixth the to tonic the from range of the frst has stanza been of transposed Lovin’” “Long Lastin’ to the key of C for ease of comparison. here

51 50

48 Journal of Texas Music History, Vol. 3 [2003], Iss. 2, Art. 3 2, Art. Iss. 3 [2003], Vol. History, Music of Texas Journal Swinton. Textually and musically it has no no has it musically and Textually

49

One would be mistaken to consider Jefferson as too naive to We can affrm without any doubt that “Too Black Bad” is not is Bad” Black “Too that doubt any without affrm can We

his career Jefferson repeatedly proved to be linguistically attentive. linguistically be to proved repeatedly Jefferson career his Although the title “Long Lastin’ Lovin’,” which was probably imposed by Paramount meant Records,was that phraseology hip the conveyssuggest not does it themeaning, song’s overall title song original Jefferson’s from beginning immortalized, be to title the and be may song the to title the giving phrase the issued, case, any In itself. not was Bad” Black “Too Jefferson’s reason the conceive such a complex and well-constructed idea. Throughout Throughout idea. well-constructed and complex a such conceive song but only a seemingly incidental phrase in Jefferson’s blues. Jefferson’s in phrase incidental seemingly a only but song black use of “too Jefferson’s closer examination, however, Upon bad” is far from being casual, as each of the fve stanzas of his phrase. fnal its as expression slang “hip” current a presents song Analyzing the song as a whole, one can go so far as to say that composition is to introduce these the whole point of Jefferson’s contain accidentally, not which, of two expressions, idiomatic fve which of four and book”), the “in bad,” black (“too visualizations rhyme with very visually-oriented similes or images (“looking of chocolate “she as drop,” a so squirrel,” “color sad,” “cunning acted just like a crook”). a version or cover of Madlyn Davis’s recording of the same title. same the of recording Davis’s Madlyn of cover or version a In fact, the latter was a recorded few months later (ca. October the under copyright for registered and 12703) Paramount 1928, December on Davis Madlyn by music and words with title same 29, 1928, record as Paramount E the on unpub. appears credit 2352composer No by Company. Chicago Music Publishing song. Davis’s Madlyn for label are are not fled for copyright, it is to be noted that the fipside of Penitentiary (ca. Blues” “Long Lovin,’” Lastin’ “Blind Lemon’s February 1928), is also not registered for copyright. Moreover, the substantial differences between the two lyrics—howeverunreliable Chicago that hypothesis Music the Publishing toward lean Company’s us scribe make again may been—would have reasonably can We take. alternate unissued an is Bad” Black “Too recorded likely very was it take, unissued an is this if that, assume at the same session as the issued one or at the one before it (ca. by as proposed 1928), February relationship to Jefferson’s piece, relationship except to for Jefferson’s the use of the slang phrase “too black bad,” which is the key phrase in the Davis http://ecommons.txstate.edu/jtmh/vol3/iss2/3 Photo courtesy of David Evans, The University of Memphis 15

53 In fact, Tampa Red’s frst In Red’s two fact, Tampa unissued Vocalion

52

Dorsey). Whether at the same session or at a later date, when Jefferson Jefferson when date, later a at or session same the at Whether As was the case ith Madlyn Davis’s ot as “Maltese Cat Blues”), takes bearing this title were recorded on September 19, 1928, was one issued frst the while respectively, 1928, 8, October and recorded a couple of weeks later 1216). (October 24, Vocalion It is on musically That” and Like textually Tight entirely different “It’s registered from Pub. Jefferson’s Music Street State song. October 29, 1928, as E unpub. 1852 and again on November 21, 1928, as E unpub. 1448, both in Whittaker and Thomas the A. Dorsey It was (Georgia nameTom). very of Hudson likely registered twice due to different arrangements. A piano and ukulele arrangement was registered by Melrose Bros. on December 10 and December 15 as E Pub. 1867. The merely incidental use of the piece lyric may phrase again in Jefferson’s have been the reason the record company decided not to issue Blind Lemon Jefferson, “It’s Tight Like That”, ca. October 1928 ca. October That”, Like Tight “It’s Jefferson, Lemon Blind That.” Like Tight “It’s recorded Tight “It’s Like That.” again, he (or more likely the company) record changed its title to “Maltese Cat Blues,” thus avoiding any possible confusion. It is Red possible Tampa that only as “It’s Tight That” Like Tight (and only as “It’s n and the various the issuing not for possiblereasons is this that indicate song probably an alternate take recorded at the 1928 July or August session and not a bad transcription of the issued one. w “Too Black Bad,” the date registration copyright Tight Like “It’s of Jefferson’s he that assert to us enables That” anybody before title this recorded also with associated historically is That” Like Tight “It’s title The else. Tampa Red (Hudson Whittaker) and Georgia Tom (Thomas A. Monge and Evans: New Songs of Blind Lemon Jefferson Jefferson Lemon of Blind Songs New and Evans: Monge 

Jefferson’s text presents a number of stylistically and linguistically linguistically and stylistically of number a presents text Jefferson’s alid for Tight Like “It’s That.” This song is also either a bad transcription or an unissued alternate take of one of Jefferson’s August (ca. Blues” Cat “Maltese case this in performances, issued is which certainof be cannot we Again, 12712). Library Paramount 1928, the at fled is Blues” Cat “Maltese for entry No case. the recorded Blues,” B (“D side fip its but offce, copyright Congress at the same session) was registered Black on October “Too of case the in 18, As That.” 1928, Like Tight the “It’s as date same the dissimilarities between the transcriptions of Bad,” however, Tight “It’s Like That” and “Maltese Cat Blues,” the fact that the entry at the Library of Congress copyright offce is titled Most of the general observations made for “Too Black Bad” are are Bad” Black observationsgeneral the of “Too for made Most v When you got a home and a car and a little Maltese cat, And a good doing brownskin, man, it’s tight like that. Long lonesome freight train went past me a-fying, But I was thinking about my baby and I didn’t pay it no mind. I ain’t got no suitcase, just got a bottle of gin, Got to stay drunk to keep warm, ‘cause my clothes are too thin. I’m gonna start walking, gonna walk the shoes off my feet, I’m gonna start walking, gonna walk the shoes woman she is sweet. Been thinking about my mama, Lawd, that “It’s Tight Like Tat” Maltese cat, Rats are bad in my kitchen, and I’ve lost my like that. Gonna make up with my baby, man, it’s tight signifcant variants. The most important are probably those in fourthstanza. whole the in and stanza frst the of verse fnal the In the the former, phrase “He made (sic) a girl last night” may own Jefferson’s or “met” for mistake scribe’s the been have either take. the issuing not for reason more one therefore and mistake we have the inconsequential conjunction “but.” It the In latter, should also be noted that these inconsistencies are not present in “Long Lastin’ Lovin’.” What remains basically unchanged, typical instead, use is of Jefferson’s a very visual language. The visual references in “Too Black Bad” are almost the the ones same in where “Long Lovin’,” a Lastin’ fnal as spoken phrase is added. black bad” “too including the colloquial expression Jefferson’s melody that ignores all the subtleties of his singing style style singing simplifed, in an fact extremely has distorted,offered of version his of subtleties the all ignores that melody Jefferson’s and octave an of range melodic His extensions. metrical his and guitar his for spaces no are there sixth, a to compressed is third a flls, there is no sense of his melodic syncopation or rhythmic and fexibility, only the barest indication of his use of melodic “blue notes.” If these differences are any indication, we should as sheets lead other the viewing in caution considerable exercise of representations the melodies that actually Jefferson sang and contours melodic simplifed as merely instead them view should ranges. with possibly compressed

New Songs of Blind Lemon Jefferson Produced by The Berkeley Electronic Press, 2003 New Songs of Blind Lemon Jefferson 16

54 measures.

wn my money tree. wn my money tree. ’m gonna chop my money tree down. down. tree gonna chop my money ’m 

’d come home to me with money sticking in her hair. come home to me with money sticking in her hair. ’d

“Money Tree Mama is Blues” an Tree original “Money song bearing more The lead sheet of the music presents no particular problems,

cept for the fact that undoubtedly Jefferson did not hold the night. broke, let her have her way too much, somebody stole my last tree stole let money her her have way somebody too much, ut somebody stole my money tree, and believe me it ain’t no joke. me it ain’t and believe ut somebody stole my money tree, han one of Jefferson’s typical compositional, thematic, and

t 1928 ca.October Blues”, Mama Tree “Money Jefferson, Lemon Blind linguistic characteristics. Alice Moore’s “Money Tree Man” (May (May Man” Tree “Money Moore’s Alice characteristics. linguistic 22, 1936, Decca 7227)—the only pre-war composition with a similar title—has no textual or musical resemblance with this piece. On the basis of its registration date (October 18, 1928) suppose may one 389), unpub. U.S. (E number registration and or August in July was recorded Blues” Mama Tree that “Money of the same together year, with seven more titles ranging from issued been have not may song This 391. to 384 unpub. U.S. E or mistakes performance and/or problems technical some to due reason. for some other obscure ex sheet lead The there. indicated as long as lines his of syllables fnal Jefferson that know we yet bars, twelve even an to regularized is usually extended his stanzas to more than twelve that one resembles sheet lead the in melody the of contour The Jefferson used in a number of his blues, e.g., “‘Lectric Chair “Money Tree Mama Blues” Blues” Mama Tree “Money got no place to go, trunk got my I ain’t all packed, but I’ve me so. worryin’ it’s and, Lawd, tree, Somebody stole my money right, in I thought I was really I had a good gal, and I into leaving me, my brown Some joker has confdenced do Some other man is shaking money anywhere, was a good gal, could get sure She Sometimes she As long as I had this woman, I didn’t know what it was to be B this town, all over going to buy an ax, and search I’m When I fnd that woman, I Journal of Texas Music History, Vol. 3 [2003], Iss. 2, Art. 3 2, Art. Iss. 3 [2003], Vol. History, Music of Texas Journal

“It’s Tight Like That,” but the notable stylistic and linguistic Like Tight “It’s

The text of “Maltese Cat Blues” is more cohesive than that The melody of the lead sheet of Jefferson’s song seems to be a be to seems song Jefferson’s of sheet lead the of melody The

omposite designed to suggest the varying number of syllables in in syllables of number varying the suggest to designed omposite variations are few. Unless it was not transcribed on the lead sheet lead the on transcribed not was it Unless few. are variations the of addition the fnd we do take issued the in only purpose, on introductory man, spoken I phrase went (“Say, out gay-catting was it gee, Ooh, me. for party a threw she gal, my and night, last tight like that!”), which is closely connected to the line third in stanza, frst the In blues. the of verse last the to and tercet frst the in “mean” as defned are “rats” adjective: of change a have also we That,” Like Tight “It’s in “bad” are they but Blues” Cat “Maltese the same word that used for “Mosquito in Supposing “mosquitoes” Jefferson’s 12899). Paramount 1929, 24, (September Moan” the Tight That” Like is transcription accurate, of the “It’s only descriptive visual reference is reprised almost identically (“And brownskin”). dark good a “And versus brownskin” doing good a That” is Like Tight also The addition of in the “It’s word “car” as one has to be able to be visual noted reference, as an indirect to drive. to see in order the different stanzas. The fnal measure contains a three-quarter three-quarter a contains measure fnal The stanzas. different the previous the in as here normalized been has This F. low on note key the in written here discussed sheet lead only the is This piece. in found as signature, key the in fat B the retained have We F. of the in occurs actually never note this though even sheet, lead the “Maltese Cat melody. Blues,” on the other hand, is performed to up tuned tuning, standard of position C the in guitar the with C the In sharp. last line of stanza 1 the lead and” sheet has “gal The transcription. textual the in “baby” and melody the beneath line frst The sheet. lead the in tied are “gal” and “my” for notes make to order in repeated be to meant obviously is stanza each of made observations same The blues. AAB twelve-bar typical a this Lovin’” in comparison to “Long Bad” Lastin’ Black about “Too Cat Blues.” apply to this song in comparison to “Maltese of Like That” That” (December 12, Like 1930, Okeh 8850) topical recorded sermons containing this phrase. c and Davis heard these phrases from Jefferson’s records, but records, it is and Davis heard these phrases from Jefferson’s Our time. the at use common in were they that possible equally guess is that Red Tampa and Davis did not appropriate these partsimply were They them. use Jefferson hearing after phrases all that and using were people “hip” that slang up-to-date the of of these artists is diffcult had to the idea in songs. to It employ say whether it was Jefferson himself who provided these titles, the of treatment own his were songs the that perhaps suggesting among was probably Jefferson But time. that at phrases popular the frst period. (if that not in the records his frst) to to listening use were these people many phrases certainly on record, and Other subsequent pre-war 26, (January Smith versions Clara by of recorded were the title same Tampa the Red bearing piece 1929, Columbia 14398-D), the Southern Blues Singers (April QRS 1929, May (ca. Barton Slim and 6828), Gennett 1929, 1, R7081). Rev. Emmett Dickinson in Nix “Sermon W. A. on Rev. Tight 12925), Paramount 1929, Like November (ca. That” in Tight “It Like That” Was (ca. February 18, 1930, Vocalion 1505), and J. Rev. M. Gates in “These Times Hard Are Tight http://ecommons.txstate.edu/jtmh/vol3/iss2/3 17

Jefferson’s vivid imagination imagination vivid Jefferson’s

55

’t safe and I can’t stay here no more. no more. stay here safe and I can’t ’t

although it probably should be written as a series of eight of series a as written be should probably it although his other compositions of the same period, it is extremely

d, I wonder who in the world let that wild woman a-loose. world d, I wonder who in the

A pineapple is evidently a hand grenade. This song possibly “Pineapple Blues” is another Jefferson literary masterpiece. lead the in written as here printed is melody the of 9 Measure

helped him re-elaborate these recollections into his First World helped him re-elaborate these World recollections into his First 12425], Paramount 1926, November [ca. Blues” (“Wartime War “Lemon’s Cannon Ball Moan” [ca. March 1928, Paramount 12639], “Rabbit Foot Blues” [ca. December 1926, Paramount 12454]), references. 12347]) “Pineapple Paramount Blues”)1926, March and [ca. MexicanBlues” Southern campaign (“Dry main apparent the lyrics, blues with customary is as case, any In contains the word “Lawd” in line 1, which is not found in the be to meant obviously is stanza each of line frst The sheet. lyric We blues. AAB twelve-bar typical a this make to order in repeated this performed actually Jefferson that however, certain, be cannot practice normal his followed he whether or blues, twelve-bar a as The melody in the lead sheet has a range of extending his lines. of only a ffth, which is atypically narrow for Jefferson. creates a suspicion This that it is not a very accurate transcription of other actually is sang. what unlike It any Jefferson of Jefferson’s melodies. known refers to anarchist activity in the 1920s, although some of the must One. have Jefferson been War imagery stems World from visualize to easy is It stories. war many heard and listener great a him sitting in the barbershop in in Texas, the Wortham, early 1920s listening to the “sports” and oil etc. wildcatters Mexico, telling war Italy, France, of stories I started out this morning, found a pineapple at my door, I started morning, out this at my door, found a pineapple This place ain woman waving a white fag for a truce, going to that I’m Law Like well constructed and original. As we noted for “Money Mama Tree Blues,” perhaps this song was not issued, because there were technical problems and/or performance mistakes or for some other reason. sheet, sheet lead the in melody the with printed text The notes. eighth

Monge and Evans: New Songs of Blind Lemon Jefferson Jefferson Lemon of Blind Songs New and Evans: Monge 

said she’d blow my house up if I didn’t send my other woman

We can conclude that the melody of “MoneyTree Mama Blues” Blues” Mama “MoneyTree of melody the that conclude can We “MoneyTree of focus special the view, of point textual the From ama Blues” lies in the fnal stanza, where the theme of personal personal of theme the where stanza, fnal the in lies Blues” ama away.

he’s mad ‘cause I quit her, and she’s throwing pineapples at me. throwing and she’s I quit her, mad ‘cause he’s I got a note from her the day before yesterday, yesterday, her the day before I got a note from She I can’t swear to it, but I think it’s my old use (sic) to be, to it, but I think it’s swear I can’t S “Pineapple Blues” Blues” “Pineapple a man to do? what’s So much bomb throwing, been on account of you. Somebody blew my house up, must have revenge revenge emerges peremptorily, yet almost inevitably, from the of treatment unfaithfulness and abandonment. As recurrent we man blind a of image spectacular the conclusion, of the in see light shall in also but itself, in only not outstanding is ax an Altogether, swinging whole. a as output lyrical available currently Jefferson’s the song presents four the The visual frst references. is while the passing brown”), (“my color skin is It woman’s the of hair.” mention her weak in sticking “money original very but weak the is sight, next by as well as feel by perceived be can depiction this that true latter the of precedence psychological and chronological the but coming woman Jefferson’s of context the in especially evident, is blindness. with rapport ambivalent his of view in and home back Enhanced by the very visual co-text surrounding them are the all (“search strophe last the in included images conventional two and “When I fnd that woman”). this town” over as written on the lead sheet is very likely a simplifed version of performed what Jefferson actually actually he sang, since that it certain resembles other be recorded cannot We him. by melodies this piece in the key of C, as indicated in the lead sheet, since transcription key in of the C “simple” may well have been part of the simplifying process. The lyric portion of the lead sheet printed as lyrics the with 1 stanza in discrepancies two contains in the musical portion (not counting the fact that the musical portion also reveals the lyrically truncated second line). In the is found in place musical of in portion,“but” line “and” 1, and “it worries me so” is found in place of worryin’ me “it’s so” in general the with consistent are discrepancies These line. fnal the evident in the lead sheets. pattern of carelessness M Blues” (ca. February 1928, Paramount 12608). From the musical musical the From 12608). Paramount 1928, February (ca. Blues” Jefferson performance his in that learn we sheet lead the of portion line of phrase frst the for note hummed extended an substituted Luck “Bad his in occurred also practice This stanza. frst his of 2 Blues” (ca. December 1926, Paramount 12443), “Rising High Water Blues” (ca. May 1927, Paramount 12487), “Teddy Bear “Christmas takes), two 12487, Paramount 1927, June (ca. Blues” Eve Blues” (ca. August 1928, Paramount 12692), “Sad News 12728, (ca. Paramount July 1928 1929, and Blues” ca. January August ca. and 1929 March (ca. Blues” Night “Big versions), two 1929, Paramount 12801, two versions), and “Long Distance 1929, Paramount 12852). Moan” (September 24,

New Songs of Blind Lemon Jefferson Produced by The Berkeley Electronic Press, 2003 New Songs of Blind Lemon Jefferson 18

ward, started to break and run, started to break ward, arch 1929 or ca. August 1929, Paramount 12801): 1929, Paramount 1929 or ca. August arch il Well Blues” (ca. March 1929, Paramount 12771): 1929, Paramount (ca. March Blues” Well il fail. through. Often Often within a very sexually/visually-oriented co-text, when ent to the police station, begged him to put me in jail, each orchard mama, don’t turn your papa down, turn papa down, your mama, don’t each orchard ell me a cat got nine lives, honey, and I believe that’s true, that’s and I believe honey, ell me a cat got nine lives, t ain’t nothing, mama, don’t get scared at all, get scared nothing, mama, don’t t ain’t nothing bad, ain’t nothing can hurt honey, you, t ain’t a long distance driller that wildcat the country through, ’m been a driller since I been a man, driller, a mean oil well ’m

efferson deals with violence, he does so in order to drive off a I didn’t wanna I kill wanna you, didn’t but mama, I hate to see tree your peaches turn papa down, your mama, don’t orchard Peach P when I gets mad, I acts just like a clown. Because If the cat man has got nine lives, he gonna need ‘em when I get in as such intentions, good has he that woman his reassure to or “O at all, be scared nothing, mama, don’t Ain’t I all. in oil, that’s blowing and it’s a long distant well There’s bad, nothing that’s ain’t nothing to hurt sugar, you, Ain’t I little farm had. that your ever the frst oil well It’s a long distance driller and wildcat the country through, I’m I for you. done wildcatting if I bring in this well I’m But been a driller since I been a man, driller, a mean oil well I’m I sand. Woodbine stop drilling till I strikes that I don’t And Mama” Orchard “Peach in as such self-control, his to resort to or (ca. M to the police station, begged the police to put me in jail, Went W I got a dirty mistreater, she’s mean as she can be, mean as she she’s I got a dirty mistreater, she can be, mean as a dirty mistreater, Got so mean till she dropped that cannon on me. I didn’t fgure she was fesh begin to crawl, the cannon, ooh, my When my rider drawed begin to crawl, the cannon, my fesh When my rider drawed when he faces a cannonball. man feels kind of different Any and run, startedI stepped two feet forward, to break I stepped two feet for gun.” run as a Gatling a cannon, the same don’t “Man Hollered, J 1929, 24, (September Blues” Man “Cat in as such attack, rival’s 12921): Paramount true, that’s and I believe honey, me a cat got nine lives, Tell T one could cite the

58 57 Journal of Texas Music History, Vol. 3 [2003], Iss. 2, Art. 3 2, Art. Iss. 3 [2003], Vol. History, Music of Texas Journal The second is the more original “found a pineapple pineapple a “found original more the is second The

w some fre, take a drink of gasoline, w some fre, 56

Some of the new songs depict ravaging outbursts of

, the way I’m feeling now, I could get a keg of dynamite, feeling now, , the way I’m , I feel like snapping, starting a great big old row, big old row, , I feel like snapping, starting a great

In In most cases, Jefferson however, is the victim of violent or Apart Apart from the general consideration that these lead sheets (1) Three Three visual references are present in this composition. The

iolence, which is generally expressed by developing the rightening assaults by people, objects, and creatures. Beside at my door.” The third, “I’m going to that woman waving a white white a waving woman that to going “I’m third, The door.” my at love turbulent a of conclusion temporary the is truce,” a for fag perfectly images three these which war), the of not (though battle summarize. Blow it up all over that woman and let her go up in steam. all over it up Blow f “Pineapple snakes, Blues” eagles, and as the such exhaustively animals, examined annoying plethora or of fearsome to references bearcats, mosquitoes, chinch bugs, etc., I could swallow some fre, take a drink of gasoline, some fre, I could swallow I could swallo Pour it all in her window and blow her up late at night. her blow and it all in her window Pour The way I feel now, I could get a keg of dynamite, The way I feel now, I say Because the woman I love says she don’t want me nohow. want me nohow. says she don’t the woman I love Because I feel like snapping, starting a great big old row, big old row, I feel like snapping, starting a great I say two parallel themes of extreme personal itself in the shape of potential The former presents destruction. violence and mass of the to addition In suffered. or brutalityperpetrated either be to destruction implied the and Blues” Mama “MoneyTree of close Cat That”/”Maltese Like Tight “It’s in cat Maltese the by rats the murderous impulse is at its peak Blues,” Jefferson’s throughout “Dynamite Blues” (ca. January stanzas: three especially in the following 1929, Paramount 12739), Conclusion are more valuable for their texts main thanconclusions may for be theirdrawn from music,the textual two analysis newly Blind discovered of Lemon songs: Jefferson’s (1) Jefferson’s psychological need to give vent to his deepest feelings through violent imagery; (2) theexorcism of conclusions blindness about through Jefferson’s an confirmation of Monge’s concealed visual references. use of more-or-less extensive earlier v theme remains the man-woman relationship. relationship. the man-woman theme remains frst is “I got a note from her the day which before yesterday,” reading of mentions Jefferson’s of list long already the lengthens writing. and blues songs dealing with legal execution, such as “‘Lectric Chair “‘Lectric as such execution, legal with dealing songs blues “Hangman’s and 12608) Paramount 1928, February (ca. Blues” Blues” (ca. July 1928 [matrix number 20751] “Lemon’s and and ca. 12679), August Paramount 20816], number [matrix 1928 where 12639), Paramount 1928, March (ca. Moan” Ball Cannon of ingredients the are vision of sense sharp a and violence irony, a very cocktail: and effective well-blended http://ecommons.txstate.edu/jtmh/vol3/iss2/3 19

The impression The is impression given

60 The average number of visualizations of the the of visualizations of number average The

The British scholar also stated: “Many blues “Many stated: also scholar British The

61 59

found in the complete body of issued Jefferson’s songs

The conspicuous quantity of visual references in these new these in references visual of quantity conspicuous The

do not take into account the two missing visual references of do not take into account the two missing visual references

From From a broader perspective, this material has an even larger (2) Being frst Jefferson’s and only piece explicitly dealing with Not surprisingly, Jefferson’s recourse to the description of

new songs is even more startling, considering that these statistics these that considering startling, more even is songs new significance than what we literary might examination. it First, enhances Blind Lemon Jefferson’s have expected before itslegacy, shedding new light on his persona and craftsmanship; second, it helps us better understand the diffusion of the to contribution seminal their and tunes folk and blues early several songs, as listed in the Appendix, corroborates the assumptions made in an earlier article average by the Monge. than The higher startlingly average is (3.7) number song per of visualizations (2.48) as well as the average (2.39) resulting from a randomly chosen work. his of sample a) “Easy Rider,” which are not listed here due only to the the Time,” lead sheet’s Stop “English include b) and truncation; textual factors These recorded. ever Jefferson instrumentalpiece purely visualizations of number average the reduce considerably actually per song in these new compositions. blindness as a subtext, “I Labor So Far from Home” contains many however, more title, visual this references In than manner. the songs traditional developing other more-or-less a in themes it is the quality and not the quantity of the matters. mentions If we which exclude “I Labor So Far from Home” from the statistics concerning this new material, the average number of the to close very be to out turns (2.44) song per references visual Jefferson’s of study earlier the in ascertained ones total and partial hypothesis the strengthen lyrics new these all, in All songs. issued attempt of to Jefferson’s exorcize his sightlessness by means of textual visualizations. frequent Lamp sitting in my kitchen, mosquitoes all around my screen, my screen, all around in my kitchen, mosquitoes Lamp sitting seen. be seldom I’ll to get a mosquito bomb, arrange I don’t If thematic more become to begin prospective acts of violence seems compositions to become more his frequent from when is, that 1928, largely animal or lover, and the Statistically, consistent. episodes where rival, Jefferson is the particular a from persecution of victim due be may This persecutor. a as acts he which in those over prevail rational than rather individualistic and unconscious to Jefferson’s psychological— consequently physical—and his overcoming violence of way extreme of expression of types both case, any In disability. blues “the context, seem to put a curb on Jefferson’s general increasing sense of fear and rage. more a in Oliver Paul by out pointed As of prevalence The blues. the acts through as a at his catalyst the anger times, or dispersing singer the intentions his acting of music, the of irresponsibility function particular a indicate may themes some more seek otherwise might which energies discharged for release a as outlets.” dangerous are aggressive in content and to canalize violence would appear to to appear would violence canalize to and content in aggressive are be one of the functions of the blues.” by these songs that if Jefferson had not had his music, he would he music, his had not had Jefferson if that songs these by man to deal with. been a dangerous have Monge and Evans: New Songs of Blind Lemon Jefferson Jefferson Lemon of Blind Songs New and Evans: Monge

Some Some mainly traditional pieces envisage disruptive remedies WhenJeffersonisendangeredorimagineshimselftobeendangered, WhenJeffersonisendangeredorimagineshimselftobeendangered,

Lamp sitting in my kitchen, mosquitoes all around my screen, my screen, Lamp sitting in my kitchen, mosquitoes all around to religious or political annoyances, such as Elder Green’s tearing Green’s Elder as such annoyances, political or religious to down of the Church of God and the resort to an airplane and a submarine against the Kaiser in December “Rabbit Foot 1926, Blues” (ca. Paramount 12454). provides solutions as Jeffersonviolent and exaggerated—and often very sometimes visual in content—as the ones described, such as in “Mosquito 12899): 24, 1929, Paramount (September Moan” I met this joker one morning; he was out on the out edge of town, I met this joker one morning; he was out on the out edge of town, I met this joker one morning; he was out on the out edge of town, me down. blowing I had to talk and plead for to keep him from I believe he’s looking for me, he’s up all hours at night, looking for me, he’s he’s I believe up all hours at night, looking for me, he’s he’s I believe her right. treating used to be my rider and he ain’t She or asks to be forgiven, such as in “Mean 12631): 1928, Paramount February Jumper Blues” (ca. I got to fnd me a scheme to get my gal off to herself, I got to fnd me a scheme to get my gal off to I got to fnd a scheme to get my gal off to herself, want nobody else. a fool about that woman, don’t I’m ‘Cause Her father told me, better not to come back no more, father told me, better not to come back no more, Her her father told me, better not to come back no more, I say, the door.” through you gonna boot I’m here, I catch you “If or resolves to take time, such as in “Bootin’ Me ‘Bout” (September (September ‘Bout” Me “Bootin’ in as such time, take to resolves or 12946): 24, 1929, Paramount You can take my money, I mean you can wear my best clothes, my best clothes, can wear I mean you take my money, can You I say, you can take my money, clothes, I mean you can wear my Nothing best won’t kill you no jellyroll. quicker but you bother with my And when I went for my gun, you oughta seen them yellers breaking breaking yellers them seen oughta you gun, my for went I when And that fence, When I went for my gun, you oughta seen them yellers break the fence, I frst thought they but was I crazy, found out have they no didn’t sense. They made a break at me and I broke for my pocket knife, for my pocket at me and I broke They made a break for my pocket knife, at me, broke a break Made One had me cornered off while the other one talked about taking my wife. he reacts to defend himself and his wife, such as in “Fence Breakin’ Breakin’ “Fence in as such wife, his and himself defend to reacts he 24, 1929, Paramount 12921): Yellin’ Blues” (September

New Songs of Blind Lemon Jefferson Produced by The Berkeley Electronic Press, 2003 New Songs of Blind Lemon Jefferson 20

- 23

Blues Blues Blues Blues Blues

lues and and lues A Good B Black Music Music Black

(New Rochelle, Rochelle, (New

Living Living Blues 20, no. 1 (Spring (Spring 1 no. 20,

Complete Recorded (Document Records Records (Document (Document Records Records (Document

(Document Records

Too Late, Too Late, Vol. Vol. Late, Too Late, Too Too Late, Too Late, Vol. 4 (c. Vol. Late, Too Late, Too

om her

in International Dictionary of 121 (August 1997): 4-9; David

, 442-445; Swinton, “A Twist of

Blues and Rhythm: The Gospel Truth Truth The Gospel Blues and Rhythm: booklet no. booklet 3 England: no. (Knutsford,

y brown y brown , 4th ed. Oxford University (New York: Money sticking in her hair Money this town all over Search When I fnd that woman I got a note fr a white going to that woman waving I’m fag for a truce a pineapple at my door Found M (New York: Oak Publications, 1967), 175 1967), Publications, Oak York: (New The Bluesmen:The Story and the Music of the the of Music the and Story Bluesmen:The The

, edited by C. Mody Boatright, Wilson M. Black Music Research Journal Journal Research Music Black lues World World lues

(New York: Rinehart & Company, Inc., 1959), Rinehart & Company, York: (New B

20, no. 1 (Spring 2000), including articles by Alan by articles including 2000), (Spring 1 no. 20,

(Document Records DOCD-5150, 1993); Various Various 1993); DOCD-5150, Records (Document

, Bluesmen 175-189; Dixon, Godrich and Rye, lues Off the Record: Thirty Years of Blues Commentary Years Thirty lues Off the Record: (Document Records DOCD-5321, 1995); Various B 16 (September 1967): 13; 18 (January 1968): 14-16;

The

Too Late, Too Late, Vol. 3 (1927-1960s) 3 Vol. Late, Too Late, Too of Blindness,” Blindness,” of Too Late, Too Late, Vol. 11 (1924-1939) (1924-1939) 11 Vol. Late, Too Late, Too

Country Blues other artists’ unissued Paramount recordings, see John Cowley Cowley John see recordings, Paramount unissued artists’ other

Storyville Storyville 2000-1, ed. Laurie Wright (Chigwell, Essex, UK: L. in all the following sources at our disposal: E. Bagby Atwood, ongress for helping us fnd this precious material, Samuel Charters Charters Samuel material, precious this fnd us helping for ongress rown, rown, “Recording Pioneer Polk Brockman,” (September/October 1975): 31. (September/October Wright, 2001), 122-174. Wright, Oliver, Paul DOCD-5017-5020, 1991); Various Artists, Various 1991); DOCD-5017-5020, (1926-1944) 1 Artists, 1892-1937) Artists, DOCD-5625, 1998). Charters, and Gospel Records 1890-1943 Lemon,” 4-9. Charters,, 179, 181. The Bluesmen For further information on Jefferson’s Okeh B session, see Roger Paramounts,” Unissued the and Music “Chicago Rye, Howard and in 41. 1988), Capo Press, Da York: (New to “Shivarees and Charivaris: Variations on a Theme,” in and Tune a Bonnie Tale Gospel Gospel Records 1890-1943 Press, 1997), 442-445; Blind Lemon Jefferson, Works in Chronological Volumes Order, 1-4 Artists, Various DOCD-5276, 1994); Music Chicago to related is it as subject this on reading further For and We would like to acknowledge the Music Division of the Library of of Library the of Division Music the acknowledge to like would We C and Paul Swinton for calling our attention Bob to Hickerson, Joseph its Renwick, existence, deV. Lynn Roger Seroff, Doug Abbott, John Orr, Jay Cogswell, Roby Wiggins, Craig Wolfe, Charles Eagle, Alan Cowley, Govenar and Jay Brakefeld for their research help, Covert for his discographical help. Danielli and Stefano The Jefferson: Lemon Blind of Language “The Monge, Luigi Charters, Theme Samuel see music, his and 2000): 35-81. Jefferson on information more For The Charters, Samuel 57-72; Blues the Made who Men 189; Bob Groom, 1970); Blues Bob World, Groom, “The Legacy of Blind Lemon,” World Blues 1969): (April 23 30-32; 1968): (October 21 33-37; 1968): (July 20 1969): 9-10; 27 (February (May 1969): 9-10; 25 (October 5-7; 24 (July 30 8-9; 1970): (April 29 8-9; 1970): (March 28 13-14; 1970): 1970): 13-14; 35 (October 1970): 19-20; 36 (November 1970): 20; 40 (Autumn 1971): 4-6; Singers 50 Blues (1974): of Dictionary8; Sheldon Biographical Harris, A Who: Who’s Long A “It’s Roberts, Bruce 274-276; 1979), House, Arlington NY: End,” Got No Lane Old Ain’t 119 (May 1997): 4-5; Paul Swinton, of Twist “A Lemon,” and Rhythm: The Gospel Truth Evans, “Jefferson, Blind Lemon,” Black , Composers edited by Samuel A. Floyd, Jr., vol. 1 (Chicago: of issue special the 604-609; 1999), Dearborn, Fitzroy Journal Research 7-21, and the Man,” The Myth Lemon Jefferson: “Blind Govenar, Monge, Luigi 23-33, Leadbelly,” Meets Lemon “Blind Lornell, Kip “The Language of Blind Lemon The Jefferson: Covert Theme of Blues the in Innovation “Musical Evans, David 35-81, Blindness,” of Blind Lemon Jefferson,” 83-116; Robert Uzzel, Blind TX:Eakin (Austin, Legacy Lemon His and Death, His Life, His Jefferson: Rye, 2002). W. Press, Howard and Godrich, John Dixon, W. M. Robert

9. 5. 6. 7. 10. An exclusively French origin of the word “shivaree” is attested 8. Pineapple Blues Blues Pineapple NOTES 1. 2. 3. 4. Blues Mama Tree Money

his horse ought to be to be ■

Journal of Texas Music History, Vol. 3 [2003], Iss. 2, Art. 3 2, Art. Iss. 3 [2003], Vol. History, Music of Texas Journal

he’s Alabama bound he’s his boots ought to be to be my boots ought bed where to see my horse ought to be his coat ought to be my coat ought to be he ought to be where

And a good doing brownskin And a good doing brownskin Visual References References Visual to see I crave and who The girl that I love see the sea when (sic) I can’t far cross Is [Two visual references missing automobile, dueold his over all printed it got to He’s long and tall she’s and brown, got a high I’ve [instrumental: no lyrics] Old man went the day other wife his to loving boots where What did he see but someone’s these lying under my (sic) boots are Who’s You old fool, blind fool, old man, can’t you I never saw a coffee pot with boot heels on wife the other night his loving man went Old What should he see but someone’s horse Whose horse is this hitched in my rack where with a saddle on before saw a milk cow I never coat where What should he see but someone’s Whose coat is this hanging on my rack where I never saw a blanket with coat sleeves on What should he see but some old man lying What man is this lying in my bed where I with whiskers on before saw a baby I never got a lighthouse on the sea I’ve mama a high brown She’s I got a letter this morning no black wear don’t Mama ghost will come sneaking back My I wonder why my partner sits around looking so sad be too black bad he quits her it’ll If made woman a well She’s color of chocolate brownskin, a dark She’s in the book it ain’t drop

It’s Tight Like Tat Like Tight It’s

Appendix Visual References in Chronologically Blind Lemon Jefferson’s New Songs, Songs Presented Blues Laboring Man Rider Easy truncation] in Town Green’s Elder Time Stop English Home from Far I Labor So see see? before where before ought Blues House Light Bad Black Too development development from unrecorded and unpublished music to the limelight of popular commercially folk recorded variegated a in music; immersed deeply artist fnally, an itas Jefferson reveals and expand to helped largely he turn, in which, tradition, musical his after records) phonograph (through and during, before, mold success. commercial unprecedented

http://ecommons.txstate.edu/jtmh/vol3/iss2/3 21

, , - Blues Blues and (Cambridge, Deep Deep Ellum and

, 44. Two versions versions Two 44. , Let’s Get Loose: Folk Folk Loose: Get Let’s (London: Storyville Storyville (London:

Traditional Tunes of Tunes the Traditional (New York: The Macmillan York: (New The

Life Life and Legend of Leadbelly The lues and Gospel Records 1890-1943 B 587. We are indebted to Alan Govenar Govenar Alan to indebted are We 587. The Lyrics The in Lyrics African American Popular . A note by the collector John A. Lomax, A. John collector the by note A .

Life and Legend of Leadbelly of Legend and Life 1912,

king Up at Down: The Emergence of Blues Culture Blues of Emergence The Down: at Up king , edited by Robert Sacré (Liège; Belgium: Société Société Belgium: (Liège; Sacré Robert by edited , The (Levallois-Perret: (Levallois-Perret: Soul Bag, 1986), 25-26; Paul

aramount 12000/13000 Series Series 12000/13000 aramount Loo P A-2064). The song was reissued on reissued was song The A-2064). E

Blues Fell This Morning: Meaning Blues in Fell the Blues

2709-B-1) is listed in Dixon, Godrich and Rye’s

aints and Sinners: Religion, Blues and (D)evil in African-American African-American in (D)evil and Blues Religion, Sinners: and aints Riley, arly Blues: Volume , One Piano Mania, n.d. [ca. 1995], S

uigi Monge, “Visual References in the Lyrics of Blind Pre-War Blues Blues Pre-War Blind of Lyrics the in References “Visual Monge, uigi rescott Webb in Beeville, Texas. See W. Prescott Webb, “Notes on on “Notes Webb, Prescott W. See Texas. Beeville, in Webb rescott alkin’ That Talk That alkin’ Talk Where My Coat Used to Be” (March 8, 1937, AFS 885-B-2) bid., 114-115. n Elsie Clews Parsons, “Tales from Guilford County, North with liner notes by David Bernard Al entertainer blackface and vaudeville Evans, Orleans-born New New World NW 290, 1978. recorded it in early 1919 (Edison 3766, 50542), and Bernard or possibly White himself recorded only the frst stanza with accompaniment banjo as part of “Lasses White Minstrels – Scene” Plantation (April 1923, ColumbiaCompany with Al Bernard. A3871) by Directory Lasses City Dallas White and Converged Dallas of Worlds White and Black the Where Track: Central 1998). Press, Texas of North University (Denton: P Literature and Music 1996), 321, 325, 327. Liégeoise de Musicologie, 444. Oliver, 1990), 73. Press, UK: Cambridge University (New York: Harper Collins, 1994), 44. Harper York: (New L. 5-8. (Columbia and Popular Blues Styles from the Beginnings to the Early 1940s and Jay Brakefeld for doing research on the exact location music of Dallas the the on information further For Theatre. Hour Happy scene, see Alan B. Brakefeld, Govenar and Jay F. 28 (1915): 295. Folk-Lore of American Folk-Lore of Texas,” Journal Lomax, Alan and Lomax A. John in printed were song Leadbelly’s of Songs as Folk by Sung Lead Negro Belly 1936), 136-137, and A. John Lomax and Company, Alan Lomax, A Leadbelly. Songs Collection by World-Famous of Huddie Ledbetter 1959), 32. Inc., Publishers, Music Folkways York: (New in 1971), n. p. Publications, T 144. 69. 1989), Press, University Temple (Philadelphia: L and Gospel in Musicians,” , Music edited by Robert Springer (Bern, Switzerland: Peter Lang, 2001), 100-103. i 30 (1917), 199. Folklore of American Journal Carolina,” “ and “Our Will Good Starks’s (August Man” 9, 1942, AFS 6652 A-1). Colon Keel’s “The Three Nights Experience” (June 1939, AFS 1890-1943 Records Gospel however, indicates that Keel was white. There is another version of “The by Cowboy” Western Don Mooney (February state 27, cannot 1936, we thus and examined, not have we that 604-A-1) AFS whether it contains verses from Child no. 274. Huddie Ledbetter his but times, several Cowboy” Western “The recorded [Leadbelly] Lomax, A. John ballad. this from verses any contain not do versions in a headnote to a transcription version, stated of Harry Jackson’s that he had written down fve variants of Cowboy” “The Western from the singing of Negro prisoners in penitentiaries. Texas The ballad also exists in black tradition in the Bahamas and the island of Nevis. , 98, 99, 124 and 125. Child Ballads

42. W. by collected stanzas thirty-three the in line one of variant a also is 43. It 47. Dixon, Godrich and Rye, of Lemon,” 7. Twist “A 48. Swinton, Vreede, E. 49. Max expressions slang of use conscious Jefferson’s of example another 51. For See 37. See nos. 1, 3, 48 and 49 in Bronson, 409-412;Richard “TheyCert’lySoundGoodtoMe,” 40. AbbottandSeroff, 41. White singer George O’Connor recorded “Nigger in Blues” 1916 410. to Me,” Good Sound “They Cert’ly and Seroff, 44. Abbott Lornell, and 45. Wolfe Study,” A Titles: and Lyrics Blues in Words “Religious Prévos, 46. André 50. For the meaning of this colloquial expression see Jean Paul Levet, William Barlow, Barlow, 29. William 60-62. “The Lemon Jefferson,” Blind Language of 30. Monge, , 69. at Down Looking Up 31. Barlow, 50. “The Lemon Jefferson,” Blind Language of 32. Monge, 33. For an analysis of two illuminating examples in gospel songs, see included and Stockton Maude from collected Adulteress,” “The 34. See Henry’s Jim versions: following the examine to able been not have 35. We 36. Charles Wolfe and Kip Lornell, 38. Ibid. 39. I

, Born (New (New

Songsters Songsters Songsters Songsters American American he British 42 (1978): (1978): 42

(New York: York: (New

T

, 4 Volumes Songsters and Songsters (Hatboro, (Hatboro, PA: Black Sects and Sects Black

American American Speech 9, no. 2 (Fall 1989): (Fall 2 no. 9, (New York: Bonanza Bonanza York: (New

Black Music Research Journal Journal Research Music Black The Gospel Sound: Good News News Good Sound: Gospel The

(Cambridge, UK: Cambridge Cambridge UK: (Cambridge, Journal of American Folk-Lore Folk-Lore American of Journal , edition revised by Tristram

Monge and Evans: New Songs of Blind Lemon Jefferson Jefferson Lemon of Blind Songs New and Evans: Monge

, edited by Jan Harold Brunvand Brunvand Harold Jan by edited , 8, no. 2 (April 1933): 24-26; Jay

(New York: Duell, Sloan and Pearce, Duell, Sloan and Pearce, York: (New (Philadelphia: The American Folklore American The (Philadelphia: Southern Folklore Quarterly Quarterly Folklore Southern

The New Grove Dictionary of Music and Music of Dictionary Grove New The The Negro Church in America America in Church Negro The merican Negro Folk-Songs English and Scottish Popular Ballads Ballads Popular Scottish and English British Traditional Ballad in North America North in Ballad Traditional British A (Urbana: University of Illinois Press, 2000), 2000), Press, Illinois of University (Urbana: ative American Balladry: A Descriptive Study Study Descriptive A Balladry: American ative

N The The

John John Edwards Memorial Foundation Quarterly

Black Music Research Journal Journal Research Music Black American American Speech ister Jelly Roll ister Jelly ig Road and Blues: Tradition Creativity in the Folk B M merican Negro Songs and Spirituals Spirituals and Songs Negro merican A vol. vol. 5 (of 29 volumes), 2nd ed., edited by Sadie Stanley The Traditional Tunes The Tunes of Traditional the Child Ballads

, 199-228; Anthony Heilbut, Heilbut, Anthony 199-228; ,

14, no. 4 (Winter 1996): 402-454; Paul Oliver, Oliver, Paul 402-454; 1996): (Winter 4 no. 14,

(Garden City, NY: Anchor, 1972), 58-82; Paul Oliver, Oliver, Paul 58-82; 1972), Anchor, NY: City, (Garden

Golden Age of Gospel Gospel of Age Golden

oll Morton: “I played and sang a whole gang of blues; among them them among blues; of gang whole a sang and played “I Morton: oll thnohistorical Hypothesis,” Hypothesis,” thnohistorical ookey Jump: Two Afro-American Variants of Child Ballads on eroff, eroff, “They Cert’ly Sound Good to Me: Sheet Music, Southern ears, “John William ‘Blind’ Boone, Pianist-Composer: ‘Merit, Not ‘Merit, Pianist-Composer: Boone, ‘Blind’ William “John ears, ariable, subjective, lyrical, yet dramatic narrative which celebrates which narrative dramatic yet lyrical, subjective, ariable, or calling our attention to this source. There is no way to determine determine to way no is There source. this to attention our calling or , rev. ed. (New York: Limelight, 1985), 173-186. Limelight, York: ed. (New , rev. Times and Bad (Princeton: Princeton University Press, 1972), 95-129. Press, University Princeton (Princeton: , 229-230. and Saints Ballad Traditional in North America (Austin: Harris Renwick Bertrand V. de Roger by supplement a with 272-273; Coffn, Potter 143-145, 1977), Press, Texas of University Bronson, Commercial Commercial Disc,” Oliver, Paul and 38-40; 31-35, 1982): (Spring/Summer 17 Folklore Associates Inc., 1965), 307-308, 353-354; Will H.Thomas, Will 353-354; 307-308, 1965), Inc., Associates Society Folklore Folk-Lore Austin: Negro,” the of Folk-Songs Current “Some of Texas, pamphlet 1 (1912): 12; Gates Negro Thomas,Work-Songs: Associates, Collected Folklore “Southand PA: Texas Uncollected,” (Hatboro, in Dobie Frank Rainbow J. ed. in Morning, the 177. 1965), 154-180, esp. 81 (1968): 296. 1965), Dover, 88-95, York: 303-304. Originally published in ten 1882-98. volumes, S and a Bibliographical Syllabus Syllabus Bibliographical a and straightforward, a presenting than rather event an on comments and circumstantial account.” See Wilgus and Montell, “Clure and Joe Ballad,” Blues and Legend Williams: Books, 1940), 241. http://www.rootsweb. See Mississippi. Greenwood, of residents black Eagle Bob thank to wish We com/~msafamer/mslefore1910Dir.txt. f if this Elder Green is the subject of this folksong. The Frazier, Franklin E. 12-29; Saints and , 229-256. Songsters and Saints Oliver, 1964), 83-94; Paul Society, v 73-84; Peter Narváez, “The Infuences of Hispanic Music Cultures Cultures Music Hispanic of Infuences “The Narváez, Peter 73-84; Musicians,” Blues African-American on 1994): 203-224. 2 (Fall 14, no. Blues,” the of Ascendancy Commercial the and Vaudeville, Wins’,” Sympathy 225-247. 1950), 121. Leave ‘Don’t to title the changed I R song the Bound,’ Alabama ‘I’m was Bradford, See Blues’.” Ball ‘Cannon played I then and Here,’ Me 1965), 94. Publications, Oak York: (New with the Blues Jr., Washington, R. Joseph 47-67; 1964), Shocken, Cults (Berkeley: University of California Press, 1982), 75-81. of California Press, University (Berkeley: Blues S Music Music Society, no. 32 (Dallas: Southern Methodist University Press, 1964), 1964), Press, Hudson, and University Allen Methodist Southern Maxwell, (Dallas: Publications 32 of no. the Society, Texas Folklore 64-71; Flanagan, Note T. John “A on Shivaree,” 15 (1940), 109-110; Miles L. Hanley, “Charivaria: New England,” Serenade in Records Race on Traditions Vocal Saints: 1984), 115-118. Press, University S Scott Odell, “Charivari,” in “Charivari,” Odell, Scott Musicians Musicians in “Shivaree,” Smith, Moira 496-497; 2001), Macmillan, (London: Encyclopedia An Folklore: American 1996), 665-666. Garland, York: (New E

Coffn and Renwick, Renwick, and 28. Coffn , 230. Songsters and Saints 26. Oliver, 27. Tristram Potter Coffn and Roger de V. Renwick, John Work, Work, 18. John 23. Charters,, 179, 181. The Bluesmen Child, James 24. Francis the at Maid’ ‘The and Blackface in Goodman’ “‘Our Minton, 25. John G. Malcolm Laws, Jr., Jr., Laws, Malcolm 21. G. An Elder Green, described as “minister,” is included in a 1910 list of of list 1910 a in included is “minister,” as described Green, Elder 19. An Boyer, Clarence Horace see themes, these on information further 20. For highly “a as ballad blues a defne Montell Lynwood and Wilgus K. 22. D. David 12. David Evans, 15. Alan Lomax, Jelly with Chicago in contest cutting 1913 a describes Bradford 16. Perry 17. See Newman I. White, For a discussion of this complex of songs, see Lynn Abbott and Doug Doug and Abbott Lynn see songs, of complex this of discussion a 13. For For further information on 14. For see Boone, John “Blind” information William further Ann Peter 11. Peter Narváez, “Afro-American and Mexican Street Singers: An

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