Overseas Stomp

Total Page：16

File Type：pdf, Size：1020Kb

Overseas Stomp C A7 Jim Kweskin and the Jug Band (1963) from Memphis Jug Band D7-G, C I know they’re gonna write to me When they get across the sea Every chance when that Washington lands in France (I say, whoa now, sugar baby) Oh mama, don’t you weep and moan Uncle Sam’s got your man and gone Now they’re doing that Lindberg ‘cross the sea (riff) Kazoo solo with harmonica x2 When I had my uniform on I could Lindy sure as you’re born Then I’d do that Lindy Bird with you (Oh babe, now I done told you) Now mama, how can it be? You went way across the sea Just to keep from doing that Lindy Bird with me (riff) Harmonica solo with banjo x2 I asked her for a bottle of Kay Ola* She said, “Can I play the blues on your Victrola Then I'll do that Lindy Bird with you” (I say, whoa now, sugar baby) I asked her for a piece of banana She said, “Can I play the blues on your piano Then I'll do that Lindy Bird with you” (riff) * From Professor Douglas Fraser: “Kaye Ola was manufactured by A.W. Kaye of Meridian, Mississippi. It contained both extract of coca leaf (cocaine) and caffeine – which enhanced the cocaine. During this time soda pop came under two categories; ether it was a Cola or an Ola. There were many of both. At this time Coca Cola also contained cocaine. A Kaye Ola was the power drink of its day.” Transcribed by Arlo Leach for humpnightthumpers.com .

Copy Link

Recommended publications

Memphis Jug Baimi
94, Puller Road, B L U E S Barnet, Herts., EN5 4HD, ~ L I N K U.K. Subscriptions £1.50 for six ( 54 sea mail, 58 air mail). Overseas International Money Orders only please or if by personal cheque please add an extra 50p to cover bank clearance charges. Editorial staff: Mike Black, John Stiff. Frank Sidebottom and Alan Balfour. Issue 2 — October/November 1973. Particular thanks to Valerie Wilmer (photos) and Dave Godby (special artwork). National Giro— 32 733 4002 Cover Photo> Memphis Minnie ( ^ ) Blues-Link 1973 editorial In this short editorial all I have space to mention is that we now have a Giro account and overseas readers may find it easier and cheaper to subscribe this way. Apologies to Kees van Wijngaarden whose name we left off “ The Dutch Blues Scene” in No. 1—red faces all round! Those of you who are still waiting for replies to letters — bear with us as yours truly (Mike) has had a spell in hospital and it’s taking time to get the backlog down. Next issue will be a bumper one for Christmas. CONTENTS PAGE Memphis Shakedown — Chris Smith 4 Leicester Blues Em pire — John Stretton & Bob Fisher 20 Obscure LP’ s— Frank Sidebottom 41 Kokomo Arnold — Leon Terjanian 27 Ragtime In The British Museum — Roger Millington 33 Memphis Minnie Dies in Memphis — Steve LaVere 31 Talkabout — Bob Groom 19 Sidetrackin’ — Frank Sidebottom 26 Book Review 40 Record Reviews 39 Contact Ads 42 £ Memphis Shakedown- The Memphis Jug Band On Record by Chris Smith Much has been written about the members of the Memphis Jug Band, notably by Bengt Olsson in Memphis Blues (Studio Vista 1970); surprisingly little, however has got into print about the music that the band played, beyond general outline.
[Show full text]
Rhythm Posse Occasionally Worked with Bukka White in Local Juke Facebook.Com/Rhythmposse Joints
father of the Memphis blues guitar style. By the turn of the century, at the age of 12, Stokes worked as a blacksmith, traveling the 25 miles to Memphis on the weekends to sing and play guitar All shows begin at 6:30 In case of inclement weather, Tuesday Night Blues with Don Sane, with whom he developed a long- is held at the House of Rock, 422 Water Street. term musical partnership. Together, they busked on *August 7 will be held at Phoenix Park. the streets and in Church's Park (now W. C. Handy Park) on Memphis' Beale Street. Sane rejoined Stokes May 28 Howard ‘Guitar’ Luedtke & Blue Max for the second day of an August 1928 session for HowardLuedtke.com June 4 Revolver Victor Records, and they produced a two-part RevolverBand.net version of "Tain't Nobody's Business If I Do", a song August 20, 2013 at Owen Park June 11 Bryan Lee well known in later versions by Bessie Smith and BrailleBluesDaddy.com Jimmy Witherspoon, but whose origin lies June 18 Tommy Bentz Band somewhere in the pre-blues era. RhythmRhythm PPosseosse TommyBentz.com In 1929, Stokes and Sane recorded again for June 25 Code Blue with Catya & Sue Catya.net Paramount, resuming their 'Beale Street Sheiks' July 2 Left Wing Bourbon billing for a few cuts. In September, Stokes was back LeftWingBourbon.com on Victor to make what were to be his last July 9 Charlie Parr recordings, this time without Sane, but with Will Batts CharlieParr.com on fiddle. Stokes and Batts were a team as July 16 Deep Water Reunion MySpace.com/DWReunion evidenced by these records, which are both July 23 Steve Meyer with the True Heat Band traditional and wildly original, but their style had (featuring Ben Harder) fallen out of favor with the blues record buying July 30 Ross William Perry public.
[Show full text]
A. L'histoire Du Blues Exemple-Type : Memphis Jug Band, Sugar Pudding
A. L’histoire du blues Exemple-type : Memphis Jug Band, Sugar pudding (Take your fingers off it), 1928 Ou On the Road again Groupe parfaitement représentatif de ce qu’est le blues : Naissance dans ce qu’on appelle le Delta. Esprit du blues apparaît au 18ème dans les plantations de coton. Maîtres blancs entreprennent l’évangélisation des esclaves ® leur permettent d’assister aux offices religieux ® Ecoutent des cantiques blancs qu’ils revisitent & transforment avec des rythmes africains ð Negro spirituals. Ex. Swing low sweet chariot c. 1865 Enregistrement : Fisk Jubilee Singers, 1909 Abolition de l’esclavage, 4 avril 1863 ® Les esclaves deviennent un sous-prolétariat agricole. Des chanteurs itinérants passent dans les villages pour les distraire : chantent des ballades du folklore irlandais, au violon + banjo. 1880 : nelles lois ségrégationnistes du Sud = interdiction de tout droit politique et civique aux Noirs. ® Nelle coloration des chants : le blues devient plus agressif & les negro spirituals demandent l’intervention de r. ® Les Noirs quittent le Sud : ± 2 millions (entre 1865 et 1914) montent vers le Nord & les cités industrialisées. 1ère étape : Memphis, à la frontière du Tennessee et du Mississippi. Cette population se concentre le long du Mississippi, dans le quartier populaire de Beale Street. ð C’est à Memphis que le Blues va se façonner et s’organiser. Histoire du blues moderne : — Beaucoup d’historiens considèrent Charlie Patton comme le père fondateur du Blues (ce qu’on appelle le Delta Blues) 1er à enregistrer un disque en 1929 for Paramount Fils d’un propriétaire de plantation (hors norme) qui choisit de devenir prédicateur ® rencontre des musiciens qui vont l’initier au blues dans le delta.
[Show full text]
WILL SHADE,,DEWEY CORLEY, JENNIE MAE CIAYTON (Sp?)
..^ WILL SHADE,,DEWEY CORLEY, JENNIE MAE CIAYTON (sp?) ^A^ry/^-^ <1 II [of 3-N. f ^^r^^^^^^fl^^^ ^\ '/ ^ ^ sr r^, / r f \ May 25. 1960 \ <. ; .i:' S / /v;, /' f/- ^ L- Lv-^. Also presents Richard B. Alien, William Claxton (Will Shade talking first) [See Memphis folder.] Some of the bands playing around [Memphis] when WS was a boy t \ were led by W. C. Handy, Howard Yandey, and Bea [sp?] Smith. Yancey ^ was a man when WS "was a "kid in Knee pants;" Yancey, who is now at [operates?] the pool room just around tte corner, had a musicians' "headquarters, a club, at one time. The bands of that time were playing ragtime music and Dixieland, tunes such as "Way D%3»n Yonder In New Orleans." [Perhaps suggested by tlie fact that RBA was from N.O.] When WS began playing music for money, instrumentatdxan .and personnel of the band were: "Roundhouse" (real name, Elijah), jug? Ben Ramey, kazoo; WS, lead guitar and harmonica; Will Weldon, second guitar. WS made up his own tunes and wrote his own songs. The group was called the Memphis Jug Band. The first records WS made were with the persons listed above; the recordings were "Newport News," "Memphis Jug Band Blues," [Cf. discographies] "Stingy Woman Blues" and "Sun- brimmer's Blues." The original personnel have been replaced in the last ten or fifteen years as they died; Weldon was replaced by Robert Carter, guitar [Cf. discographies.]? Jones j'oined the band to play jug and piano. [Jab Jones?] WS recorded with Sleepy Sohn Estes around [19]26 or [19]27; they titles inciLuded "Diving Duck" and "[ ] Jail." Estes was in Brownville [i.e., Brownsville?], Tennessee, the last time WS heard from him; Estes is now blind.
[Show full text]
Prairie Progressive • Spring 2015
THE PRAIRIE PROGRESSIVE Spring 2015 A NEWSLETTER FOR IOWA’S DEMOCRATIC LEFT Cousins, Clerics, and the Constitution hen the current Constitution of the Equal Protection clauses of the familial status of such person.” This the State of Iowa was debated United States and Iowa Constitutions is directly quoted from Iowa’s Civil Wand adopted in 1857, the first days as it pertains to zoning. Rights Statute. of the convention were rife with arguments of moving the convention Two bills are moving in the Iowa Leg- It has been difficult to get legislators from Iowa City because of the lack islature this year. House File 161 is a to listen to the argument that the of housing. Out-of-towners thought bill in the House of Representatives Ames Rental lawsuit is not the final the price of accommodations in Iowa that prohibits the regulation of rental word on this matter. The lawsuit City were not fair. Besides, as one property by a city based upon famil- was brought by landlords and they delegate stated, “Half of the members ial relationships. It has a partner in sued the city in the only way they of the Convention have to sleep three the Iowa Senate – Senate Study Bill could. Landlords could not use the in a bed, and two on a bunk.” 1218 (which will have a new name Civil Rights Statute to bring a law- and number after Prairie Dog sends suit because they would not have The cost of accommodations in Iowa this out to readers). The bills were standing (standing, or locus standi, City may still be steep, especially on identical at their inception, but SSB is the requirement that a plaintiff has weekends during the fall months, 1218 has been amended in Committee sustained or will sustain direct injury but otherwise, things have changed.
[Show full text]
00.Jug Band Song Book Title Page.Pages
The Trolleydrops Ofﬁcial ! Jug Band Song Book Jug ‘till you drop…. The Trolley Drops Official Jug Band Song Book 01. Blues in the bottle 02. Come on down 03. Cornbread and butter beans 04. Deep Ellum Blues 05. Dollars not dimes 06. The dough won’t rise 07. Eight more miles to Louisville 08. Good Bye Booze 09. Got a letter from my baby 10. Hesitation blues 11. I could complain 12. I like bananas 13. I’ve been blue 14. Let it Go 15. Jesus on the main line 16. Jug band music 17. Ragg mopp 18. Salty dog blues. 19. Soquel is a polka town 20. Stealin’ 21. Take a whiff on me 22. Take a whiff on me (a cautionary tale) 23. Tapping that thing 24. Tear it down 25. This will bring you back 26. Tight like that 27. Told that gal I was red hot 28. Walk right in. 29. Wild about my lovin’ 30. You may leave Blues in the Bottle Chorus: G Blues in the bottle, blues in the bottle G7 Where do you think you're at, pretty mama C G Blues in the bottle, where do you think you're at D7 C7 G You went and kicked my dog, And now you've skinned my cat G Rooster chews tobacco, rooster chews tobacco G7 And the hen uses snuff, pretty mama C G The rooster chews tobacco and the hen uses snuff D7 C7 G The baby chickens don't do nothin', they just strut their stuff (Chorus) G Well I’m going to Chatanoogie, going to Chatanoogie G7 To see my pony run, pretty mama C G I’m going to Chatanoogie, to see my pony run, D7 C7 G And if I win a prize, gonna give my baby some (Chorus) G Dig your taters, oh dig your taters G7 It's tater diggin' time, pretty mama C G Oh dig your taters,
[Show full text]
The Yazoo Review. Hopefully, You Will Find a Combination of Indepth Reviews As Well As Great Prices for Purchasing Albums, Cassettes, Compact Discs, Videos, Books
The Y a z o o R eview Hello, Welcome to our first issue of The Yazoo Review. Hopefully, you will find a combination of indepth reviews as well as great prices for purchasing albums, cassettes, compact discs, videos, books. This first issue is to give you a taste of things to come. We do not intend to be a source for ALL blues albums. There are just too many available. But rather we will offer the cream of the crop and keep you abreast of new and exciting releases. Our initial complete listing has over 500 albums. We have highlighted various artists and subjects in the Review and these articles should give you information and a feel for each album. We have gathered some of the finest writers in blues music to contribute their ideas and insights. Chris Smith, Neil Slaven and Ray Templeton are three of the most respected names in blues critique. After each introductory paragraph to a subject you will find the author’s name. He has written all the reviews in that area unless another writer’s name is included. Our prices are the lowest available especially when taking advantage of our SPECIAL OFFER. You can choose ANY four albums or cassettes and purchase a fifth for $1.95. A similar offer applies to compact discs but in this case the fifth CD would cost $3.95. You can mix CD’s/cassettes and albums for your four albums and in this case the fifth must be an album or cassette for $1.95. You can order as many albums as you wish.
[Show full text]
Tennessee Blues and Gospel: from Jug Band to Jubilee by David Evans and Richard M
Tennessee Blues and Gospel: From Jug Band to Jubilee by David Evans and Richard M. Raichelson Richard M Raichelson received his doctorate in folklore from the University ofPennsylvania . He has done extensive research on jazz, blues, Sacred and secular Black music traditions have existed side-by and gospel music and has taught in the De side in Tennessee since the arrival of large numbers of slaves to Mis partment ofAnthropology at Memphis State sissippi River lowland plantations in the early 19th century. Although University. church-oriented music has remained separate from entertainment David Evans is a professor ofmusic at and work-related musics in performance, meaning and genre, it has Memphis State University where he specializes in blues. An accomplished guitaris~ he is a pro influenced and, in turn, been influenced by them over time. Many ducer for High Water Records, a recording well-known blues performers have "gone to God," and an equally company devoted to Southern blues and gospel music. large number of religious performers are attentive to the style, if not the ideology, of blues. By far the most important Black secular folk music in Tennessee has been the blues. In the early years of this century, folk blues singers were probably active in every Black community in the state. Memphis was the largest of these and became the place where blues music first gained popularity. W C. Handy, who led a Black orches tra that played the popular tunes of the day for Anglo- and Afro American audiences, published his "Memphis Blues" in 1912, following it with many more blues "hits" in the next few years.
[Show full text]
“Covering” the Bluesman from a Distance
Introduction In many ways, my journey towards this thesis topic began with my brother’s music collection. Throughout my teens he would introduce me to a wide range of local and international acts, many of which were influenced by African-American blues artists. This influence is evident in both their construction of sound and the old songs that they rerecorded. From there I began tracing musical influences from song credits and interview excerpts—a path often travelled by musicians and fans alike—that would eventually lead me to an appreciation of blues music. The penultimate step towards this topic came in the form of my honours thesis—a creative project that involved rerecording several tracks from the catalogue of an early Australian country music artist, one of which was titled “Blue Mountain Blues”.1 From there I turned to blues music in Australia. Initially conceived as a history of “Australian blues”, it became apparent that this proposed sub-genre struggled to unify and explain the disparate musical styles contained therein. Although each artist was clearly addressing the musical characteristics and influences I had come to recognise as “blues music”, it all sounded different. In the meantime, I developed a keen interest in a fellow colleague’s thesis topic that addressed the role of “covers” within the Australian music industry (Giuffre, 2005). My epiphany—and catalyst for the current thesis topic—eventually presented itself while viewing a live performance from Peter Green Splinter Group. The concert was split into two courses: an acoustic entrée featuring several Robert Johnson “covers”; and, an electric main with side dishes of early Fleetwood Mac material—the band Green had help found many years ago.
[Show full text]
A Gathering for Jug Heads
A Gathering for Jug Heads BY BARRY MAZOR Louisville, Ky. M any associate the sound and fe'el of jug band music with the 1960s bands that took ver sions of it into pop: the Roof top Singers with ''Walk Right In"; the Lovin' Spoonful with "Jug Band Music." Others re call that era's folk-revival out fits, such as the Jim Kweskin Jug Band,· that celebrated and brought back the hot, free w and-easy street music of the i early 20th century. First g played by pick-up "spasm bands" that brandished home· made instruments, it had ::; been, in effect, raucous folk giDom Flemons Trio performs at the 2016 National Jug Band Jubilee. jazz, functioning for the � frisky young much as neigh- borhood doo-wop, garage rock and hip-hop would for Burns Jug Band to Louisville's and fiddle numbers for hun later generations. own veteran Juggernaut Jug dreds of enthusiastic Louis· And as with those later Band. Topping the bill was a ville school kids at Lincoln El· genres, some talents who tremendously promising, ver· ementary Performing Arts worked the style in the 1920s satile new act, the Dom Flem· School, a regular educational and '30s, particularly in the ons Trio, recently put to· adjunct of the festival. Friday river towns where the music gether by that Carolina evening, members of the Cin thrived, became recording Chocolate Drops co-founder cinnati Dancing Pigs band, stars-the Memphis Jug Band with fiddler-bassist Brian Far· among others, were jamming and Cannon's Jug Stompers row and percussionist Dante at the local Goodwood Brew from Memphis; Earl Pope.
[Show full text]
9-16-21-Deluca Auction
SPECIAL John Tefteller’s World’s Rarest Records AUCTION AUCTION! Address: P. O. Box 1727, Grants Pass, OR 97528-0200 USA #1 Phone: (541) 476–1326 or (800) 955–1326 • FAX: (541) 476–3523 Ralph DeLuca’s E-mail: [email protected] • Website: www.tefteller.com More DeLuca Pre-War auctions to Blues Auction closes Thursday, September 16, 2021 at 7:00 p.m. come! Presenting . The Ralph DeLuca Collection of Pre-War Blues 78’s! This is auction #1 (of at least five) of the record Mr. DeLuca has moved into the art world, collection. Be prepared though — the great stuff is collection of Ralph DeLuca. no longer collecting 78’s, as he finds it easier to going to go for a lot of money! buy rare art than rare records. That should tell Mr. DeLuca is most known for his legendary you something! E+ is the highest grade used. This is the old-time collection of rare movie posters, but for about 15 78 grading system and I am very strict. years he actively, and aggressively, collected rare There should be something for each and every Blues 78’s, mostly Pre-War. Blues collector reading this auction. There are The next Ralph DeLuca auction will be in a few titles here not seen for sale in decades . and months and contains another 100 goodies. He plunged into collecting rare Blues 78’s hot some may never be seen again. and heavy and went for the best whenever and Good luck to all! wherever he could find them. He bought smart This is your chance to get some LEGENDARY and paid big to get what he wanted! rarities and just plain GREAT records for your THE 3 KINGS OF THE BLUES! CHARLEY PATTON TOMMY JOHNSON ROBERT JOHNSON 1.
[Show full text]
Lark Camp 2017 Ukulele Jugband Songbook
Mark Nelson www.mark-o.com Lark Camp 2017 Ukulele Jugband Songbook Adam & Eve in the Garden of Eden 2 All of Me 3 Beedle Um Bum 4 Blues in the Bottle 5 Crazy Words Crazy Tune 6 Five Foot Two 7 If You’s a Viper 8 I Can’t Give You Anything But Love 9 Jug Band Music (Jug Band Quartette) 10 Jug Band Music 11 Love Potion Number 9 12 Mack the Knife 13 Papa’s on the House Top 14 Sheik of Araby 14 Singing in the Rain 15 Sittin’ on Top of the World 16 Stealin’ Stealing 17 Sunny Side of the Street 18 Walk Right In 19 You May Leave, But This Will Bring You Back 20 Please note: The lyrics given here are intended for what passes as educational use only. Please do not copy or distribute except for personal enjoyment. Failure to follow these instructions may result in an unfortunate karmic experience. Or not, depending. 1 Adam & Eve in the Garden of Eden verse 1 & 5 — Tommy Bradley 1930 verses 2, 3 & 4 — “Bogus” Ben Covington 1928 F D7 When Adam and Eve were in the Garden of Eden, G7 C7 F They surely must have shook that thing. F D7 When Adam and Eve were in the Garden of Eden, G7 C7 They surely must have shook that thing. F F7 Because Adam said to Eve, “You’re playin’ Suzie Q, Bb Bb7 You wouldn’t give me none of your forbidden fruit.” F D7 When Adam and Eve were in the Garden of Eden G7 C7 F D7 They surely must have shook that thing, I mean, G7 C7 F They surely must have shook that thing.
[Show full text]