Big Joe Turner: The life of a blues shouter
Big Joe Turner, known as "The Boss of the Blues," was a towering figure in American music. Born Joseph Vernon Turner Jr. on May 18, 1911, in Kansas City, Missouri, Turner’s robust voice and dynamic performances left an indelible mark on the blues genre and paved the way for rock and roll. His career spanned over six decades, during which he became a pivotal link between the traditional blues of the early 20th century and the burgeoning rock and roll movement of the 1950s.
Early life and influences
Turner’s early life was steeped in the rich musical culture of Kansas City, a hotbed for jazz and blues in the early 20th century. Tragically, his father died when Turner was just four years old, forcing him to leave school at age fourteen to help support his family. He found work in the city's nightclubs, initially as a cook and later as a bartender and bouncer at the legendary Sunset Club. It was here that Turner’s musical journey truly began.
The vibrant nightlife of Kansas City exposed Turner to a plethora of musical styles and prominent musicians. He often worked with pianist Pete Johnson, with whom he formed a successful partnership. Turner’s powerful voice and Johnson’s boogie-woogie piano created an electrifying combination that captivated audiences. This collaboration would later prove crucial in propelling Turner to national fame.
Rise to fame
Turner’s big break came in 1938 when record producer John Hammond invited him and Johnson to perform at the historic From Spirituals to Swing concert at Carnegie Hall in New York City. This performance introduced Turner to a wider audience and cemented his reputation as a premier blues shouter. His commanding voice, capable of delivering both raw power and nuanced emotion, stood out in a sea of talented performers.
Following the concert, Turner and Johnson recorded several tracks, including the seminal “Roll ‘Em Pete.” This song, with its driving rhythm and Turner's exuberant vocals, is often cited as one of the precursors to rock and roll. Turner's ability to project his voice without a microphone in noisy club environments earned him the nickname "Big Joe Turner" and showcased his unique talent.
Career highlights
Throughout the 1940s, Turner continued to build his career, performing in clubs and recording with various labels. He moved to Los Angeles in the early 1940s, where he became a regular performer on Central Avenue, a hub for African-American music and culture. His recordings during this period, including “Cherry Red” and “Wee Baby Blues,” further established his reputation as a leading blues singer.
The 1950s marked a significant turning point in Turner’s career. He signed with Atlantic Records, a label known for its roster of rhythm and blues artists. Under the guidance of producers Ahmet Ertegun and Jerry Wexler, Turner recorded a series of hits that brought him mainstream success. Songs like “Shake, Rattle and Roll,” “Flip, Flop and Fly,” and “Honey Hush” showcased Turner’s ability to blend blues with the emerging rock and roll sound. These tracks not only topped the R&B charts but also crossed over to the pop charts, introducing Turner to a new generation of listeners.
“Shake, Rattle and Roll,” in particular, became an anthem of the rock and roll era. Its infectious rhythm and Turner's commanding vocals made it a favorite among both black and white audiences. The song was later covered by Bill Haley and His Comets, further cementing its place in rock and roll history.
Legacy and influence
Turner passed away in California at the age of 74 on November 24, 1985. His influence on rock and roll cannot be overstated. His ability to infuse traditional blues with a contemporary edge laid the groundwork for future rock and roll artists. Elvis Presley, among others, cited Turner as a significant influence on his own music. Turner’s booming voice and energetic performances helped to break down racial barriers in the music industry, bringing black music to a wider audience.
In addition to his contributions to rock and roll, Turner remained a dedicated blues artist throughout his life. He continued to record and perform well into the 1970s and 1980s, often returning to his blues roots. His later work, including albums like The Boss of the Blues Sings Kansas City Jazz and Turns on the Blues, received critical acclaim and reinforced his status as a blues legend. Turner was inducted into the Rock and Roll Hall of Fame in 1987, a testament to his role in shaping the genre.
Conclusion
Big Joe Turner's life and career are a testament to the enduring power of the blues. His ability to bridge the gap between traditional blues and rock and roll helped to shape the course of American music. Turner’s legacy lives on through his recordings and the countless artists he influenced. As “The Boss of the Blues,” Big Joe Turner’s voice continues to resonate, reminding us of the rich cultural heritage of the blues and its profound impact on the evolution of modern music.
Showing posts with label Blues music. Show all posts
Showing posts with label Blues music. Show all posts
Wednesday, December 24, 2025
Saturday, May 17, 2025
Duke Ellington
Duke Ellington: Life, times, and major works
Edward Kennedy "Duke" Ellington was more than a jazz musician. He was a towering figure in 20th-century music, a cultural ambassador, and a relentless innovator whose compositions reshaped the boundaries of jazz, blues, classical, and popular music. Over a career that spanned more than five decades, Ellington not only composed thousands of pieces, but also redefined the role of the bandleader, treating his orchestra as a palette and his musicians as co-creators. His life and legacy are inseparable from the evolution of American music.
Early life and influences
Born on April 29, 1899, in Washington, D.C., Ellington grew up in a middle-class African-American family that valued culture, education, and refinement. His parents, James and Daisy Ellington, were both pianists. His mother, in particular, encouraged him to pursue elegance in everything he did, even nicknaming him “Duke” for his noble demeanor.
Ellington began piano lessons at age seven, but he wasn’t immediately drawn to music. That changed as a teenager, when he encountered ragtime and jazz in Washington's dance halls and poolrooms. Pianists like James P. Johnson and Willie "The Lion" Smith introduced him to stride piano, a style that would later inform his complex harmonic language.
Rise to prominence
Ellington moved to New York City in the early 1920s, during the Harlem Renaissance. He formed his band, the Washingtonians, which found steady work in clubs like the Kentucky Club. His big break came in 1927, when his group became the house band at the Cotton Club, a whites-only Harlem nightclub that showcased Black performers. This residency was crucial. It gave Ellington regular radio exposure and a platform to experiment with orchestration.
It was during this time that Ellington developed his signature style — rich textures, moody harmonies, and the use of "jungle" sounds (growling brass, exotic rhythms) to evoke atmosphere. Unlike many bandleaders, Ellington wrote with his musicians in mind, exploiting the unique timbres of players like Bubber Miley (muted trumpet), Harry Carney (baritone sax), and Johnny Hodges (alto sax).
Musical innovation and signature works
Ellington was both prolific and adventurous. He composed over 3,000 songs and instrumental pieces, ranging from short swing tunes to extended suites. His music spanned genres, often incorporating elements of blues, gospel, classical, and world music.
Key works include:
Leadership and legacy
Ellington ran his orchestra like a family, often retaining players for decades. He created a collaborative environment where musicians felt valued, often crediting co-composers like Billy Strayhorn, his closest musical partner. Strayhorn composed classics like “Take the ‘A’ Train,” which became the band’s signature tune.
Ellington’s leadership extended beyond music. During a time of intense racial segregation, he projected a powerful image of Black excellence and sophistication. He refused to perform in segregated venues when possible, and he used his visibility to quietly challenge racism through dignity and brilliance.
Even as big band jazz declined in popularity in the 1950s, Ellington adapted. His performance at the 1956 Newport Jazz Festival - featuring an explosive solo by tenor saxophonist Paul Gonsalves - reignited his career. From there, he toured extensively, composed film scores, and continued writing ambitious suites, including sacred concerts that blended jazz with choral and liturgical music.
Death and enduring influence
Ellington died on May 24, 1974, at the age of 75. He was posthumously awarded the Pulitzer Prize in 1999, a recognition many felt was long overdue. His influence endures in the work of composers from Charles Mingus to Wynton Marsalis, and in orchestras and educational programs around the world.
More than just a composer, Ellington redefined what it meant to be a jazz artist. He saw himself as “beyond category,” a label he embraced and lived by. His music was deeply personal yet universally resonant, grounded in African-American tradition yet always pushing forward.
Conclusion
Duke Ellington’s life was a blend of innovation, elegance, and relentless creativity. He transformed the big band into a vehicle for serious composition, elevated jazz into an art form of global stature, and left a legacy that continues to inspire. He didn’t just play jazz. He reshaped American music - and culture - on his own terms.
Edward Kennedy "Duke" Ellington was more than a jazz musician. He was a towering figure in 20th-century music, a cultural ambassador, and a relentless innovator whose compositions reshaped the boundaries of jazz, blues, classical, and popular music. Over a career that spanned more than five decades, Ellington not only composed thousands of pieces, but also redefined the role of the bandleader, treating his orchestra as a palette and his musicians as co-creators. His life and legacy are inseparable from the evolution of American music.
Early life and influences
Born on April 29, 1899, in Washington, D.C., Ellington grew up in a middle-class African-American family that valued culture, education, and refinement. His parents, James and Daisy Ellington, were both pianists. His mother, in particular, encouraged him to pursue elegance in everything he did, even nicknaming him “Duke” for his noble demeanor.
Ellington began piano lessons at age seven, but he wasn’t immediately drawn to music. That changed as a teenager, when he encountered ragtime and jazz in Washington's dance halls and poolrooms. Pianists like James P. Johnson and Willie "The Lion" Smith introduced him to stride piano, a style that would later inform his complex harmonic language.
Rise to prominence
Ellington moved to New York City in the early 1920s, during the Harlem Renaissance. He formed his band, the Washingtonians, which found steady work in clubs like the Kentucky Club. His big break came in 1927, when his group became the house band at the Cotton Club, a whites-only Harlem nightclub that showcased Black performers. This residency was crucial. It gave Ellington regular radio exposure and a platform to experiment with orchestration.
It was during this time that Ellington developed his signature style — rich textures, moody harmonies, and the use of "jungle" sounds (growling brass, exotic rhythms) to evoke atmosphere. Unlike many bandleaders, Ellington wrote with his musicians in mind, exploiting the unique timbres of players like Bubber Miley (muted trumpet), Harry Carney (baritone sax), and Johnny Hodges (alto sax).
Musical innovation and signature works
Ellington was both prolific and adventurous. He composed over 3,000 songs and instrumental pieces, ranging from short swing tunes to extended suites. His music spanned genres, often incorporating elements of blues, gospel, classical, and world music.
Key works include:
- “Mood Indigo” (1930): A haunting ballad with unusual voicing - muted trumpet, unmuted trombone, and low clarinet - creating a rich, melancholic atmosphere.
- “It Don’t Mean a Thing (If It Ain’t Got That Swing)” (1931): This became a defining anthem of the swing era and helped popularize the term “swing” in music.
- “Sophisticated Lady” (1933): Showcased Ellington’s talent for melodic and harmonic elegance.
- “Caravan” (1936, with Juan Tizol): Infused with exotic, Middle Eastern textures, it expanded the rhythmic and tonal palette of jazz.
- “Black, Brown, and Beige” (1943): An ambitious suite premiered at Carnegie Hall, this work attempted to chronicle African-American history in musical form. It was bold, complex, and not always well-received at the time, but it demonstrated Ellington’s ambition to elevate jazz to the level of serious concert music.
- “Far East Suite” (1966): Inspired by the band’s State Department tour across the Middle East and Asia, this suite fused global musical ideas with Ellington’s jazz sensibility.
Leadership and legacy
Ellington ran his orchestra like a family, often retaining players for decades. He created a collaborative environment where musicians felt valued, often crediting co-composers like Billy Strayhorn, his closest musical partner. Strayhorn composed classics like “Take the ‘A’ Train,” which became the band’s signature tune.
Ellington’s leadership extended beyond music. During a time of intense racial segregation, he projected a powerful image of Black excellence and sophistication. He refused to perform in segregated venues when possible, and he used his visibility to quietly challenge racism through dignity and brilliance.
Even as big band jazz declined in popularity in the 1950s, Ellington adapted. His performance at the 1956 Newport Jazz Festival - featuring an explosive solo by tenor saxophonist Paul Gonsalves - reignited his career. From there, he toured extensively, composed film scores, and continued writing ambitious suites, including sacred concerts that blended jazz with choral and liturgical music.
Death and enduring influence
Ellington died on May 24, 1974, at the age of 75. He was posthumously awarded the Pulitzer Prize in 1999, a recognition many felt was long overdue. His influence endures in the work of composers from Charles Mingus to Wynton Marsalis, and in orchestras and educational programs around the world.
More than just a composer, Ellington redefined what it meant to be a jazz artist. He saw himself as “beyond category,” a label he embraced and lived by. His music was deeply personal yet universally resonant, grounded in African-American tradition yet always pushing forward.
Conclusion
Duke Ellington’s life was a blend of innovation, elegance, and relentless creativity. He transformed the big band into a vehicle for serious composition, elevated jazz into an art form of global stature, and left a legacy that continues to inspire. He didn’t just play jazz. He reshaped American music - and culture - on his own terms.
Sunday, June 23, 2024
The Life of Blues Musician Henry Thomas
The Life of Blues Musician Henry "Ragtime Texas" Thomas (1874-1930)
 |
| Henry Thomas in 1927. |
Henry Thomas, often referred to as "Ragtime Texas," is a pivotal yet enigmatic figure in the history of American blues and folk music. His unique style and contributions have had a lasting influence on subsequent generations of musicians, despite the limited amount of information available about his life. This essay explores the known details of Thomas's life, his musical career, and his enduring legacy.
Early life and background
Henry Thomas was born in Big Sandy, Texas, around 1874. The precise date of his birth remains uncertain due to the lack of official records. Growing up in post-Reconstruction Texas, Thomas was part of a generation that experienced significant social and economic changes. These formative years likely exposed him to a rich tapestry of musical influences, including African American spirituals, field hollers, and the emerging sounds of ragtime. Thomas left home at an early age, embarking on a hobo lifestyle that saw him traveling extensively across the southern United States. This itinerant existence not only shaped his music but also helped him gather a vast repertoire of songs and stories from different regions, which he would later incorporate into his recordings.
Musical style and influences
Henry Thomas's music is characterized by its blend of ragtime, early blues, and folk traditions. He was a multi-instrumentalist, known primarily for his guitar playing and his use of the quills, a type of panpipe that added a distinctive sound to his recordings. His guitar style often featured a steady, syncopated rhythm, reflecting the ragtime influences he absorbed during his travels.
Thomas's songs often included elements of traditional folk tunes, and his lyrics frequently depicted the life of itinerant workers and rural Southern life. This combination of musical styles and thematic content created a unique sound that set him apart from many of his contemporaries.
Recording career
Henry Thomas's recording career was brief but significant. Between 1927 and 1929, he recorded 23 songs for Vocalion Records. These recordings are some of the earliest examples of recorded blues music and offer invaluable insights into the musical landscape of the time.
Among his most famous songs are "Fishin' Blues," "Bull Doze Blues," and "Railroadin' Some." "Bull Doze Blues" is particularly notable for its later adaptation by the rock band Canned Heat, who reworked it into their hit "Going Up the Country." This adaptation brought Thomas's music to a new generation of listeners and highlighted the enduring appeal of his work.
Legacy and influence
Henry Thomas's influence on American music cannot be overstated. His recordings provide a critical link between the early folk traditions and the blues, showcasing the transition from pre-blues to the more structured forms that would dominate the genre in the following decades.
Thomas's use of the quills, in particular, has been a subject of interest for musicologists and enthusiasts. This instrument, rarely used in blues music, added a unique texture to his recordings and highlighted his innovative approach to music-making.
Despite his significant contributions, Thomas's life after his recording sessions remains shrouded in mystery. It is believed that he continued his itinerant lifestyle, performing in various towns and cities across the South. He likely passed away in 1930, at the age of roughly 55 or 56, but Mack McCormick claimed to have seen a man in 1949 while in Houston matching Thomas's description.
Conclusion
Henry Thomas, "Ragtime Texas," remains an essential yet enigmatic figure in the history of American blues and folk music. His brief recording career captured a unique blend of ragtime, blues, and folk traditions, offering a window into the musical landscape of the early 20th century. While much of his life remains a mystery, his influence on subsequent generations of musicians is undeniable. Thomas's legacy continues to be celebrated by music enthusiasts and scholars, ensuring that his contributions to American music are not forgotten.
Sunday, May 19, 2024
Sonny Terry & Brownie McGhee
In this latest installment of our ongoing, occasional series, "Exploring the world of music," we take a look at the legendary country blues duo, Sonny Terry & Brownie McGhee.
Sonny Terry & Brownie McGhee: Pioneers of the country blues
Sonny Terry and Brownie McGhee were a dynamic country blues duo whose musical partnership spanned over four decades, leaving an indelible mark on the blues genre. Their collaboration brought the raw, emotive power of the blues to a broader audience, blending traditional sounds with their unique styles and personal stories. This essay explores their backgrounds, their partnership, and their lasting legacy in the world of blues music.
Early life and musical beginnings
Sonny Terry, born Saunders Terrell on October 24, 1911, in Greensboro, Georgia, became known for his distinctive harmonica playing. Terry's introduction to music came early, influenced by his father, a sharecropper and amateur musician. A series of accidents left Terry nearly blind, pushing him to focus on music as a means of survival. His harmonica style, characterized by whoops, hollers, and a deep connection to rural life, became his signature.
Brownie McGhee, born Walter Brown McGhee on November 30, 1915, in Knoxville, Tennessee, was a talented guitarist and singer. McGhee's early life was marked by polio, which left him with a limp. Despite this, he pursued music fervently, inspired by his father and brother, who were both musicians. McGhee's guitar skills and rich, warm voice complemented Terry's harmonica, creating a seamless musical partnership.
Formation of the duo
The partnership between Terry and McGhee began in the late 1930s, facilitated by the folk music revival movement in New York City. They met through mutual connections in the music scene, particularly through Huddie "Lead Belly" Ledbetter and Woody Guthrie, who were central figures in the folk and blues revival.
Their collaboration officially took off in 1941 when they recorded their first sides together. Their chemistry was immediate and undeniable, blending Terry's explosive harmonica with McGhee's smooth guitar and vocals. They became a staple of the New York folk scene, performing at clubs, coffeehouses, and on radio shows.
Musical style and impact
Terry's and McGhee's music was deeply rooted in the Piedmont blues tradition, characterized by a finger picking guitar style and harmonica accompaniment. However, they brought their unique touches to the genre, with Terry's harmonica often mimicking the sounds of nature and McGhee's guitar providing a rhythmic and melodic foundation.
Their songs covered a wide range of themes, from love and hardship to social issues and everyday life. Notable tracks like "Walk On," "Hooray, Hooray, These Women is Killing Me," and "Cornbread, Peas, and Black Molasses" showcased their ability to blend humor, sorrow, and resilience.
The duo's influence extended beyond their recordings. They were prominent figures in the folk revival of the 1950s and 1960s, performing at major festivals like the Newport Folk Festival and influencing a new generation of musicians. Their collaboration with artists like Pete Seeger, Woody Guthrie, and Lead Belly further cemented their place in American music history.
Challenges and resilience
Despite their success, Terry and McGhee faced significant challenges, both personally and professionally. Racial segregation and discrimination were pervasive during their careers, limiting their opportunities and affecting their lives. Additionally, their partnership was not without tension. Differences in personality and vision led to occasional conflicts, yet their mutual respect and musical synergy kept them together for over four decades.
Legacy and influence
Sonny Terry's and Brownie McGhee's legacy is profound. They brought country blues to urban audiences and international stages, helping to preserve and popularize the genre. Their recordings remain essential listening for blues enthusiasts and musicians alike.
Their impact is also evident in the artists they influenced. Musicians like Bob Dylan, Taj Mahal, and Ry Cooder have cited Terry and McGhee as significant influences. Their ability to convey deep emotion and tell compelling stories through their music continues to resonate with listeners today.
Conclusion
Sonny Terry and Brownie McGhee were more than just a blues duo; they were cultural ambassadors who bridged the gap between rural and urban, black and white, past and present. Their music, characterized by its authenticity and emotional depth, remains a testament to their talent and resilience. As we reflect on their contributions, it is clear that Terry's and McGhee's legacies will endure, inspiring future generations to explore and appreciate the rich tradition of the blues.
Sonny Terry & Brownie McGhee: Pioneers of the country blues
Sonny Terry and Brownie McGhee were a dynamic country blues duo whose musical partnership spanned over four decades, leaving an indelible mark on the blues genre. Their collaboration brought the raw, emotive power of the blues to a broader audience, blending traditional sounds with their unique styles and personal stories. This essay explores their backgrounds, their partnership, and their lasting legacy in the world of blues music.
Early life and musical beginnings
Sonny Terry, born Saunders Terrell on October 24, 1911, in Greensboro, Georgia, became known for his distinctive harmonica playing. Terry's introduction to music came early, influenced by his father, a sharecropper and amateur musician. A series of accidents left Terry nearly blind, pushing him to focus on music as a means of survival. His harmonica style, characterized by whoops, hollers, and a deep connection to rural life, became his signature.
Brownie McGhee, born Walter Brown McGhee on November 30, 1915, in Knoxville, Tennessee, was a talented guitarist and singer. McGhee's early life was marked by polio, which left him with a limp. Despite this, he pursued music fervently, inspired by his father and brother, who were both musicians. McGhee's guitar skills and rich, warm voice complemented Terry's harmonica, creating a seamless musical partnership.
Formation of the duo
The partnership between Terry and McGhee began in the late 1930s, facilitated by the folk music revival movement in New York City. They met through mutual connections in the music scene, particularly through Huddie "Lead Belly" Ledbetter and Woody Guthrie, who were central figures in the folk and blues revival.
Their collaboration officially took off in 1941 when they recorded their first sides together. Their chemistry was immediate and undeniable, blending Terry's explosive harmonica with McGhee's smooth guitar and vocals. They became a staple of the New York folk scene, performing at clubs, coffeehouses, and on radio shows.
Musical style and impact
Terry's and McGhee's music was deeply rooted in the Piedmont blues tradition, characterized by a finger picking guitar style and harmonica accompaniment. However, they brought their unique touches to the genre, with Terry's harmonica often mimicking the sounds of nature and McGhee's guitar providing a rhythmic and melodic foundation.
Their songs covered a wide range of themes, from love and hardship to social issues and everyday life. Notable tracks like "Walk On," "Hooray, Hooray, These Women is Killing Me," and "Cornbread, Peas, and Black Molasses" showcased their ability to blend humor, sorrow, and resilience.
The duo's influence extended beyond their recordings. They were prominent figures in the folk revival of the 1950s and 1960s, performing at major festivals like the Newport Folk Festival and influencing a new generation of musicians. Their collaboration with artists like Pete Seeger, Woody Guthrie, and Lead Belly further cemented their place in American music history.
Challenges and resilience
Despite their success, Terry and McGhee faced significant challenges, both personally and professionally. Racial segregation and discrimination were pervasive during their careers, limiting their opportunities and affecting their lives. Additionally, their partnership was not without tension. Differences in personality and vision led to occasional conflicts, yet their mutual respect and musical synergy kept them together for over four decades.
Legacy and influence
Sonny Terry's and Brownie McGhee's legacy is profound. They brought country blues to urban audiences and international stages, helping to preserve and popularize the genre. Their recordings remain essential listening for blues enthusiasts and musicians alike.
Their impact is also evident in the artists they influenced. Musicians like Bob Dylan, Taj Mahal, and Ry Cooder have cited Terry and McGhee as significant influences. Their ability to convey deep emotion and tell compelling stories through their music continues to resonate with listeners today.
Conclusion
Sonny Terry and Brownie McGhee were more than just a blues duo; they were cultural ambassadors who bridged the gap between rural and urban, black and white, past and present. Their music, characterized by its authenticity and emotional depth, remains a testament to their talent and resilience. As we reflect on their contributions, it is clear that Terry's and McGhee's legacies will endure, inspiring future generations to explore and appreciate the rich tradition of the blues.
Saturday, October 1, 2022
Going Up the Country Canned Heat
I realize I haven't done an "Exploring the world of music" post in quite a while. Here is a fun song I'm excited to share with you. Being the classic rock and blues fan that I am, I've loved this song since I was a kid. It's called "Going Up the Country". Now, we're going to hear three versions of the song in this post.
The first video here is what appears to be the original version. It was recorded in 1928 in Chicago by a bluesman and songster named Henry Thomas. Born in 1874 in Big Sandy, Texas, Henry Thomas was known by the nickname "Ragtime Texas". It's thought that he died around 1930. His version is known by the title, "Bull Doze Blues". The lyrics in this original version by Thomas are very different from what is perhaps the best-known and most popular version of the song recorded by the blues rock band Canned Heat some 40 years later in 1968. Canned Heat's version will be the second video here. Canned Heat's Alan Wilson, nicknamed "Blind Owl", rewrote the lyrics, but kept the same musical arrangement. Both versions are perhaps famously-loved for their pleasant, calming, cheerful, beautiful panpipe/flute arrangement.
The third video is a live version, based on Canned Heat's lyrics, performed by the Bud Spencer Band, a group I recently discovered for the first time. Instead of a panpipe or flute in this live version, a harmonica is used. I love how much fun they're having with this song on the stage!
Before we get to the first video featuring the original version of the song by Henry "Ragtime Texas" Thomas, here is a story shared in the comments section on the YouTube page for this video by a user named Gareth. As I write this, he shared this story about two years ago, and it has 6.4K thumbs-up likes. Thank you so much for sharing this story with the world, Gareth. I was truly touched by it. That's the power of music. Here's that story:
Finally, here are the lyrics to both versions. First up is the version by Henry Thomas, followed by Canned Heat.
Henry "Ragtime Texas" Thomas - "Bull Doze Blues", 1928
I'm going away, babe, and it won't be long.
I'm going away and it won't be long.
I'm going away and it won't be long.
Just as sure as that train leaves out of that Mobile yard.
Just as sure as that train leaves out of that Mobile yard.
Just as sure as that train leaves out of that Mobile yard.
Come shake your hand, tell your papa goodbye.
Come shake your hand, tell your papa goodbye.
Come shake your hand, tell your papa goodbye.
I'm going back to Tennessee. I'm going back to Memphis, Tennessee.
I'm going back to Memphis, Tennessee.
I'm going where I never get bull-dozed.
I'm going where I never get the bull-doze.
I'm going where I never get bull-dozed.
If you don't believe I'm sinking.
Look what a hole I'm in.
If you don't believe I'm sinking.
Look what a hole I'm in.
If you don't believe I'm sinking.
Look what a fool I've been.
Oh, my babe, take me back.
How in the world...
Lord, take me back.
Canned Heat - "Going Up the Country", 1968
I'm going up the country, babe, don't you wanna go?
I'm going up the country, babe, don't you wanna go?
I'm going to some place where I've never been before.
I'm going, I'm going where the water tastes like wine.
I'm going where the water tastes like wine.
We can jump in the water, stay drunk all the time.
I'm gonna leave this city, got to get away. I'm gonna leave this city, got to get away. All this fussing and fighting, man, you know I sure can't stay.
Now baby, pack your leaving trunk,
you know we've got to leave today.
Just exactly where we're going I cannot say, but we might even leave the USA.
'Cause there's a brand new game that I don't want to play.
No use of you running, or screaming and crying.
'Cause you've got a home as long as I've got mine.
The first video here is what appears to be the original version. It was recorded in 1928 in Chicago by a bluesman and songster named Henry Thomas. Born in 1874 in Big Sandy, Texas, Henry Thomas was known by the nickname "Ragtime Texas". It's thought that he died around 1930. His version is known by the title, "Bull Doze Blues". The lyrics in this original version by Thomas are very different from what is perhaps the best-known and most popular version of the song recorded by the blues rock band Canned Heat some 40 years later in 1968. Canned Heat's version will be the second video here. Canned Heat's Alan Wilson, nicknamed "Blind Owl", rewrote the lyrics, but kept the same musical arrangement. Both versions are perhaps famously-loved for their pleasant, calming, cheerful, beautiful panpipe/flute arrangement.
The third video is a live version, based on Canned Heat's lyrics, performed by the Bud Spencer Band, a group I recently discovered for the first time. Instead of a panpipe or flute in this live version, a harmonica is used. I love how much fun they're having with this song on the stage!
Before we get to the first video featuring the original version of the song by Henry "Ragtime Texas" Thomas, here is a story shared in the comments section on the YouTube page for this video by a user named Gareth. As I write this, he shared this story about two years ago, and it has 6.4K thumbs-up likes. Thank you so much for sharing this story with the world, Gareth. I was truly touched by it. That's the power of music. Here's that story:
My great-grandfather fought in WW1 for Great Britain (he was Scottish), in 1918 he befriended an American soldier who offered him work on his family's cattle farm in Huntsville after the war. Great grandad was lost mentally and craved a sea change, so he accepted the offer. In the mid 1920s he wrote in his diary about seeing an amazing black musician called 'Rag Rhyme Texas'. His music reached him in ways no other white music had before, and it transformed his outlook forever.
He returned to Scotland in the Great Depression, and in 1968 his nephew played the Canned Heat version on his record player. Great grandad nearly had a heart attack and broke down in tears, that panpipe chorus was unforgettable he said. After much research my uncle found the record of Henry Thomas in the 70s, and we learned that his nickname was actually 'Ragtime Texas'.
This is a story our family passes down from generation to generation, and we owe Henry Thomas so much in helping our family out of a very dark place.
Finally, here are the lyrics to both versions. First up is the version by Henry Thomas, followed by Canned Heat.
Henry "Ragtime Texas" Thomas - "Bull Doze Blues", 1928
I'm going away, babe, and it won't be long.
I'm going away and it won't be long.
I'm going away and it won't be long.
Just as sure as that train leaves out of that Mobile yard.
Just as sure as that train leaves out of that Mobile yard.
Just as sure as that train leaves out of that Mobile yard.
Come shake your hand, tell your papa goodbye.
Come shake your hand, tell your papa goodbye.
Come shake your hand, tell your papa goodbye.
I'm going back to Tennessee. I'm going back to Memphis, Tennessee.
I'm going back to Memphis, Tennessee.
I'm going where I never get bull-dozed.
I'm going where I never get the bull-doze.
I'm going where I never get bull-dozed.
If you don't believe I'm sinking.
Look what a hole I'm in.
If you don't believe I'm sinking.
Look what a hole I'm in.
If you don't believe I'm sinking.
Look what a fool I've been.
Oh, my babe, take me back.
How in the world...
Lord, take me back.
Canned Heat - "Going Up the Country", 1968
I'm going up the country, babe, don't you wanna go?
I'm going up the country, babe, don't you wanna go?
I'm going to some place where I've never been before.
I'm going, I'm going where the water tastes like wine.
I'm going where the water tastes like wine.
We can jump in the water, stay drunk all the time.
I'm gonna leave this city, got to get away. I'm gonna leave this city, got to get away. All this fussing and fighting, man, you know I sure can't stay.
Now baby, pack your leaving trunk,
you know we've got to leave today.
Just exactly where we're going I cannot say, but we might even leave the USA.
'Cause there's a brand new game that I don't want to play.
No use of you running, or screaming and crying.
'Cause you've got a home as long as I've got mine.
Friday, March 20, 2020
Elmore James
As I'm working on a number of ideas for new blog posts here, I find myself in an Elmore James -kinda mood at the moment. Here's my playlist right now, if you want to follow along.
Elmore James (1918-1963) is a blues legend and master of the slide guitar. Sadly, he died young, at the age of 45, from a heart attack. He had a serious heart condition. Yet, he was around long enough to produce some incredible material, and many of his songs have been covered by some of the biggest acts in both the blues and rock worlds over the decades.
Elmore James is included in my previous posts, Paying homage to the slide guitar, and, Paying homage to the instrumental, as well.
Enjoy!
Elmore James playlist, in order of appearance:
Sho' Nuff I Do
It Hurts Me Too
One Way Out
Every Day I Have The Blues
Stormy Monday
Early One Morning
Talk To Me Baby
Something Inside Me
Standing At The Crossroads
The Sky Is Crying
Elmore James (1918-1963) is a blues legend and master of the slide guitar. Sadly, he died young, at the age of 45, from a heart attack. He had a serious heart condition. Yet, he was around long enough to produce some incredible material, and many of his songs have been covered by some of the biggest acts in both the blues and rock worlds over the decades.
Elmore James is included in my previous posts, Paying homage to the slide guitar, and, Paying homage to the instrumental, as well.
Enjoy!
Elmore James playlist, in order of appearance:
Sho' Nuff I Do
It Hurts Me Too
One Way Out
Every Day I Have The Blues
Stormy Monday
Early One Morning
Talk To Me Baby
Something Inside Me
Standing At The Crossroads
The Sky Is Crying
Subscribe to:
Comments (Atom)