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Women in Songs You'd Share
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"BESSIE COULDN'T HELP IT" was a catchy tune long ago. Screen shots below show that Reuben "Rube" Bloom (1902-1976) And His Bayou Boys (which in 1928-1930 included the talented Adrian Rollini, Benny Goodman and Tommy Dorsey among others), as well as Hoagland "Hoagy" Carmichael (1899-1981) and also Louis Armstrong (1901-1971) fondly recorded the song.
"…
Bessie couldn't help it.
…
Though she tried to be good.
…
She was pretty,
As the heavens above.
Oh, boy but she could love.
…
A boy kissed Bessie,
In the parlor one night.
Why, oh why
Did she yell with delight?
'Cause Bessie couldn't help it,
Any more than you could,
Or I could.
…."
"…
Bessie couldn't help it.
…
Though she tried to be good.
…
She was pretty,
As the heavens above.
Oh, boy but she could love.
…
A boy kissed Bessie,
In the parlor one night.
Why, oh why
Did she yell with delight?
'Cause Bessie couldn't help it,
Any more than you could,
Or I could.
…."
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- #143
Aleck "Sonny Boy Williamson" Miller (1912-1965) had himsef' a bad case of "DESPERADO WOMAN BLUES."
"You is just a desperate rated woman.
My baby ain't no earthly good.
…
Now, my baby killed her daddy.
And shot her dear old brother too.
…
My baby didn't even get no time.
She winked her eye at the judge.
The judge didn't even charge,
Her a single dime.
…
I had a good racket,
Of sitting whiskey.
And I told my baby so.
She wasn't satisfied until,
She let the police captain know.
…."
"You is just a desperate rated woman.
My baby ain't no earthly good.
…
Now, my baby killed her daddy.
And shot her dear old brother too.
…
My baby didn't even get no time.
She winked her eye at the judge.
The judge didn't even charge,
Her a single dime.
…
I had a good racket,
Of sitting whiskey.
And I told my baby so.
She wasn't satisfied until,
She let the police captain know.
…."
G-L-O-R-I-A
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The song writer Fred Fassert had a brother Chuck F. that sang tenor in the Bronx (N.Y.C. borough) quintet called "The Regents" that 1st recorded it way back in 1958. A record company didn't release it until 1961 whereupon it reached an impressive #13 in Billboard's ranking. The "Beach Boys" release later on in 1965 was even more successful breaking deep into the Top10 ranks.
I didn't know that. I thought Barbara Ann was yet another Brian Wilson Beach Boys song.
I was just as surprised when I found out "The First Cut is the Deepest" was written by Cat Stevens as a teenager.
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- #148
Panamanian pianist Luis Russel (1902-1963) in 1929 recorded a version of the 1928 blues hit song "IT'S TIGHT LIKE THAT."
"Listen here folks,
I'm gonna sing a little song.
But 'cha musn't get mad,
For I mean you no wrong.
Oh it's tight like that.
…
Boy you hear me talkin' to you?
I know it's tight like that.
I went to see my gal,
She lives across the hall.
And I found a new mule,
Kickin' round in my stall.
…
I love a gal,
She sure is fun and slim.
When she's strutin' her stuff,
Why just too bad Jim.
…
Boy you hear me talkin' to you?
I mean it's tight like that."
"Listen here folks,
I'm gonna sing a little song.
But 'cha musn't get mad,
For I mean you no wrong.
Oh it's tight like that.
…
Boy you hear me talkin' to you?
I know it's tight like that.
I went to see my gal,
She lives across the hall.
And I found a new mule,
Kickin' round in my stall.
…
I love a gal,
She sure is fun and slim.
When she's strutin' her stuff,
Why just too bad Jim.
…
Boy you hear me talkin' to you?
I mean it's tight like that."
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- #149
"SWEET IDA JOY" was recorded in 1929 by one assemblage of what were several called the William "Bill" McKinney (1895-1969) Cotton Pickers. Among the soon to be famous musicians launching this song is Tommy Dorsey on trumpet, then Glen Miller coming in playing the trombone and next Jimmy Dorsey on Clarinet (and Alto-Sax).
"I love sweet Ida joy.
Ida charming and coy.
Like a flower in June,
In the garden of my dreams,
You blossom and bloom.
Honey I love you more,
Than babies love a toy.
…."
"I love sweet Ida joy.
Ida charming and coy.
Like a flower in June,
In the garden of my dreams,
You blossom and bloom.
Honey I love you more,
Than babies love a toy.
…."
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- #150
"LOOKIN' GOOD BUT FEELIN' BAD" from 1929 is a prototypical 'jump-jive-and-wail' song here recoded by legendary pianist Thomas "Fats" Waller and some famous accompanists from the early jazz recording era - trumpeter Henry "Red" Allen, trombonist Jack Teagarden, alto saxophonist Albert Nichols, drummer Gene Kruppa and playing banjo Eddie Condon among others.
"Lookin' good but feelin' bad,
I'm grieving over you,
Looking good so
I don't get all blue.
…
Weary days and lonely nights
Are waiting here for you.
Hopin' that love
you won't refuse.
…
Lookin' good while feelin'' bad,
Is mighty hard to do,
When I'm feelin' blue
And needing you."
"Lookin' good but feelin' bad,
I'm grieving over you,
Looking good so
I don't get all blue.
…
Weary days and lonely nights
Are waiting here for you.
Hopin' that love
you won't refuse.
…
Lookin' good while feelin'' bad,
Is mighty hard to do,
When I'm feelin' blue
And needing you."
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Harry "The Hipster Gibson" Raab (1915-1991) recorded "The Hipster Blues" in 1944. Extra, extra read all about it!
"…
You look around and you try to pick,
A really in there solid chick.
…
Suddenly the doorbell rings,
And into the room,
Your square chick springs.
…"
"…
You look around and you try to pick,
A really in there solid chick.
…
Suddenly the doorbell rings,
And into the room,
Your square chick springs.
…"
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Born in 1872 Harry Yerkes, who played the xylophone, recorded for Columbia in 1906 just 4 years after the company started issuing single sided record discs. He became an early version of a music impresario including giving his name to several bands such as the one that recorded "THAT 'BRAN NEW GAL O'MINE."
"That 'bran new gal o'mine,
Treats me fine.
Just what she does,
I'll never tell.
But what she does,
She sure does real well.
…
Now when I lost,
That old one,
I thought it's the end.
But she's the kind of gal,
Who makes a fella forget.
…
Now I've had 'em thin,
And I've had 'em fat,
And I've had 'em this,
And I've had 'em that.
Why eyes of brown,
Eyes of blue,
Why I even had one,
That's cross-eyed too.
I had 'em young,
I had 'em old,
I had 'em hot,
I had 'em cold.
A good gal,
Is hard to find.
Why should I worry,
'Cause I got mine."
"That 'bran new gal o'mine,
Treats me fine.
Just what she does,
I'll never tell.
But what she does,
She sure does real well.
…
Now when I lost,
That old one,
I thought it's the end.
But she's the kind of gal,
Who makes a fella forget.
…
Now I've had 'em thin,
And I've had 'em fat,
And I've had 'em this,
And I've had 'em that.
Why eyes of brown,
Eyes of blue,
Why I even had one,
That's cross-eyed too.
I had 'em young,
I had 'em old,
I had 'em hot,
I had 'em cold.
A good gal,
Is hard to find.
Why should I worry,
'Cause I got mine."
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- #153
Texan trombonist Weldon Leo "Jack" Teagarden in "AFTER YOU'RE GONE" recorded with a 1931 historic jazz ensemble that included Eddie Lang on guitar, violinist Joe Venuti, pianist Frank Signorelli, Benny Goodman on clarinet and his brother Charlie Teagarden on trumpet among others.
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"PRETTY BABY" was an R&B recording collaboration of pianist Floyd Dixon (1929-2006), singer William "Sonny" Parker (1925-1957) and Johnny "Guitar" Watson (1935-1996) who leads off the song (incidentally a pioneer of recording with feedback and reverberation techniques).
"Since I want 'chu,
And I need you pretty baby,
I'm all alone by myself.
…
You said you didn't care,
While at the same time,
You knew that 'chu were unfair.
…
Pretty baby if you love me,
Say you, you won't let me go."
"Since I want 'chu,
And I need you pretty baby,
I'm all alone by myself.
…
You said you didn't care,
While at the same time,
You knew that 'chu were unfair.
…
Pretty baby if you love me,
Say you, you won't let me go."
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Roy "Little Jazz" Eldridge (1911-1989) was only 5 feet 6 inches tall but by mid-1930s was notable for hitting high notes as lead trumpet in Fletcher Henderson's Orchestra. His recording of "WINE-OLA" leads off with pianist Nat Pierce, in he comes on the trumpet, then once "Little Jazz" starts singing trombone counterpoint by Benny Morton appears and about half way in Buddy Johnson can be heard wailing on sax.
"Have you ever loved a woman?
Did you catch her runnin' around?
…
I went to see my baby, oooh
She pulled the shades,
And locked the door.
She said "goodbye Little Jazz,
I don't need your,
Rollin' any more."
…
When I first met 'chu baby,
Yes we got along very fine.
…
Now all you want to do,
Is fuss and fight,
And drink that muscatel wine.
You lay in bed all day,
With that long raggedy gown.
…
You wake up in the morning,
With wine all on your breath.
I took a look at 'chu,
And you scared me half to death.
…"
"Have you ever loved a woman?
Did you catch her runnin' around?
…
I went to see my baby, oooh
She pulled the shades,
And locked the door.
She said "goodbye Little Jazz,
I don't need your,
Rollin' any more."
…
When I first met 'chu baby,
Yes we got along very fine.
…
Now all you want to do,
Is fuss and fight,
And drink that muscatel wine.
You lay in bed all day,
With that long raggedy gown.
…
You wake up in the morning,
With wine all on your breath.
I took a look at 'chu,
And you scared me half to death.
…"
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In 1932 a 10" Columbia shellac 78 rpm record's flip side was "THAT'S WHAT I LIKE ABOUT YOU" in which jazz's musical foundation in African "call-and-response" is humorously re-created by the early influential white jazz vocalist and trombone icon Jack Teagarden along with a falsetto vocalist (unidentified band member) presenting the woman's words. Once they start trading lyrics the piano player clearly heard is none other than the soon to be legendary Fats Waller.
[He] You can't cook.
['She'] Who can't cook?
You're big and fat.
Don't talk about my adiposity now.
You never got dough.
Ain't supposed to have none.
You drink too much gin.
Always drink my gin.
And you're always tired.
Always tired.
You don't do anything I like.
But you know I like everything that you like.
…
Looks like the dawn above.
Oh you slay me hot papa, you know I like everything that you like.
That's what I like about you.
[He] You can't cook.
['She'] Who can't cook?
You're big and fat.
Don't talk about my adiposity now.
You never got dough.
Ain't supposed to have none.
You drink too much gin.
Always drink my gin.
And you're always tired.
Always tired.
You don't do anything I like.
But you know I like everything that you like.
…
Looks like the dawn above.
Oh you slay me hot papa, you know I like everything that you like.
That's what I like about you.
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Mississippi's guitarist Johnnie "Geechi" Temple [Geechi refers to descendants of diverse western African slaves who in the S.E. USA are a group called the Gullah Geechee speakers of their own synthesized language] (1906-1968) started recording in 1935 and 5 years later did "LOVIN' WOMAN BLUES".
LOVIN' WOMAN BLUES:
"Have you ever had,
A woman to love you,
As long as you,
Had your change?
…
And when you got broke,
She said you was,
A no good man.
…
And when I knowed anything,
She had another man.
She's a mighty mean woman,
And she don't treat nobody right.
…
When you git one woman,
You better try'r get you two.
When the woman you got,
Love quits you,
The other one woman,
Will let you through."
LOVIN' WOMAN BLUES:
"Have you ever had,
A woman to love you,
As long as you,
Had your change?
…
And when you got broke,
She said you was,
A no good man.
…
And when I knowed anything,
She had another man.
She's a mighty mean woman,
And she don't treat nobody right.
…
When you git one woman,
You better try'r get you two.
When the woman you got,
Love quits you,
The other one woman,
Will let you through."
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"Washboard Sam" (born Robert Clifford Brown; 1910-1966) recorded and sang "I WON'T BE SOBER LONG" in 1940. Probably some have heard of the guitarist playing along here called "Big Bill" Broonzy (born Lee Conly Bradley; 1903-1958).
When I get drunk,
Who gonna' care?
…
I am sober now but,
I won't be sober long.
Every time I,
Think of Anna Lou.
…
I get drunk and,
Don't care what I do.
…
If I could only read,
My baby's mind,
I wouldn't stay drunk,
And worry all the time.
She keep me guessin',
About things I wanna' know.
…
She got me doin' things,
I never done befo'
When I get drunk,
Who gonna' care?
…
I am sober now but,
I won't be sober long.
Every time I,
Think of Anna Lou.
…
I get drunk and,
Don't care what I do.
…
If I could only read,
My baby's mind,
I wouldn't stay drunk,
And worry all the time.
She keep me guessin',
About things I wanna' know.
…
She got me doin' things,
I never done befo'
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Cornetist Ernest Loring "Red" Nichols (1905-1965) was an early jazz notable who formed various assemblages of what were billed as "His Five Pennies" (in USA money a nickel was worth 5 pennies). In 1931 the song "FAN IT" was released with Red Nichols singing/coronet accompanied by future luminaries of jazz Glen Miller (trombone), Benny Goodman (clarinet), Jimmy Dorsey (saxophone), Eddie Lang (guitar), Gene Kruppa (drums) and Arthur Schott (piano).
"Now if the song's too hot,
Cool it if you can.
Go out and buy yourself,
A five cent fan.
…
Just met myself a good gal,
Her name was Sue.
…
Tell you what to do,
Just fan it.
Oh baby just fan it.
…
I got my sugar baby,
She never falls.
…
You can hear her call:
'Oh fan it!
'Daddy won't you,
'Please just fan it?'