What "Sugar On The Floor" Means (The American Folk Cultural Meaning & The Kiki Dee composition)

Edited by Azizi Powell

This post provides information about the American folk meaning of the phrase "sugar on the floor" and the meaning of that term in the Kiki Dee's song that was recorded by Elton John, Etta Cox, and others.

The content of this post is presented for folkloric, cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to all those composers and performers who are noted in this post. Thanks also to all those who are quoted in this post, and thanks to the publishers of the video and the sound file that are featured in this post.

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AMERICAN FOLK MEANING OF THE PHRASE "SUGAR ON THE FLOOR"
The folk meaning of "sugar on the floor" is "sprinkling sugar on the floor to enhance social dancing".

"At house parties they used to shake sugar on the floor so it would crunch when stepped on, hence “to shake sugaree” meant to have a good time dancing. Even today, there’s a dance step called the “sugar step” which is an action like grinding sugar on the floor." http://rickmckeon.com/guitarlessons/shakel.pdf “Shake Sugaree”
-snip-
One suggested meaning of the Elizabeth Cotton song "Shake Sugaree". is that it refers to sugar being sprinkled on the floor for dancing. Click http://pancocojams.blogspot.com/2013/02/eiizabeth-cotton-shake-sugaree-sound.html for a pancocojams post on "Shake Sugaree".

Also, click this link for my new playground rhymes blog cocojams2 to read a version of the playground rhyme "Here We Go Round The Mountain" that is prefaced by the saying "Sugar's on the floor!!": http://cocojams2.blogspot.com/2014/11/african-american-singing-games-movement.html

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THE SONG "SUGAR ON THE FLOOR" BY JEAN RITCHIE
The song "Sugar On The Floor" was recorded by Jean Ritchie in the 1950s region. "Jean Ritchie (born December 8, 1922) is an American folk music singer, songwriter, and Appalachian dulcimer player." http://en.wikipedia.org/wiki/Jean_Ritchie.

If I'm not mistaken, "Sugar On The Floor" is featured in Jean Ritchie's 1956 album Children's Songs & Games from the Southern Mountains (1956). Here's a review of a CD of that album:
http://www.music-tree.com/ritchiedisco.html "Childhood Songs"/Jean Ritchie
"Previously available on cassette only, this collection of songs from Jean’s childhood, and songs she sang to her children is now available on CD. The booklet contains directions for the singing CD".

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LYRICS: SUGAR OF THE FLOOR
(Jean Ritchie)

"(A) Sugar on the floor (D) sugar on the floor
Eat that up and (A) call for more
Dance my shoes right (D)off-a my feet
With (A)you, my little (E7)sugar on the (A)floor (A,D,E7,A)

verse

Now (A)shake that little foot, sweet Sally Ann
With a hey ho, (E7)sugar on the (A)floor
If (F#m)she can't shake it (E)nobody (D)can
O (E7) watch that sugar on the floor

Do si do and shy all around her,
Hey, ho, sugar on the floor.
Eat that sugar-pie til you founder,
Watch that sugar on the floor.
chorus

Faster, girls, you not a-goin'fast enough,
hey, ho, sugar on the floor;
Slow down boys you a-gettin too rough
Now watch that sugar on the floor.
chorus

Jeremiah Johnson, let me have your daughter,
hey, ho, sugar on the floor;
Bake my bread and carry water and
Throw a little sugar on my floor.
chorus

O swing 'er and hug'er and stand'er in the corner,
Hey, ho, sugar on the floor.
Hain't she a purty thing, 'pon my honor!
Sweetest little sugar on the floor.
chorus

Gimme little sugar and gimme little sweetnin',
Hey, ho, sugar on the floor.
Clap your hands and stamp your feet 'n'
Watch that sugar on the floor.

chorus

1964, 1971 Geordie Music Publishing, all rights reserved."
Source: http://mudcat.org/thread.cfm?threadid=33509 "Lyr Add: Sugar On The Floor by Jean Ritchie", posted by harpgirl. 22 Apr 01 - 03:10 PM.

This is the only post on that discussion thread.
-snip-
"Sugar On The Floor" is probably Ritchie's version of a Kentucky Mountain folk song. If so, it's somewhat curious that there doesn't appear to be any other lyric versions of that song online. And unfortunately, I've not been able to find the Jean Ritchie song "Sugar On The Floor" on YouTube.

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In various verses of Jean Ritchie's song, "sugar" can also be interpreted as an affectionate referent for a female.

In American English "sugar" can be a referent for a female or a male. Also, among African Americans, the nickname "Shug" -from the word "sugar"- is a uncommon, but still heard, nickname for a male or a female. [i.e. "Shug Avery", a woman in Alice Walker's novel The Color Purple and "Shug Knight" is an African American male Hip-Hop music entrepreneur.

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In Jean Ritchie's song "sugar" also refers to a pastry: "Eat that sugar-pie til you founder".

The word "sugar" in Jean Ritchie's song is also used to mean "give me a hug and/or a kiss": "Gimme little sugar and gimme little sweetnin'". ("Give me some sugar" is a relatively common American way of saying "Give me a hug and/or a kiss".)

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An American traditional folk music singing group which is named after that Jean Ritchie song gives this meaning of that song title and lyric:
"From http://www.sugaronthefloor.com/ ":
"The name of our group is the title of an rollicking old time song about making rough floors more danceable by throwing sugar on them so folks could slide around easily. The song combines snatches of two old dance tunes "The Eighth of January" and "Pigtown Fling."
-snip-
*The reference to "Sugar On The Floor" being a combination of two old dance tunes refers to the music of those fiddle tunes and not any lyrics those tunes might have. Instrumental videos of "The Eighth of January" (also known as "The Battle Of New Orleans) aand "Pigtown Fling" are available on YouTube.

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"SUGAR ON THE FLOOR" - POP ROCK/BLUES SONG
Judging from the number of Google search hits, the most widely known example and meaning of the phrase "sugar on the floor" is connected to Kiki Dee's 1970s composition with that title. "Sugar On The Floor" has been recorded by Pop/Rock star Elton John, Blues star Etta James, and others. In that song "sugar on the floor" means being discarded by the person you love.

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Here's a video of Elton John performing Sugar On The Floor":

Elton John - Sugar on the Floor (1975) With Lyrics!



RonnieFriend, Uploaded on Feb 25, 2009

Released as the B-side to the "Island Girl" single, this song was written by Elton's friend and singing partner Kiki Dee. Elton had produced and played on Kiki's own original version in 1973 on her "Loving & Free" album. On Elton's version he accompanied himself on piano, with just a little bit of guitar added by Davey Johnstone. It's an unusally stark and dramatic performance from the mid-70s Elton John!
Listen to Kiki's version here:
http://youtu.be/BxJKtCUPayg
-snip-
Click http://www.eltonography.com/songs/sugar_on_the_floor.html for the complete lyrics of that song.

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Here's a sound file of Etta James singing "Sugar On The Floor":

Etta James - Sugar on the Floor

.

tormentor91 Uploaded on Oct 19, 2008

Etta James - Sugar on the Floor
-snip-
Etta James adds these lyrics to Kiki Dee's song "Sugar On The Floor":
"All I need,
all I need is somebody to love
All I need,
all I need is somebody to care about me
So I won't be wasted
Oh, wasted on the floor
Oh I, oh I
I feel like I'm sugar on the floor"
-snip-
Click http://www.metrolyrics.com/sugar-on-the-floor-lyrics-etta-james.html for the lyrics that Etta James sings for that song.

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Here are a few selected comments from the discussion thread for the Etta James sound file that is embedded above:
buren86, Sep 20, 2009
"God Bless Etta James....her voice, her feeling, her expression of this song makes me cry. When we're feeling down, unloved, unwanted...it strikes right at the heart. Yet, there is still some Hope, that things can get better for us. When will I be sure? Feels like, sugar on the floor. All we really need is someone to love us, care about us, so we won't be wasted on the floor. God Bless U Etta.

**
zanderphis, Sep 3, 2010 in reply to buren86
"hi buren86 when i was young my parents thru sugar on the floor so their feet would slid easy while they danced. the sugar was used, but not wasted. love is never wasted."

**
buren86 Sep 4, 2010 in reply to zanderphis
@zanderphis I'm not sure that's quite what the song is talking about, but your point about love never wasted is well-taken : )

**
Den Knee Dec 21, 2011 in reply to JloveLamar
@JloveLamar The original studio version was on Etta's 'Deep In The Night' lp on Warner Brothers Records from 1978. Bullseye Blues/Rounder issued it on cd in 1996. Not sure where this live version is from tho.

“All I need is someone to care for me so I won’t be wasted
like sugar on the floor.”

**
Bill Durling, 2014
"This a cover of a Kiki Dee song, not an Elton John song. First recorded on Kiki Dee's Album "Loving And Free" (1973)."

**
George Whitney, 2014
"Sometimes I feel like I'm wasted like Sugar on the Floor! ETTA!"

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Blind Willie McTell - "Georgia Rag" (sound file & lyrics)

Edited by Azizi Powell

This post showcases a 1931 sound file of "Georgia Rag" by Blind Willie McTell. My transcription of the lyrics to this song are also included in this post along with my comments about the meaning of some of those lyrics.

The Addendum to this post provides some information about Rags [music].

The content of this post is presented for cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to Blind Willie McTell for his musical legacy. Thanks also to the publisher of this video.

RELATED LINK
Click http://pancocojams.blogspot.com/2014/10/blind-blake-wabash-rag-sound-file-lyrics.html for a pancocojams post on Blind Blake's 1927 record "Wabash Rag". That song served as the prototype for Blind Willie McTell's "Georgia Rag".

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SHOWCASE SOUND FILE: Georgia Rag (Blind Willie McTell, October 1931) Ragtime Guitar Legend



RagtimeDorianHenry, Uploaded on May 22, 2009

"Georgia Rag " (October 1931)
-snip-
From http://en.wikipedia.org/wiki/Blind_Willie_McTell
"Blind Willie McTell (born William Samuel McTier; May 5, 1898 – August 19, 1959) was a Piedmont and ragtime blues singer and guitarist."...

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LYRICS: GEORGIA RAG
(Blind Willie McTell)

Down in Atlanta on Harris Street
That's where the boys and gals do meet
Doin' that rag, that Georgia Rag

Out in the alley, in the street
Every little kid that you meet
Doin that rag, that wuh* Georgia Rag
[Spoken] Sing that Georgia Rag, boy.

[instrumental]

[Sung] Buzz around like a bee
Shake it like a ship on the sea
That wild Rag, that crazy Rag
Better known as the Georgia Rag

Came all the way from Paris, France.
Come in to Atlanta to get a chance.
Doin' that rag, that Georgia Rag

[Spoken words something like "Put it a little bit on it”]

[Instrumental]

{Sung] That Georgia Rag
Grab me mama and hold me tight
Let's mess around the rest of the night
Doin' that rag. That Georgia Rag
[Spoken] Sing that Georgia Rag!

[Sung] I sure like that Georgia Rag
I’m wild about that Georgia Rag
I mean that Georgie Rag, Georgie Rag

Buzz around like a bee
Shake it like a ship on the sea
That wild Rag, that crazy Rag
Better known as the Georgia Rag
[Spoken: I wouldn’t. That makes me feel good right in there]

[Instrumental]

[Sung] Rustle your head way up high
Grab your daddy and make him cry
Doin that Rag, that rag
That Georgia Rag.

I’m wild about that Georgia Rag
I mean that Georgie Rag, Georgie Rag

Why don’t you buzz around like a bee
Shake it like a ship on the sea
That wild Rag, that crazy Rag
Better known as the Georgia Rag

Spoken: Ah pull it now.

[instrumental]

Sung: Ah you shake it like a ship on the sea
And buzz around like a bee.
Ah, that wild Rag, that crazy Rag
Better known as the Georgia Rag

People come from miles around
Come to darktown to break it down
Doin' that rag, that Georgia Rag
Out in darktown night and day
Trying to dance them Blues away

[Spoken] Alright now boy, sang ‘em?

[instrumental]

That wild Rag, that crazy Rag
Better known as that Georgia Rag

Ah, I went back to Newport News
Singin these doggone Atlanta Blues
Doin that Rag, that Georgia Rag

[Spoken] – Alright now, play ‘em.

[instrumental]

[Sung] Why don’t you buzz around like a bee
Shake it like a ship on the sea
That wild Rag, that crazy Rag
Better known as the Georgia Rag
-snip-
Transcription by Azizi Powell. Additions and corrections are welcome.

Explanations for certain words & phrases.

"Mama" = a female who is man's lover

"Daddy = a man who is a female's lover

"break 'em down" (break them down) = dance really good
I think that the word "them" in "break 'em down" refers to the dance moves.

When you break something down, you take something apart in order to know how it works. As a result of that action, you should understand it better than before. I think that in the same way, if you break down a dance, you know how to do it better than ever.
I think that the word "them" in "break 'em down" refers to the dance moves.

"that wild Rag, that crazy Rag" = uptempo music that people dance to frenetically, or at least in ways that are the opposite of sedate.

"Shake it like a ship on the sea" = "it" refers to your butt and/or your hips

"Rustle your head way up high = "shake your head while you hold it up high (don't look down)

"Newport News" = a city located in the state of Virginia

"Darktown" - a referent for a section of Chicago where Black people lived. In my opinion, in the context of the Jazz song "Darktown Strutters' Ball", the word "darktown" isn't racist, but a similar word "darkie" is. That said, some use of the word "darktown" is racist.

Nowadays it would be socially unacceptable to refer to any section of a town as "darktown", not to mention that it's illegal to prohibit people from living where they want to because of their race, ethnicity, religion etc. That said, for various reasons including economic and choice, most major cities in the United States still have neighborhoods in which all or the majority of the residents are Black.

The use of "darktown" almost certainly came from the hit 1917 Jazz song "Darktown Strutters' Ball", which was written by Black composer Shelton Brooks. A post about that song will be published ASAP. Read additional comments about that word in this pancocojams post on Darktown Strutters' Ball" http://pancocojams.blogspot.com/2014/10/what-words-darktown-and-strutters.html

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ADDENDUM: INFORMATION ABOUT "RAGS" (RAGTIME MUSIC)
From http://en.wikipedia.org/wiki/Ragtime
"Ragtime (alternatively spelled rag-time or rag time)[1] is a musical genre that enjoyed its peak popularity between 1895 and 1918.[2] Its main characteristic trait is its syncopated, or "ragged," rhythm...

Ragtime originated in African American music in the late 19th century, descending from the jigs and march music played by African American bands.[13] By the start of the 20th century, it became widely popular throughout North America and was listened and danced to, performed, and written by people of many different subcultures. A distinctly American musical style, ragtime may be considered a synthesis of African syncopation and European classical music, especially the marches made popular by John Philip Sousa.

Some early piano rags are entitled marches, and "jig" and "rag" were used interchangeably in the mid-1890s.[13] Ragtime was also preceded by its close relative the cakewalk. In 1895, black entertainer Ernest Hogan published two of the earliest sheet music rags...

The emergence of mature ragtime is usually dated to 1897, the year in which several important early rags were published. In 1899, Scott Joplin's "Maple Leaf Rag" was published and became a great hit and demonstrated more depth and sophistication than earlier ragtime. Ragtime was one of the main influences on the early development of jazz (along with the blues). Some artists, such as Jelly Roll Morton, were present and performed both ragtime and jazz styles during the period the two genres overlapped. He also incorporated the Spanish Tinge in his performances, which gave a habanera or tango rhythm to his music.[17] Jazz largely surpassed ragtime in mainstream popularity in the early 1920s, although ragtime compositions continue to be written up to the present, and periodic revivals of popular interest in ragtime occurred in the 1950s and the 1970s."
-snip-
Note that Blind Blake's "The Wabash Rag" (and Blind Willie McTell's "Georgia Rag" which copied that song) focus on the dance that is done to the Rag music, and not the music itself.
Blind Willie McTell's song describes the type of dancing that was done to his song more than Blind Blake does.

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Blind Blake - The Wabash Rag (sound file & lyrics)

Edited by Azizi Powell

This post showcases a sound file of Blind Blake (Arthur Blake)'s 1927 recording "The Wabash Rag". My transcription of the lyrics to this song are also included in this post along with my comments about the meaning of some of those lyrics.

The Addendum to this post provides some information about Rags [music].

The content of this post is presented for cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to Blind Blake for his musical legacy. Thanks also to the publisher of this video:

RELATED LINK
Click http://pancocojams.blogspot.com/2014/10/blind-willie-mctell-georgia-rag-sound.html for a pancocojams post on the Blind Willie McTell's record "Georgia Rag". Blind Blake's "Wabash Rag" served as the prototype for "Georgia Rag".

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SHOWCASE SOUND FILE: Wabash Rag (Blind Blake, November 1927) [Remastered]



RagtimeDorianHenry, Uploaded on May 14, 2009

* Wabash Rag
* Blind Arthur Blake (Guitar / Vocal)
* November 1927
-snip-
From http://en.wikipedia.org/wiki/Blind_Blake
"Arthur "Blind" Blake (1896 – December 1, 1934) was an American blues and ragtime singer and guitarist. He is known for his series of recordings for Paramount Records between 1926 and 1932 and the mystery surrounding his life."...
-snip-
This isn't the same artist as the Calypso performer Blake Alphonso Higgs who was also known as "Blind Blake".

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LYRICS: THE WABASH RAG
(Arthur Blake,aka "Blind Blake")

Instrumental

Down south on Wabash Street
Everybody you chance to meet
Doin' that Rag, that Wabash Rag.

They're doin' it night and day.
See if it will drive your Blues away.
Doin' that Rag, that Wabash Rag.

Every little kid that you meet
In the alley in the street
Doin' that Rag, that Wabash Rag

Stand up stand up stand up
Stand up standup stand up
Stand up stand up stand up
Stand up standup stand up
Doin' that Rag, that Wabash Rag

[instrumental]

Grab me, mama. Hold me tight.
Let's mess around the rest of the night
Doin' that Rag, that Wabash Rag

Throw your hands way up high
Grab me mama. Make me cry.
Doin that Rag, That Wabash Rag

Stand up, stand up stand up
Stand up, stand up stand up
Stand up, stand up stand up
Stand up.

Stand up, stand up stand up
Stand up, stand up stand up
Doin that Rag, that Washbash Rag

People come from miles around
Get on Wabash, break ‘em down
Doin' that Rag, that Wabash Rag

Anybody stand up.
Last time for standing.

[instrumental]

Doin that Rag, that Wabash Rag.
-snip-
Transcription by Azizi Powell. Additions and corrections are welcome.
-snip-
Explanations of certain words or phrases:
"mama" = female who is man's lover

"stand up" = get up (stand up) and dance
Last time for standing = Last chance to dance

"break 'em down (break them down) = dance really good
I think that the word "them" in "break 'em down" refers to the dance moves.

When you break something down, you take something apart in order to know how it works. As a result of that action, you should understand it better than before. I think that in the same way, if you break down a dance, you know how to do it better than ever.
-snip-
In the United State it's socially incorrect now for performers' stage namee to refer to a physical condition, except perhaps for height (for instance Hip Hop artists whose stage names include the word "Lil" (Little).

****
ADDENDUM: INFORMATION ABOUT "RAGS" (RAGTIME MUSIC)
From http://en.wikipedia.org/wiki/Ragtime
"Ragtime (alternatively spelled rag-time or rag time)[1] is a musical genre that enjoyed its peak popularity between 1895 and 1918.[2] Its main characteristic trait is its syncopated, or "ragged," rhythm...

Ragtime originated in African American music in the late 19th century, descending from the jigs and march music played by African American bands.[13] By the start of the 20th century, it became widely popular throughout North America and was listened and danced to, performed, and written by people of many different subcultures. A distinctly American musical style, ragtime may be considered a synthesis of African syncopation and European classical music, especially the marches made popular by John Philip Sousa.

Some early piano rags are entitled marches, and "jig" and "rag" were used interchangeably in the mid-1890s.[13] Ragtime was also preceded by its close relative the cakewalk. In 1895, black entertainer Ernest Hogan published two of the earliest sheet music rags...

The emergence of mature ragtime is usually dated to 1897, the year in which several important early rags were published. In 1899, Scott Joplin's "Maple Leaf Rag" was published and became a great hit and demonstrated more depth and sophistication than earlier ragtime. Ragtime was one of the main influences on the early development of jazz (along with the blues). Some artists, such as Jelly Roll Morton, were present and performed both ragtime and jazz styles during the period the two genres overlapped. He also incorporated the Spanish Tinge in his performances, which gave a habanera or tango rhythm to his music.[17] Jazz largely surpassed ragtime in mainstream popularity in the early 1920s, although ragtime compositions continue to be written up to the present, and periodic revivals of popular interest in ragtime occurred in the 1950s and the 1970s."
-snip-
Note that Blind Blake's "The Wabash Rag" (and Blind Willie McTell's "Georgia Rag" which copied that song) focus on the dance that is done to the Rag music, and not the music itself.

****
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Focus On Percussionist Nana Kimati Dinizulu (videos & information)

Edited by Azizi Powell

This post provides information about percussionist Nana Kimati Dinizulu and showcases selected videos of this musician. Some of those rare videos from the 1990s also include footage of Nana Kimati Dinizulu's Kotoko Society (band), and other renown musicians and performers such as master drummer Baba Chief Bey, Jazz singer & musician Olu Dara, Jazz drummer Roy Haynes, Dub Poet Oku Onuora, and others.

Information about musician Nana Yao Opare Dinizulu (Kimati Dinizulu's father), as well as information about The Dinizulu Center for African Culture and Research at Aims of Modzawe, Inc. and the Dinizulu Archives is found in the Addendum to this post. The Addendum also includes explanations about the meaning of the Ghanaian title "Nana".

The content of this post is provided for historical, cultural, educational, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to the creative, educational, and inspirational legacy of Nana Kimati Dinizulu and all others who are featured in or mentioned in this post. Thanks also to all those who are quoted in this post and thanks to the publishers of these YouTube sound files and videos.

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INFORMATION ABOUT NANA KIMATI DINIZULU
From http://en.wikipedia.org/wiki/Kimati_Dinizulu
"Nana Kimati Dinizulu was an African-American percussionist. He performed with many great artists like Toni Morrison, Alvin Ailey, Donald McKayle, Gregory Hines, Sonny Rollins, Nina Simone, Harry Belafonte, Wynton Marsalis, Jackie McLean and Dizzy Gillespie and many more...

Nana Kimati Dinizulu began playing drums and percussion instruments in his early childhood. He was born in New York, New York on September 27, 1956. For many generations, the Dinizulu clan has been active in music and performance. Nana Dinizulu’s father, the late Nana Yao Opare Dinizulu was a world-respected African drummer. His mother, Alice Dinizulu, was a key dancer for Asadata Dafora’s Dance Company which was the first dance company to put African dance and music on Broadway in the United States from the 1930s to the 1950s...

Mr. Dinizulu worked with several domestic and international cultural organizations, including UNESCO. UNESCO declared 2004 to be the International Year to Commemorate the Struggle against Slavery and its Abolition by the United Nations General Assembly. Mr. Dinizulu performed and lectured on endangered African-American instruments as a part of a UNESCO conference of scholars from around the world gathered at Tulane University.

Furthermore, Mr. Kimati Dinizulu worked with the Schomburg Center for Research in Black Culture, an organization for documenting, preserving, interpreting, and celebrating the culture and history of black people worldwide...

The learning of drumming and African culture is a lifetime process for Mr. Dinizulu. His encyclopedic knowledge of drums, percussion, and the art of drumming comes from his worldwide travels and studies of the music of other cultures as well as his heartfelt love for music and learning. He assembled a group of musicians from around the world, called the Kotoko Society with whom he composed and performed with regularly.

Nana Kimati Dinizulu died on July 7, 2013."

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FEATURED EXAMPLES
Example #1: Nana Kimati Dinizulu Rare Drum Solo # 1



The Dinizulu Archives, December 8, 2006

This rare drum solo of Nana Kimati Dinizulu took place in Japan in the 1990s.
-snip-
Also, click this link https://www.youtube.com/watch?v=PqGap02On2w for a video of Nana Kimati Dinizulu "Nana Kimati Dinizulu soloing on Gome, a hand and foot drum of the Ga people of Ghana, West Africa. This solo was performed around 1990."

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Example #2: Kimati Dinizulu & His Kotoko Society @ New Orleans Jazz Fest



The Dinizulu Archives, Uploaded on December 8, 2006

Kimati Dinizulu & His Kotoko Society performed live on Congo Square stage of the New Orleans Jazz Festival. This is an excerpt and a scaled down version of an original musical work by Nana Kimati Dinizulu. With Brian Carrot on Marimbas, Michael Williams on Wooden Flutes, Nana Owusu on Dawuru, Claude Thomas on Akasa, the late Meshach Silas on djembe, and the late Zeleka Jenkins on vocals
-snip-
“The late” means that that person so referred to is deceased

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Example #3: Dub Poet Oku Onuora with Kimati Dinizulu & Kotoko Society



The Dinizulu Archives,December 9, 2006

Here you will find rare footage of Kimati Dinizulu & his Kotoko Society performing live at new York City’s Sob’s. Dub poet Oku Onuora is featured in this clip along with master drummer Baba Chief Bey and Olu Dara who is rapper Nas (Nasir Jones) father Circa 1990
-snip-
According to Verbal Riddim: The Politics and Aesthetics of African-Caribbean Dub Poetry
by Christian Habekostto [Google Books] Jamaican dub poet first performed his poem "We A Come" in 1985.

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Example #4: Roy Haynes and Kimati Dinizulu Duet



The Dinizulu Archives, uploaded December 8, 2006

An excerpt of a duet performed by Roy Haynes and Kimati Dinizulu

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Example #5: Olu Dara with Kimati Dinizulu & his Kotoko Society



The Dinizulu Archives , Dec. 10, 2006

Rare footage of Kimati Dinizulu & his Kotoko Society at Sob’s featuring Olu Dara. Rapper Nas (Nasir Jones) is Olu’s son. The late Baba Chief Bey can be seen in this clip. Kimati Dinizulu is playing one of his one strings made from a coffee can.

Circa early 1990s.
-snip-
The Nigerian word "Baba" (Father) and "Chief" are both used as honorary titles.

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ADDENDUM
Information about Nana Yao Opare Dinizulu
From http://www.nytimes.com/1991/02/16/obituaries/yao-opare-dinizulu-troupe-founder-60.html[published 2/16/1991]
... "For more than 40 years Mr. [Yao Opare] Dinizulu presided over the critically acclaimed company of dancers, drummers and singers that he termed "the oldest African dance company in America."

He was born in Augusta, Ga., and traced his lineage to Ghana. He traveled to Africa frequently and in Ghana received the titles of Omanhene and Okomfohene, or chief and spiritual leader, of the Akan tribe. Nana is a Ghanaian title of respect."
-snip-
The Addendum contains additional information about the Ghanaian title "Nana".

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Information about The Dinizulu Center for African Culture and Research at Aims of Modzawe, Inc.
From http://dinizulucenter.org/about/
"The Dinizulu Center for African Culture and Research at Aims of Modzawe, Inc., a non- profit tax-exempt organization, located in Jamaica, New York, was founded by Nana Yao Opare Dinizulu, to provide a mechanism for the study and teaching of African Culture. Nana Dinizulu was involved in the study, practice and dissemination of African culture and traditions for over four decades. He was instrumental in introducing hundreds of thousands of people to African culture, through his dance company and other appearances...

The Dinizulu Center for African Culture and Research at Aims of Modzawe, home of the Dinizulu Dancers, Drummers and Singers and The African Diaspora Children’s Museum, offers study and research in African History and Culture via an after school and evening program. The program includes African Dance instruction, master classes with African Dance Artists, lecture series featuring renown educators, and historians of the African world and instruction in African music, language, and arts and crafts...

In the early seventies, The Dinizulu Center for African Culture and Research at Aims of Modzawe was responsible for many African-Americans seeing Africa for the first time via inexpensive charter trips. During these trips. Many were introduced to the cultural and sacred life of Ghana and Nigeria...."

Information about the Dinizulu Archives
From http://dinizulucenter.org/the-dinizulu-archives/
"The Dinizulu Archives is a series of various video clips which include a wide array of footage from field research he has conducted around the African Diaspora. Also you will find some excerpts of vintage and rare footage that has been collected throughout the years. All contents of the series can be seen at www.youtube.com/africanbushdoctor "

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What the Ghanaian word "Nana" means
From http://en.wikipedia.org/wiki/Akan_Chieftaincy
"In many parts of West Africa, there is an old chieftaincy tradition. The Akan of Ghana have developed their own hierarchy which exists alongside the democratic structure of the country. The Akan word for the ruler is nana. In colonial times, Europeans translated it to “chief”, which is not an exact equivalent. Other sources speak of “kings”, which is also not entirely correct. The term “chief” has become common even amongst modern Ghanaians, though it would be more correct to use the expression nana without translation wherever possible…
The title of Queen mother can relate to the rank of a paramount queen, a queen or a sub-queen. The Akan name is the same as for the men, “nana”. When using English, Ghanaians say “queen mother”. This woman is not necessarily the respective chief's mother. Her role in the system is to have an eye on the social conditions, and a personally capable Queen mother has been known to equal or even surpass a reigning Chief in terms of power and prestige. A good example of this happening is the case of Queen Yaa Asantewa."
-snip-
The nickname "Nana" for grandmother is much more common in the United States than the honorific title "Nana". However, that title has been given to male and female African Americans, including Nana Yao Opare Dinizulu [male], Nana Kimati Dinizulu [male], and Nana Malaya Rucker, female African Dancer/instructor/lecturer, Washington, D. C. area.

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Three Early Examples of "Rock Island Line" (with lyrics)

Edited by Azizi Powell

This post showcases three early examples of the song "Rock Island Line". The featured examples are Kelly Pace and other men [prison inmates] (1934), unnamed men [prison inmates] (1939), and Lead Belly (1944). The lyrics to those renditions of this song are included in this post.

The content of this post are presented for folkloric, cultural, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to the composers of these songs. Thanks also to all those featured in these examples. And thanks to the sound file and video producers and publishers of these examples on YouTube.

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FEATURED EXAMPLES & LYRICS
These examples are presented in chronological order based on their recording dates with the oldest dated example given first.

Example 1: Original 1934 John Lomax recording of 'Rock Island Line' by Kelly Pace and Prisoners


Jan Tak, Uploaded on Sep 10, 2011

In 1934 John Lomax with the help of Huddie Ledbetter (Lead Belly) made the first two recordings of "Rock Island Line", a song that would become world-famous later. A tall tale in rhyme, the song's subject is a train so fast that it arrives at its destination in Little Rock (at 8:49) before its departure from Memphis (at "half past nine").

They arrived in Arkansas in late September and worked first in Little Rock and then at the Tucker and Cummins prison farms to the south. In recording the second version they for the first time encountered Kelly Pace - a petty criminal but an outstanding prison singer. (Pace would eventually contribute more than thirty performances to the Library of Congress archives.)

Lomax made additional recording trips to Arkansas prisons in 1939 and 1942, unaccompanied by Ledbetter. Pace was a free man at the time of the 1939 visit, but Lomax collected a third version of "The Rock Island Line," this time in Cummins Prison. Listen to that recording here: http://youtu.be/5qWpAgoJHUk

By 1942, Pace was back in stir, sent up for forty-two years for stealing a car, and once again he was the star, performing some twenty-six songs as a soloist or member of a larger group. One of these is a fourth performance of "The Rock Island Line," the last version collected in Arkansas by Lomax.

In the meantime Ledbetter immediately recognized the potential of the tune and eventually played a major role in making it famous. He recorded it many times, first for folksong collectors at the Library of Congress in 1937 and later for commercial labels (RCA Victor in 1940 and Capitol in 1944, among others).
-snip-
LYRICS: ROCK ISLAND LINE (Kelly Pace Version)

Chorus:
I said the Rock Island Line is a mighty good road
I said the Rock Island Line is the road to ride
I said the Rock Island Line is a mighty good road
If you want to ride, you gotta ride it like you find it.
Buy your ticket at the station on the Rock Island Line.
Well, Jesus died to save me all of my sins
Oh well a glory to God we gonna meet Him again

Chorus
Oh well the train left Memphis at half past nine
It made it back to Little Rock at eight forty nine.
Chorus

Well, Jesus died to save me all of my sins
Oh well a glory to God we gonna meet Him again

Chorus
-snip-
Transcription by Azizi Powell from this recording. Additions and corrections are welcome.

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Example #2: Original 1939 John and Ruby Lomax recording - Rock Island Line



Jan Tak Uploaded on Jun 27, 2011

Between March 31, 1939 and June 14, 1939 John Avery Lomax and his wife Ruby Terrill Lomax recorded approximately 25 hours of folk music (from more than 300 performers) in their "Southern States Recording Trip" for the US Library of Congress. This is one of the original recordings of "Rock Island Line", which later became famous through singers like Kelly Pace, Leadbelly, and Lonnie Donegan.
-snip-
The lyrics to this version are very similar to those found in the Kelly Pace recording in 1937with the exception of the verse between 1:03=1:09 in that video.*

*Thanks to slam 2011 for her possible transcription of the lines that are sung from 1:03 to 1:09:
"'Oh we have engine now an' fireman too/We got a (purty good -?) an' a brakeman too'".

****
Example #3: Roots of Blues -- Lead Belly „Rock Island Line"



Slowtubbi, Uploaded on Jul 18, 2008

Recorded: 1944

Huddie William Ledbetter, (January, 1888 -- December 6, 1949) was an American folk and blues musician, notable for his clear and forceful singing, his virtuosity on the twelve string guitar, and the rich songbook of folk standards he introduced.
He is best known as Leadbelly or Lead Belly. Though many releases list him as "Leadbelly," he himself spelled it "Lead Belly." This is also the usage on his tombstone, as well as the Lead Belly Foundation.
-snip-
LYRICS: ROCK ISLAND LINE
(as performed by Lead Belly)

[Chorus]
Oh that Rock Island Line is a mighty good road,
Oh that Rock Island Line is that road to ride,
Oh that Rock Island Line is a mighty good road,

If you want to ride, you got to ride it like you find it,
Get your ticket at the station on the Rock Island Line.
Jesus died to save our sins--hooray to God,
We're going to meet him again!

[Chorus]
Oh that Rock Island Line is a mighty good road,
Oh that Rock Island Line is that road to ride,
Oh that Rock Island Line is a mighty good road

I may be right and I may be wrong,
You are going to miss me when I'm gone!

[Chorus]
Oh that Rock Island Line is a mighty good road,
Oh that Rock Island Line is that road to ride,
Oh that Rock Island Line is a mighty good road

A, B, C, W, X, Y and Z
Cats in the cupboard, but they don't see me!

[Chorus]
Oh that Rock Island Line is a mighty good road,
Oh that Rock Island Line is that road to ride,
Oh that Rock Island Line is a mighty good road

Source: http://www.lyricsfreak.com/l/leadbelly/rock+island+line_20302510.html
****
****
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Lead Belly - "Where Did You Sleep Last Night?" (also known as "Black Girl" and "In The Pines") lyrics, information, and comments

Edited by Azizi Powell

This post presents song lyrics and a sound file example of "Where Did You Sleep Last Night" (also known as "Black Girl" and "In The Pines" as sung by Lead Belly. This post also includes information & comments about this song from the Mudcat folk music forum and a comment from that sound file's viewer comment thread.

The content of this post is presented for folkloric, cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to the unknown composers of "Where Did You Sleep Last Night" ("Black Girl", "In The Pines"). Thanks also to the collectors of this song and thanks to Lead Belly for his renditions of this song. Thanks to the publisher of this sound file on YouTube and thanks to all those who are quoted in this post.

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SHOWCASE EXAMPLE: Lead Belly - Where Did You Sleep Last Night? (1944) (TRUE STEREO)



Boblyblitzbob, Uploaded on Feb 12, 2010

I used my forensic software to split the guitar from vocals in this classic recording. I then eq'd it and remixed the stems.
Probably one of the oldest songs in stereo.
-snip-
Here's a comment from this sound file's viewer comment thread*
Antonio Iglesias, 2014
"Huddie Ledbetter AKA Lead Belly: 1/20/1888

- In true songster fashion, this musician traveled throughout the United States with his iconic twelve-string guitar and expertly performed music in the genres of folk, gospel, and a number of blues styles (namely country and Delta). Though he often found himself incarcerated, he spent his time as a prisoner learning songs that he would perform throughout the rest of his life; on more than one occasion he even used his music as a means of early release. “Goodnight Irene”, “Black Betty”, and “In the Pines” (aka “Where Did You Sleep Last Night”) are just a few examples of his recordings that have gone on to influence artists from Peter Seeger and Creedence Clearwater Revival to Nirvana and Old Crow Medicine Show."

* WARNING: This sound file viewer comment thread contains a number of comments that include profanity and offensive language including a number of uses of the fully spelled out form of what is now commonly known as "the n word".

****
LYRICS OF ONE VERSION OF "IN THE PINES" THAT LEAD BELLY SUNG

Black girl, black Girl, dont lie to me
Tell me where did you sleep last night?
In the pines, In the pines, Where the sun never shine
I shivered the whole night through.

Black girl, black girl, where will you go
Im going where the cold wind blows
In the pines, In the pines, Where the sun never shine
I will shiver the whole night through.

Black girl, black Girl, dont lie to me
Tell me where did you sleep last night?
In the pines, In the pines, Where the sun never shine
I shivered the whole night through.

My Husband was a Railroad man
Killed a mile and a half from here
His head, was found, In a drivers wheel
And his body hasn't never been found.

Black girl, black girl, where will you go
Im going where the cold wind blows
You called me to weep and you called me to moan
You called me to leave my home

Source: http://songmeanings.com/songs/view/3530822107858607935/

****
INFORMATION & SELECTED COMMENTS ABOUT THIS SONG
From http://mudcat.org/thread.cfm?threadid=1439

Subject: RE: Lyr Add: In the Pines (Joan Baez/Leadbelly?)
From: autoharpbob
Date: 02 Feb 10 - 10:01 AM

"Great version by Leadbelly, but the consensus seems to be the song predates him - like most around that time (Carter Family!) they were singing songs they already knew and claiming them for their own. Heard Sarah McQuaid do a haunting version of this recently."

**
Subject: RE: Lyr Add: In the Pines (Joan Baez/Leadbelly?)
From: bobad
Date: 02 Feb 10 - 11:27 AM

"Leadbelly also sang it as "My girl, my girl......." "...
Subject: RE: Lyr Add: In the Pines (Joan Baez/Leadbelly?)

**
From: GUEST,Doc John
Date: 02 Feb 10 - 12:06 PM

"Yes, bobad, he used to sing it that way sometimes and I heard he was none to keen to do so. White singers such as Cisco Houston used to sing 'My Girl' although Lonnie Donegan recorded it is 'Black Girl' again. Both superb versions. It's sometimes listed as both of these titles as well as 'Where Did You sleep Last Night?'

... The song always sounds like it's part of a longer one as is 'Who's Gonna Shoe Your Pretty Little Feet'"

**
Subject: RE: Lyr Add: In the Pines (Joan Baez/Leadbelly?)
From: Goose Gander
Date: 03 Feb 10 - 03:57 PM

"More of a cluster of songs and floating verses than a song. Common to black and white singers in the American South in the early twentieth century. I would be very surprised if anyone could find an 'original' of this one."

**
Subject: RE: Lyr Add: In the Pines (Joan Baez/Leadbelly?)
From: Q
Date: 03 Feb 10 - 06:00 PM

" "Black Girl" seems to be the earliest version collected; 1917 by Sharp; only one verse:

Black Girl, black girl, don't lie to me
Where did you stay last night?
"I stayed in the pines where the sun never shines,
And shivered when the cold wind blows."

According to Wikipedia, the "longest train" verses were added and recorded in 1925. In a 1970 thesis, some 160 permutations of the song appear."
-snip-
Here's the link to the Wikipedia page for this song: http://en.wikipedia.org/wiki/In_the_Pines

Subject: RE: Lyr Add: In the Pines (Joan Baez/Leadbelly?)
From: Sarah McQuaid
Date: 05 Feb 10 - 10:05 AM

..."Also known as 'Black Girl' and 'Where Did You Sleep Last Night', this song is often credited to Huddie Ledbetter, a.k.a. Lead Belly (1888-1949), but in fact it dates back to at least the 1870s, and is probably Southern Appalachian in origin. Cecil Sharp collected it from a Miss Lizzie Abner in Oneida, Kentucky, on 18 August, 1917, under the name 'Black Girl' and comprising just four lines:

Black girl, black girl, don't lie to me
Where did you stay last night?
I stayed in the pines where the sun never shines
And shivered when the cold wind blows

In Long Steel Rail: The Railroad in American Folksong (2000), Norm and David Cohen write:

Two years later, Newman I. White obtained four lines that a student of his had heard sung by a black railroad work gang in Buncombe County, North Carolina:

The longest train I ever saw
Was on the Seaboard Air Line,
The engin pas' at a ha' pas' one,
And the caboose went pas' at nine.

In 1921-22, Frank C. Brown obtained a long text from Parl Webb of Pineola, Avery County, North Carolina, that included both the "in the pines" couplet and the "longest train" couplet ... during the years 1921-22, Brown did obtain recordings of "In The Pines" – the earliest ones to be made"...
-snip-
This discussion threads also includes other lyrics to this song, including the lyrics of a version sung by Joan Baez.

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Willie Dixon & Howlin Wolf - Little Red Rooster (sound files & lyrics)

Edited by Azizi Powell

This post showcases a recording of "Little Red Rooster" by that Blues song's composer Willie Dixon. This post also showcases a recording of "Little Red Rooster" by Howlin Wolf. Lyrics for both of those recordings are also included in this post.

The content of this post is presented for cultural, entertainment, and aesthetic purposes.

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FEATURED EXAMPLE: Willie Dixon - The Little Red Rooster.wmv

IP Susimies Uploaded on Apr 1, 2011
-snip-
Click http://en.wikipedia.org/wiki/Willie_Dixon for information about African American Blues musician, vocalist, songwriter, arranger and record producer Willie Dixon (July 1, 1915 – January 29, 1992)

Also, click http://en.wikipedia.org/wiki/Little_Red_Rooster for information about Blues songs about roosters that predated this song.

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LYRICS: LITTLE RED ROOSTER
(composed by Willie Dixon, as recorded by Willie Dixon)

I had a little red rooster
Too lazy to crow for day.
I had a little red rooster
Too lazy to crow for day.
He kept everything in the barnyard
Just a sittin and ready to lay.*

You know the dogs they begin to bark
And the hounds, they begin to howl.
You know the dogs begin to bark
Hound begin to howl.
You know my little red rooster's gone
Lord, the little red rooster's on the prowl.

[instruments]

Now if you see my little red rooster
Somebody please drive him home.
Now if you see my little red rooster
Somebody please run him home.
There’s been no peace in the barnyard
Since my little red rooster’s been gone

[instruments]
-snip-
Transcription from this recording by Azizi Powell. Additions and corrections are welcome.
*I'm not sure about the beginning of this line.

****
FEATURED EXAMPLE: Howlin' Wolf - Little Red Rooster



TheBluesfan12, Uploaded on Jul 14, 2010
-snip-
Click http://en.wikipedia.org/wiki/Howlin'_Wolf for information about African American Blues singer, guitarist and harmonica player Chester Arthur Burnett [Howlin Wolf](June 10, 1910 – January 10, 1976).

Here's an excerpt from http://en.wikipedia.org/wiki/Little_Red_Rooster about Howlin Wolf's recording of "Little Red Rooster":
"In 1961, Howlin' Wolf recorded "The Red Rooster". The song is a slow blues that features distinctive slide guitar accompaniment and Wolf's "master singer's attention to phrasing and note choice, milking out maximum emotion and nuance from the melody".[3] Backing Wolf (vocals, guitar) were Hubert Sumlin (guitar), Johnny Jones (piano), Willie Dixon (bass), and Sam Lay (drums)."

****
LYRICS: LITTLE RED ROOSTER
(composed by Willie Dixon, as recorded by Howlin Wolf)

I had a little red rooster
Too lazy to crow for day.
I had a little red rooster
Too lazy to crow for day.
He kept everything in the barnyard

Upset in every way

Oh, the dogs begin to bark
and the hounds begin to howl
Oh, the dogs begin to bark
Hounds begin to howl
Watch out fakin people
‘Cause little red roosters on the prowl

If you see my little red rooster
Please drive him home
If you see my little red rooster
Please drive him home.
There’s been peace in the barnyard
Since the little roosters gone.
-snip-
Transcription from this recording by Azizi Powell. Additions and corrections are welcome.

****
Thanks to Willie Dixon and Howlin Wolf for their musical legacy. Thanks to the publishers of these sound files on YouTube.

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Visitor comments are welcome.

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Odetta - Jack O' Diamonds (sound file & lyrics)

Edited by Azizi Powell

This post showcases the Blues song "Jack of Diamonds" (Is A Hard Card To Play) as recorded by Odetta in 1956. Odetta's lyrics for this now classic Blues song are also included in this post.

Click http://pancocojams.blogspot.com/2014/01/blind-lemon-jefferson-jack-of-diamonds.html for a companion post of Blues singer Blind Lemon Jefferson's 1926 version of this song.

The content of this post is presented for folkloric, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

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SHOWCASE EXAMPLE: Odetta - Jack O' Diamonds



Nostalgicjukebox, Published on Aug 19, 2013

From the album Odetta - "Sings Ballads And Blues" [1956 Odetta Sings Ballads and Blues Tradition TLP1010]
-snip-
Here's information about Odetta from http://en.wikipedia.org/wiki/Odetta
"Odetta Holmes (December 31, 1930 – December 2, 2008), known as Odetta, was an American singer, actress, guitarist, songwriter, and a civil and human rights activist, often referred to as "The Voice of the Civil Rights Movement".[4] Her musical repertoire consisted largely of American folk music, blues, jazz, and spirituals. An important figure in the American folk music revival of the 1950s and 1960s, she was influential to many of the key figures of the folk-revival of that time, including Bob Dylan, Joan Baez, Mavis Staples, and Janis Joplin"..."

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LYRICS: JACK OF DIAMONDS (IS A HARD CARD TO PLAY)
(as recorded by Odetta)

Jack O' Diamonds is a hard card to play
Jack O' Diamonds is a hard card to play
Jack O' Diamonds is a card
Sending many poor man to his grave
Jack O' Diamonds is a hard card to play

Put your Jack on the Queen
It'll turn your money green
Jack O' Diamonds is a hard card to play
Put your Jack on the Queen
And it'll turn your money green
Your Jack is a hard card to play

[Humming]

Put your Jack on the Queen
It'll turn your money green
Jack O' Diamonds is a hard card to play

Well I tell you
[?] its old enough to change
keep on playing
Man you're far to win
Keep your Jack on the Queen
It'll turn your money green
Jack O' Diamonds is a hard card to play

Source: http://www.lyrics59.com/lyrics-1417548/odetta/jack-o%5C'-diamonds.html

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COMMENTS ABOUT THIS SONG
According to http://en.wikipedia.org/wiki/Jack_of_Diamonds_(song).
"It [Jack o'Diamonds] was sung by railroad men who had lost money playing Coon can.[2]."
-snip-
From http://www.rummy-games.com/rules/conquian.html
"Conquian (also known as "Cooncan", "Coon Can", and "Coon-Can") is generally regarded as the earliest form of Rummy (see Rummy History). It features all of the basic features common to all Rummy games.
-snip-
Note that the name "Coon Can" isn't related to the [now always highly derogatory] referent for Black people "coons".

****
COMMENTS ABOUT CERTAIN LYRICS
"Jack of Diamonds is a hard card to play"

From http://boards.straightdope.com/sdmb/showthread.php?p=1102696

02-01-2001, 12:14 PM puddleglum
"...since the Jack is the lowest of the face cards it is hard to play because for it to win all of the other face cards have to have been played and by then someone might have run out of diamonds and use the trump. So it is a card that looks important but has little real value. Also it is a one eyed jack. It seems the metaphor is of feeling of having something but of not having enough to make a difference."

**
Johnny Angel
"I'm with puddleglum on this. The significance of the Jack of Diamonds is that it's the lowest ranked face card, and therefore a tempting but lousy bet. Like the old song says:

Jack of Diamonds, Jack of Diamonds, well I know you of old
Robbed my poor pockets of silver and gold.
If the ocean was whiskey and I was a duck
I'd dive to the bottom and never come up.
But the ocean ain't whiskey and I ain't a duck.
I play Jack of Diamonds and trust to my luck."
-snip-
Click http://planetpeschel.com/the-wimsey-annotations/the-short-stories/the-queens-square/
for information about & analysis of the Jack of Diamonds song that includes the line "
Here's a brief excerpt from that page: [This is] "A 19th century American folk song, with the melody based on the Scottish song “Farewell to Tarwathie.”.

****
"Put [or "keep"] your Jack on your Queen/ It'll will turn your money green"

I think that the verse signifies that in the card game of coon can (the card game that this song is said to refer to as per the Wikipedia article cited above) the Jack of Diamonds beats the Queen (note that in the United States all paper money is the color green) and the person playing the Jack would therefore win the money that was betted.

Click http://weeniecampbell.com/yabbse/index.php?topic=5267.30 for a discussion about these lines. Here's one entry from that discussion that was posted by blueshome; February 08, 2009, 03:08:01 PM:
"In Bob Campbell's "Dices Blues" he has the line:
"My buddy played the Jack when he give me that hard-luck queen"

and in the following stanza:
"Jack o'diamonds, jack o'diamonds will turn your money green"

This would seem to refer to the same game with the jack beating the queen."

****
Click http://pancocojams.blogspot.com/2014/01/grizzly-bear-as-sung-by-black-texas.html for the song "Grizzly Bear" that refers to "Jack Of Diamonds". In that song "Jack Of Diamonds refers to a particular man and not a card.

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Thanks to Odetta for her musical legacy.

Thanks also to the publisher of this sound file on YouTube and thanks to all those who are quoted in this post.

Thank you for visiting pancocojams.

Visitor comments are welcome.

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Blind Lemon Jefferson - "Jack of Diamonds" (Is A Hard Card To Play) sound file and lyrics

Edited by Azizi Powell

This post showcases the Blues song "Jack of Diamonds" (Is A Hard Card To Play) as recorded by Blind Lemon Jefferson in 1926. Information about Blind Lemon Jefferson and that Blues man's lyrics for this song are also included in this post. This post also includes some comments about the meaning of certain lines of this song.

Click http://pancocojams.blogspot.com/2014/01/odetta-jack-o-diamonds-sound-file-lyrics.html for a companion post of folk singer Odetta's version of this song.

The content of this post is presented for folkloric, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

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SHOWCASE EXAMPLE: Blind Lemon Jefferson, "Jack of Diamonds"



TheLadyEmerald, Uploaded on Jul 19, 2011

Jack of Diamonds is a traditional folk song. It is a Texas gambling song that was popularised by Blind Lemon Jefferson in 1926.
-snip-
Here's information about Blind Lemon Jefferson from http://en.wikipedia.org/wiki/Blind_Lemon_Jefferson
"Blind" Lemon Jefferson (Lemon Henry Jefferson; September 24, 1893 – December 19, 1929) was an American blues singer and guitarist from Texas. He was one of the most popular blues singers of the 1920s, and has been titled "Father of the Texas Blues".[3]

Jefferson's singing and self-accompaniment were distinctive as a result of his high-pitched voice and originality on the guitar [3] Although his recordings sold well, he was not so influential on some younger blues singers of his generation, who could not imitate him as they could other commercially successful artists.[4] Later blues and rock and roll musicians attempted to imitate both his songs and his musical style."

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LYRICS: JACK OF DIAMONDS (IS A HARD CARD TO PLAY)*
(as recorded by Blind Lemon Jefferson)

Jack O' Di, Jack O' Diamond,
Jack O' Diamond's a hard card to play.

Jack O' Diamonds once in time,
He did rob a friend of mine.
Jack O' Diamonds is a hard card to play.

Jack O' Di, Jack O' Diamond,
Jack O' Diamonds a hard card to play.

Bet the Jack against the Queen,
It's gonna turn your money green.
Jack O' Diamond is a hard card to play.

Bet the Jack agin the Four,
You're gonna win right in the dough.
Jack O' Diamonds is a hard card to play.

Jack O' Di, Jack O' Diamond,
Jack O' Diamond's a hard card to play.

Jack O' Diamonds made me cry,
I expect to gamble until I die.
Jack O' Diamonds is a hard card to play.

Jack O' Di, Jack O' Diamond,
Jack O' Diamond's a hard card to play.

Jack O' Di, Jack O' Diamond,
Jack O' Diamond's a hard card to play.
-snip-
*These lyrics were given as subtitles in the sound file that is embedded in this post.

****
COMMENTS ABOUT THIS SONG [revised January 25, 2014]
According to http://en.wikipedia.org/wiki/Jack_of_Diamonds_(song).
"It [Jack o'Diamonds] was sung by railroad men who had lost money playing Coon can.[2]."
-snip-
From http://www.rummy-games.com/rules/conquian.html
"Conquian (also known as "Cooncan", "Coon Can", and "Coon-Can") is generally regarded as the earliest form of Rummy (see Rummy History). It features all of the basic features common to all Rummy games.
-snip-
Note that the name "Coon Can" isn't related to the [now always highly derogatory] referent for Black people "coons".

****
COMMENTS ABOUT CERTAIN LYRICS
"Jack of Diamonds is a hard card to play"

From http://boards.straightdope.com/sdmb/showthread.php?p=1102696

02-01-2001, 12:14 PM puddleglum
"...since the Jack is the lowest of the face cards it is hard to play because for it to win all of the other face cards have to have been played and by then someone might have run out of diamonds and use the trump. So it is a card that looks important but has little real value. Also it is a one eyed jack. It seems the metaphor is of feeling of having something but of not having enough to make a difference."

**
Johnny Angel
"I'm with puddleglum on this. The significance of the Jack of Diamonds is that it's the lowest ranked face card, and therefore a tempting but lousy bet. Like the old song says:

Jack of Diamonds, Jack of Diamonds, well I know you of old
Robbed my poor pockets of silver and gold.
If the ocean was whiskey and I was a duck
I'd dive to the bottom and never come up.
But the ocean ain't whiskey and I ain't a duck.
I play Jack of Diamonds and trust to my luck."
-snip-
Click http://planetpeschel.com/the-wimsey-annotations/the-short-stories/the-queens-square/
for information about & analysis of the Jack of Diamonds song that includes the line "
Here's a brief excerpt from that page: [This is] "A 19th century American folk song, with the melody based on the Scottish song “Farewell to Tarwathie.”.

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"Put [or "keep"] your Jack on your Queen/ It'll will turn your money green"

I think that the verse signifies that in the card game of coon can (the card game that this song is said to refer to as per the Wikipedia article cited above) the Jack of Diamonds beats the Queen (note that in the United States all paper money is the color green) and the person playing the Jack would therefore win the money that was betted.

Click http://weeniecampbell.com/yabbse/index.php?topic=5267.30 for a discussion about these lines. Here's one entry from that discussion that was posted by blueshome; February 08, 2009, 03:08:01 PM:
"In Bob Campbell's "Dices Blues" he has the line:
"My buddy played the Jack when he give me that hard-luck queen"

and in the following stanza:
"Jack o'diamonds, jack o'diamonds will turn your money green"

This would seem to refer to the same game with the jack beating the queen."

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Click http://pancocojams.blogspot.com/2014/01/grizzly-bear-as-sung-by-black-texas.html for the song "Grizzly Bear" that refers to "Jack Of Diamonds". In that song "Jack Of Diamonds refers to a particular man and not a card.

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Thanks to Blind Lemon Jefferson for his musical legacy. Thanks also to the publisher of this sound file on YouTube and thanks to all those who are quoted in this post.

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