Hey Bo Diddley!!! Hey Bo Diddley!!!

Jacksonville, Florida, June 2nd, 2008,
The cigar box guitar has been silenced,
Bo Diddley has passed on...

"She rolled right up to my front door,
Knocked an knocked 'till her fist got sore,
When she turned and walked away,
All I could hear my baby say:

Hey bo diddley, oh bo diddley,
Hey bo diddley, oh bo diddley."

Bo Diddley - "Have Guitar Will Travel"

I think that one of the most incongruous and kitsch album covers I have ever seen was the Bo Diddley record album "Have Guitar Will Travel" from 1959, and now that Bo Diddley has passed on, I was thinking that this also may symbolize the man - a mix of kitsch and flashy facade with the "real thing" to back it up.

What I mean is that behind the gimmick of the rectangular bodied bright red guitar, the flashy clothes, glasses and haircut, this man could really produce the goods!!
He created a new style of playing the electric guitar, a new set of jumpy Blues rhythms, and a treasure of catchy new songs in the Blues and Rock and Roll idiom.

Between 1955 and 1959 Bo Diddley wrote and recorded a number of unforgettable Blues and/or Rock and Roll songs that have become both standards of the Blues and Rock and Roll tradition, as well as identifiable icons for Bo Diddley himself.
Among these are:
I'm a Man,
Bo Diddley,
Who Do You Love,
Hey Bo Diddley,
Diddley Daddy,
Before You Accuse Me
You Don't Love Me (You Don't Care)
Hush Your Mouth
Bring it to Jerome
Can't Judge a Book By Its Cover (written by Willie Dixon)


Rest in peace Ellas "Bo Diddley" McDaniel
the angels up in heaven must now be dancing to a funkier beat!!!

Who Do You Love?
Ellas McDaniel (Bo Diddley) 1956

I walked forty-seven miles of barbed wire, I got a cobra snake for a necktie
A brand new house on the road side, and it's a-made out of rattlesnake hide
Got a band new chimney made on top, and it's a-made out of human skull
Come on take a little walk with me Arlene, and tell me who do you love?

Who do you love? Who do you love?
Who do you love? Who do you love?

I've got a tombstone hand in a graveyard mind,
just twenty-two and I don't mind dying

Who do you love? (4x)

I rode around the town, used a rattlesnake whip,
take it easy Arlene don't give me no lip

Who do you love? (4x)

The night were dark when the sky was blue, down the alley a ice wagon flew
hit a bump and somebody screamed, you should've heard what I seen

Who do you love? (4x)

Now Arlene took a-me by my hand,
she said "ooh ee Bo you know I understand, who do you love?"

Who do you love? (4x)

This month at the Fingerboard Coffeehouse - Champagne Charlie!!!

On Saturday, November 26, 1977, in the basement of the 519 Church St. Community Center in Toronto, Canada, Thom "Champagne Charlie" Roberts gave a command performance at the Fingerboard Coffeehouse.
The poster for the Fingerboard was designed and drawn by my multi-talented cousin Elliott Rovan.
I had just taken over the management of the Fingerboard at the end of August, and I had befriended Champagne Charlie earlier in the year. I was quite honored to have an artist of his professional caliber and style in the club, as most of the artists who performed there were not necessarily seasoned professional musicians - many were on their way to becoming established or even famous, but few had the stature or history that someone like Champagne Charlie had at that time.
Champagne Charlie would play with his big chimney sweep moustache, opened the Martin guitar case with the large Donald Duck decal on the back, and pulled out his Martin 000-28 (triple "O" twenty eight), a sweet sounding guitar that I dreamed of buying for myself for only the last thirty years...
I don't recall the exact repertoire that he played, but most likely it included a few Rev. Gary Davis songs and instrumentals, as Thom taught me some of them later as our friendship progressed. Songs like "Death Don't Have No Mercy", "the Maple Leaf Rag", "Cincinnati Flow Rag", "Buck Dance" were regular parts of Champagne Charlie's arsenal, as were "The Beat From Rampart Street", "Yas Yas Yas", "Windin Boy", and other Ragtime and New Orleans parlor type Blues songs.

"The Beat From Rampart Street", a song by Larry "Fast Fingers" Johnson from his first solo album, is an upbeat two-step with a tricky double-syncopated beat that was very hard to learn at first - I think it took me two months or more before I could play that pattern automatically. That song is still one of my favorites, and I perform it to this day.

Here are the humorous lyrics:

"Well gather 'round people, gonna sing a little song
Pay close attention, 'cause it won't be long
Gonna sing about that beat, down on Ramapart Street

Looky here people what Rampart's done
Made Grandma marry her young grandson
When she heard that beat, down on Ramapart Street

Playin'nice an' easy,
Soft and sweet
When you hear that beat, down on Ramapart Street

Now I have a little cousin named Cripple Lou John,
He dropped his crutches and walked right on
When he heard that beat, down on Ramapart Street

Yeah John, nice to see you standing straight again
come on over and do that two step for us

Now my old aunty loved my uncle so
That she dropped her drawers like years ago
When she heard that beat, down on Ramapart Street

Now when I die, don't bury me at all,
Just pickle my bones in alcohol
Gonna hear that beat, down on Ramapart Street

You can hear it in the alley
You can hear cross the fence,
By golly it don't make no sense,
Talkin' 'bout that beat, down on Ramapart Street

Playin' all night long,
Let me hear that band moan
Playin'nice an' easy,
Soft and sweet
When you hear that beat, down on Ramapart Street,
that's all!"

R.I.P. Champagne Charlie a.k.a. Thom Roberts

Thomas Charles Roberts a.k.a. Champagne Charlie, Canadian Jazz, Blues, and Ragtime guitarist and singer, born in Ottawa on January 5th, 1945, passed away in Guelph Ontario on April 4th, 2008. Thom was a good friend, and important musical mentor to me.

"Champagne Charlie is my name
Champagne Charlie is my name,
Champagne Charlie is my name by golly,
and roguein' an' stealin' is my game"
- Blind (Arthur) Blake

Sketch of Champagne Charlie in concert
(copyright Eli Marcus 1977)

I first met Thom in the personage of Champagne Charlie, Ragtime guitarist extraordinaire, at the Fingerboard Cafe in downtown Toronto. It was a Wednesday night , March 16, 1977, and a young Colin Linden (almost 17) and also Dave McClean were on hand to make it the perfect evening of Blues music at the small Folk-club in the basement of the 519 Church St community center. I was very impressed with all three performers, but Champagne Charlie, with his chimney-sweep black moustache that covered his mouth, a dark cap of some kind and a nice black dinner jacket impressed me the most. Thom also had a distinctive guitar - a Martin 000-28 which is slightly more compact than a standard full sized guitar, yet has a much fuller and rounder tone.

The blue Martin hardshell case that carried his guitar also had a large Donald Duck decal on the back, so you could spot Thom a mile away just by his guitar case.
That night at the Fingerboard I befriended Thom, and over the next few months he and I would hang out at different clubs where he or Colin were playing. Thom had many colorful stories about his history in music and life in general, and even if they didn't all ring true, it was fascinating to hear him tell them. He definitely had a distinctive style to his voice whether he was singing or speaking, as well as a very unique and hearty laugh.

One late summer night, close to midnight, Thom and I were walking through the streets of downtown Toronto, when we came upon a nice chair that was put out on the corner for garbage. Now, you must understand that a nice chair with a good padded seat, no arm rests, and just the right height is something of value to an acoustic guitarist to be able to sit comfortably when you play guitar - so Thom gave me his guitar case to carry, and he loaded that chair on his shoulder, and off we went.


We stopped off at the co-op student rooming house where I lived at the time,
went into a vacant room with a wooden floor, Thom sat on his newly acquired chair, and I sat on a guitar case. It was sometime around midnight, the proverbial bewitching hour when Blues musicians sell their souls to the devil to acquire more musical prowess... Thom showed me a few Ragtime style chords and progressions to a Reverend Gary Davis tune (probably "Death Don't Have No Mercy"), and to a tune called "The Beat From Ramparts Street". That is how Thom became my musical mentor.

A friend of mine from the University had just opened up a little cafe on Brunswick Ave. and Thom and I spent hours playing music and just taking it easy there (the food was pretty good too!).
Later that summer, I had to leave the Innis College co-op residence, and I had no idea where I would find a place to live. Thom told me there was a little one room "bachelorette" apartment next to him up at 159 Walmer Rd. - I ended up living there for the next two years. During that time, Thom and I became great friends, and Thom had decided to study a bit of formal Jazz guitar, and he would pass on tips and songs to me, and sometimes we'd accompany each other on old Duke Ellington tunes and others he was learning at the time, the doors to our rooms were always open when we were home, and for a while Thom was like the older brother I never had...

I'll leave you with a song - one of Thom's favorite tunes at the time was a number written by Duke Ellington and Bob Russell, and covered by singers like Billie Holiday and Nat King Cole. Thom would sing it out loud and put special emphasis on the very last line:

"Do Nothing 'Till You Hear From me"

Do nothing till you hear from me
Pay no attention to what's said
Why one should tear the seam of anyone's dream
Is over my head

Do nothing till you hear from me
At least consider our romance
If you should take the word of others you've heard
I haven't a chance

True, I've been seen with someone new
But does that mean that I'm untrue?
While we're apart, the words in my heart
Reveal how I feel about you

Some kiss may cloud my memory
And other arms may hold a thrill
But please do nothing till you hear it from me
And you never will!

42 IF - Jeff Healey's birthday - and a "Mess of Blues"

Jeff Healey would be 42 years old by now had he survived the cancer that plagued him throughout his life (Healey passed away in Toronto, Canada on March 2nd, 2008, and his 42nd birthday was on Tuesday March 25th, 2008 )
Well, Happy Birthday Jeff, wherever you may be!!!

Last month, hardly a fortnight after he passed away, "Mess of Blues", Healey's first commercial album in 8 years was released in Europe - an album chock full of Blues, Rock & Roll, and just plain fun music!

Starting with Sonny Thompson's upbeat Blues classic "I'm Tore Down" (often identified with Otis Rush), Healey is at home both vocally and on guitar as he goes from straight electric Blues to slightly more modern Rock territory. Next is the classic "How Blue Can You Get" with a very soulful guitar solo by Jeff. Four of the tunes on this album were recorded live on stage in London England, and at Healey's own club in Toronto (Healey's Roadhouse), but the studio tracks also have the quality of a live show because they were recorded with the same band that he played with onstage for a good number of years, and they are all very comfortable with each other both on stage and in the studio.
The next tune is a vintage 50's Blues-Rock & Roll chestnut named "Sugar Sweet" which Healey performs in his own inimitable way and then he ventures into the Lousianna Bayou, letting loose with the good time swamp tune "Jambalaya".
Next up is "the Weight", the old standard made famous by the Band back in the movie Easy Rider, which seems to be making a revival lately as at least 3-4 other artists have recently covered the tune on their newest releases.

The album title tune, the Doc Pomus song "Mess of Blues" was a hit for Elvis Presley way back when, and Healey has fun with this upbeat Rock & Roll number.

Neil Young's "Like A Hurricane" brings Healey's special emotional rendition and has all the makings of the designated "hit single" from the album, and hopefully it could become a posthumous commercial hit for the benefit of Healey's wife and young children.
The album closes with a light rendition of the folk/bluegrass/country Blues standard from the 1920's - "Sittin' On Top of the World", and the Rock & Roll standard "Shake Rattle and Roll".
Overall, this is a fun album filled with lots of Blues and the joy of music. The band is tight and professional all the way, but the session is pretty laid back, and Healey is playing to please both himself and his regular audience at the club...

Rest in peace brother Jeff, even though you left us much too soon, you've earned your place in heaven.

Kelly Joe Phelps - a style that's all his own

Kelly Joe Phelps -
“Tap the Red Cane Whirlwind”
live concert recordings
Rykodisc, 2004
*********************************
A few years ago on the Blues discussion groups on the internet (Blues-L), I was reading the occasional comment about this guy out in the Northwest who was a new phenomenon of the acoustic blues and slide guitar. It took me a while before I could get my hands on his first three albums, “Lead Me On“, “Roll Away The Stone”, and “Shine Eyed Mister Zen”.

Kelly Joe Phelps soon rose to popular acclaim and fame in Folk and Blues circles. While the first three albums were classic solo acoustic ventures, his next two albums became more complex and filled with additional instrumentation and personnel, which spoiled for me the intimate, immediate and personal nature of his music.
Now comes a new album that was recorded live, with only a man and his guitar – pure, bare, personal, meditative, lovely!

The album opens with a 10 minute rendition of the classic Nehemiah (Skip) James “Hard Time Killing Floor Blues” and also includes a cover of the Rev. Gary Davis tune “I Am the Light of This World” (which has been identified with Jorma Kaukonen’s repertoire for the past 35 years).There are plenty of evocative and lyrical singer-songwriter folk numbers penned by Phelps, alongside the Blues numbers which are his forte.

Kelly Joe Phelps is a fine guitar picker as well as slide player, playing with the acoustic guitar on his lap. He also has a very pleasant mellow voice with just a hint of that smoky rasp of singers like Dave Van Ronk. This album is highly recommended for late night listening, meditation, or for those who love hearing lots of fine acoustic guitar fingerpicking…

Geoff Muldaur - Blues with class

Geoff Muldaur
“the Secret Handshake” (Hightone Records, 1998)
“Password” (Hightone Records, 2000)
**************************
Geoff Muldaur has class, and that is a double entendre, because he not only has class in the sense of culture and quality, but he also has a thing or two to teach us, as if her were holding classes in Blues and Jazz appreciation.

I have always known that Geoff Muldaur has impeccable taste in music, his repertoire has always been a wide mix of styles that are both entertaining and instructive. More often than not, his repertoire has inspired me to go do a bit of research and discover new artists or musical sub-styles in the rich American Folk/Blues/Jazz heritage that I wasn’t previously aware of or familiar with. Longtime fans of Ry Cooder will know what I’m talking about, if he doesn’t already have one, Geoff Muldaur should have an honorary degree in ethnomusicology…


Geoff has always made music very personal, never compromising over the arrangements or orchestrations or complexity of musical ideas, nor the fine musicians that accompany him. He began recording in the mid 60’s with the (Jim) Kweskin Jug Band alongside his wife, singer Maria (born D’Amato) Muldaur, continuing with his own solo efforts with Maria, and also as part of Paul Butterfield’s Better Days band. He even had a bit of good fortune when his recording of the song “Brazil” was used as the theme song in the popular Terry Gilliam futuristic science-fantasy film “Brazil”.


I recently rediscovered the magic that Geoff does with music in a pair of solo albums on Hightone records – “the Secret Handshake” (1998) and “Password” (2000). Both records are similar in their scope and flavor, labeled by Muldaur as “American Music: Blues and Gospel”, ‘though for my tastes I would characterize the first one as more dynamic and eclectic, and the second one as more subdued and introspective.
Make no mistake, both albums are interesting and varied, but I simply feel a stronger connection to “Secret Handshake”.

The album begins with an acoustic rendering of “The Wild Ox Moan” (from the late 30’s Library of Congress recordings of Vera Hall) where Geoff does a beautiful falsetto moan. The opening number is followed by a full brass band and vocal choir for the Gospel classic “This World Is Not My Home” and then we suddenly switch to a Zydeco groove for the classic Leadbelly song “Alberta”. This is followed by a quiet personal tale of Geoff’s escapades as a youth in trying to find the grave of Blind Lemon Jefferson in East Texas in order to sweep it off as the classic Blind Lemon verse on the gravestone epitaph requests – “see that my grave is kept clean”- “Got To Find Blind Lemon – Part One” (part two can be heard on the album “Password”).
A couple more Zydeco style numbers follow, a country stringband number, a solo piano and vocal song, a lovely blues arrangement of Sleepy John Estes’ “Someday Baby”, and closing with solo vocal and guitar. I can almost guarantee that you’ll play this album over and over again before you have heard enough.

Some Memories of Willie P. Bennett

I keep getting the picture in my mind of a festival (probably the Ottawa Festival For the Folks, summer 1977 or 1978)
where it started pouring rain in the afternoon, and everyone was looking for shelter,
Willie spontaneously (or so it seemed to me) saved the day by starting to perform in some old dinning hall on the grounds,
completely acoustically, no mics or amplifiers,
as all of us huddled inside - it was hard to hear, but still a great experience - experiencing his voice live in front of you was always something special....

or the time that he showed up at the Toronto Folklore Centre (TFC) on Avenue RD. (in an old redbrick house on the west side,right near the bridge of the railroad tracks) right after he had shaved his head for the first time and everyone was inspecting and questioning him, and he just picked up a harmonica and started to play...he used to hang out at the TFC quite often in the middle of the day, sometimes trying out guitars, sometimes just resting (or waking up)...I wasn't on speaking terms with him, just on "hey there" nodding to each other kind of terms.

these are some of the nice memories I have of him

R.I.P. - Willie P. Bennett

I just received the sad news today -
legendary Canadian Folk/Country singer songwriter Willie P. Bennett
has passed on to the other side following heart trouble over the last year.
*************************
****Willie P. Bennett****
October 26 1951 - February 15, 2008
http://www.williepbennett.com/
***********************************
Some of you may have heard me speak in reverence of Willie P. Bennett and
I have sung his songs many times at the local Tel Aviv Folk Club and other venues,
songs such as "Take My Own Advice" or the song quoted at the end of this post, "Down to the Water".
I think that the best way we can help commemorate this man is by learning more about him and his music
you can hear many of his songs here: http://www.williepbennett.com/sounds.html

I feel so lucky to have known Willie back in the glory days of Folk Festivals
and Folk Clubs in the late 70's in the Toronto area.
Willie was a one of a kind troubadour, guitarist, mandolin player, harmonica player,
and a powerful singer with a deep voice.
He was an amazing songwriter who could make you laugh, or melt your heart, or leave your jaw hanging in awe of his lovely words.
He was a man who "didn't take sh*t from no one", and dealt in the bare truths of life in his writing.

It is no wonder that three of his musical friends formed a popular band based on his music - "Blackie and the Rodeo Kings" or "B.A.R.K." (after one of Willie's classic songs)with Colin Linden, Stephen Fearing, and Tom Wilson, and sometimes Willie himself joined in.

here are the lyrics to one of Willie's classic songs:

"Down To the Water"
From "Tryin' To Start Out Clean"
LP originally released 1975


My mind was sinking in a sea of darkness
My eyes were blinded by the light of you
The reasons for leaving were not all that harmless
The lessons I learned both straight and true
The stars were rising in a light of triumph
The time for leaving was about half gone
The sun was drowning in sea of silver
My heart was as low as the sun in the dawn

So come on...
Let's go down to the water
And show me what you think is the truth
You know that you could
Let's go down to the water
I'd show you my crown if I could

My mouth was frozen in a thousand faces
My words were hanging in the air
My thoughts were scattered in a thousand places
How come you start out running scared
The time was running on a little further, and further
The moon was rising right beside your head
You always lose yourself in someone else's need
Always looking to find love in a bed

So come on...
Let's go down to the water
And show me what you think is the truth
You know that you could
Let's go down to the water
I'd show you my crown if I could


Thinking about the ways of the seagull
Spending my time on every one
You could keep on reaching out forever and forever
With out ever touching anyone

So come on...
Let's go down to the water
And show me what you think is the truth
You know that you could
Let's go down to the water
I'd show you my crown if I could



here is a message from Willie's website:
"Dear friends,

It is with pain in our hearts and deep sadness that we formally inform the music community that our friend, lover, troubadour, mentor, and musical artist Willie P. Bennett passed away suddenly at his home in Peterborough Ontario, Friday February 15th 2008.

More information will be available soon at the discretion of Willie's partner Linda and the Bennett family.

Thank you for your compassionate words and positive thoughts. Willie always expected the best from us, especially in our kindnesses to each other, and I am sure he is still proud to call us his friends.

Letters of condolence and support may be sent to:

his companion in love,

Ms. Linda Duemo,
272 Bold Street
Hamilton Ontario L8P 1W2

his family,

Mrs. Margaret Bennett
Box 526
Picture Butte, Alberta T0K 1V0

care of his mother Margaret, sister Esther, (son Richard Barrett, wife Judy,grand-nephews William James and Jason Alexander), and brothers David (Brian), and Paul (Shelley, nephews Ryan, Adam and Brandon)

".....we'll understand it all in time......."

Best wishes to you all

Robin "

The previous 8 posts were formerly on another ...

The previous 8 posts were formerly on another blog that I thought might be a good idea - "Now Playing In My Car", record reviews combined with gripes about driving my car to work or elsewhere on the highway,
but alas, nobody seemed to notice.
So here they are again, maybe someone will take notice and try some of these recording out for themselves!

John Scofield - Blue Matter

Ok, so I'm driving home again after an annoying and tiring day at the office, where I also felt at one point like I had food poisoning from the onion soup at the vegetarian restaurant...I needed a cool kind of album to "chill out" on the way home.

I've got the windows down to enjoy some of the breeze of the fall night, as I slip in another of my favorite John Scofield albums - "Blue Matter" .
If "Still Warm" has a warmish texture to it, "Blue Matter" is a bit more cool and distanced, especially due to some of the seriously dated synthesizer sounds from Mitchell Forman - if there is one thing that seems to date an album more than anything else, it's the embarrassing synth sounds that are often used in many 70's and 80's recordings, in Fusion and modern Jazz in particular. Getting past that, this album still has some great tunes on it with a killer rhythm section in bassist Gary Grainger and super drummer Dennis Chambers.

I saw Dennis Chambers live once or twice, and he nearly stole the show the second time - he is such a powerful and funky drummer with an amazing groove, that I don't think anyone today can come near him in this niche, I mean he's like Steve Gadd, Billy Cobham, and Dave Weckl all in one, playing on amphetamines...

As I'm waiting for some of the congestion to clear up along the 2 1/2 lane boulevard that passes by the Yarkon river, I get a waft of the local sewage treatment station along the way - oh putrid!!! - gotta crank up the volume on "Now She's Blond" and try to ignore the olfactory affront. As I pass the Diamond Exchange business area, another waft of sewage comes up - you can also get that whnever you pass by the Sheraton City Tower on the highway heading north, it always seems to smell terrible around there, at least for the last 3-4 years...

I flip back to one of my favorites - "Blue Matter", the first track on this album and what originally sold me on it when I bought the fine German pressing of the LP around 20 years ago, and I used to sit with the album and try to pick out the tune on my own guitar.

Just a couple of years after that album came out, I managed to help persuade someone that it would be a good idea to have Scofield over here for a live concert or two, and I even got to meet my idol and get him to autograph my Ibanez guitar (a similar model to the one that he plays).

Cool, I've chilled out now...

John Scofield - Still Warm

On average,I have a 20 minute ride from home to work each day. Usually, this involves weaving in and out of high traffic areas and some driving on the highway. Every morning is a different story, and every morning there is a new set of "challenges" to face.
Music helps to take off the edge, to help me ignore or forgive the countless inconsiderate assholes and idiots out there on the road who are either a danger to you and everyone else, or just a nuisance for which you need supreme amounts of patience in order not to loose your cool...

This morning I placed in my CD player one of my all time favorite Jazz/Fusion guitar albums - John Scofield's "Still Warm" from 1986. I admit that I am a total John Scofield addict, and I have loved many of his albums over the years, but I keep coming back to "Still Warm". After all these years, I think that it has become a kind of classic. The different tones, colors, the rhythms, the mix of subtlety and boldness on this album are the result of an unusual team of players from different parts of the musical spectrum - guitarist Scofield and keyboard player Don Grolnick are from more mainstream and slightly traditional Jazz backgrounds, while drummer Omar Hakim and bassist Daryl Jones are from more commercial Jazz/Fusion/Rock origins.

As I'm winding through traffic on the main street in the city, I jump to track 5 - "Rule Of Thumb" which begins with a delicate keyboard rhythm, and then turns into a delicate but funky and upbeat collaboration between Daryl Jones lightly snapping the bass and Hakim on a solid funk riff, as "Sco" adds some pizzicato picking. As I am forced to weave in and out of different lanes to avoid the stupid rich-bitch that has double parked her car and has the door open - further obstructing the right hand lane...the music soothes my pain, makes it easier to grin and bear it 'till I actually get onto the highway.

The gentle but steady sounds of track 6 "Picks and Pans" begin, the fast pace of the traffic matches the music, and the idiots that can't seem to choose a lane to stay in are easier to ignore as I hold back a little and turn up the volume on Sco's long solo.

I flip back to track 2 "Still Warm", an up tempo but fairly quiet tune, very subtle and understated both in the playing and the harmonic composition - this is a great relaxation tune that doesn't put you to sleep. I'm rounding the corner now to the neighborhood of my office building, traffic seems fairly clear now, all the way up to a few meters from the entrance to the building - that's when all hell seems to break loose as all sorts of inconsiderate and impatient people are making U-turns and blocking traffic in both directions as other impatient people try to weave around them...all I can do is put up the volume a bit and wait in line...at least another 5 minutes before the mess resolves itself and I can make it into the parking garage as the first track "Techno" starts playing.

There, I made it safely to work once more,
another annoying morning in traffic,
but I had John Scofield to keep me company
and I managed not to blow my stack...

the Pentangle - Live at Royal Festival Hall 1968

Last night as I drove home from work, I was feeling a bit ill and very tired, sort of like serious jet lag. I put in my CD player a recording of the Pentangle live in concert from the Royal Festival Hall, June 29, 1968...and I was already starting to feel a bit better.

I've been a big fan of the Pentangle and all of the individual members too for over 30 years, but I don't recall the last time I gave them a good listen in the past year. So last night as I was negotiating the tricky turns of the newly built but badly mis-planned bridge near the big Ramat Gan Mall complex, it was a great delight to once again hear the delicate tones of Jacqui McShee singing "Hear My Call" and "Way Behind the Sun". As her voice gives way to the rest of the band in improvisation mode, I recalled the greatness of this ensemble - who took Elizabethan style Folk songs and zapped them with pure Jazz and Blues feeling.

The bowed Bass riff that Danny Thompson plays at the start of "Let No Man Steal Your Thyme" invokes a real Blues feeling, as does the rhythm that is later established by the rest of the band - this song is probably 300 years old or more, but they have made it totally 20th century.

As I turn into the underpass that leads me home - only about 2 km left to go, I hear Bert Jansch's unmistakable voice begin singing "A Woman Like You" with his lovely acoustic guitar sounds in the background. Jansch is one of the first virtuoso guitarists that I ever became enamored with, and his playing can still make the hairs rise on the back of my neck to this day.

It's such a pleasure to be able to listen to the Pentangle again in this digital age where so much of the recent musical offerings seem to be a rehashing of yesterday's commercial trash over and over again. So go out today and get yourself a Pentangle album!!!

Root Doctor - "Change Our Ways"

I just received the new CD from Root Doctor Band a couple of days ago, so this morning I gave it a "test drive" so to speak on my way to work.

It was a fairly normal day today, with moderate traffic as I got onto the highway. But of course, the laws of "Carma" - the cosmological laws of driving and traffic, have a way of balancing out your experience sometimes. What you gain in a break in traffic at one part of your journey, you certainly will lose as you encounter a minor jam somewhere further on up the road.

Root Doctor are an interesting band of mostly young Blues musicians fronted by a more veteran vocalist named Freddie Cunningham. Cunningham has one of those soulful voices that have a rich rounded tone and deep vibrato or sustain in his technique. He wouldn't stand out that much among old style R&B/ Soul singers, but in the Blues idiom it adds a breath of fresh air and a different take on the Blues.

Root Doctor are a tight band with a good dose of Soul and Funk in their playing, but they can certainly prove their mainstream Blues roots as well. Their previous album from last year (Been A Long Time Coming - Big O Records 2406)impressed me as a fresh new band on the scene, and this new CD just keeps up that good feeling with a selection of original tunes, and some interesting covers.

One such cover, "Soul Shine" by Warren Haynes, is a very pleasant surprise since I am a very big fan of Warren and his band Gov't Mule, and Root Doctor do a fine cover of this inspirational song.

Well, I finally made it through that last surprise traffic jam just 800 meters from the office, and managed to slip into the parking lot without event as I flipped to the first track on the CD - "Blues Will Take Care of You", written by their keyboard man Jim Alfredson, a very nice Blues song to carry with me through my day...

Frank Zappa - OZ Live

I think that I first remember hearing Zappa back in high school at some friend's basement after school. I recall the song Dyna-Moe-Hum,so I guess it was the Over-Nite Sensation album that was on the turntable at the time. As I drove home tonight, facing the wind-down of the weekend, tired from the whole week of work and other little worries of life, I tried to play a Jazz album that I recently acquired, but my car CD player refused to register it properly - even though it was an official commercial pressing. So I slipped in the burned copy I have of Frank Zappa's OZ double CD - live from Sydney Australia back in January of 1976.

I love Frank Zappa, I have always thought of him as the greatest genius of the Rock/Pop/Contemporary music field - he could do it all - compose, write lyrics, play amazing guitar, sing, produce, promote, perform , conduct an orchestra, and of course, he had vision and an amazingly sharp wit.

A number of DVDs and video clippings have recently become available with segments from Frank's 1973 band performances with the great Napolean Murphy Brock on Sax and , mania, and vocals. Well, Napolean is also on hand at the Australian tour that is featured on OZ. It's always fun to hear some of Frank's on stage talk and antics from a live show, and this show is no different - die hard fans can probably pickup all the nuances and variations in this show over other performances, and that is part of what makes each live recording a unique experience and a fresh take on something you may have heard many times before.

As long as I can listen to the guitar solo masterpiece "Black Napkins", I'm cool. That tune is one of my top 5 all time greatest guitar instrumentals of all time and all music. It was originally presented on the album "Zoot Allures", where Zappa and his studio editing magic has it dissolve into the surreal song "The Torture Never Stops". I can't ever seem to get enough of that tune "Black Napkins"

I'm sure I'll play this double CD a number of times in my car in the months to come...

Bill Withers - Acoustic Soul!!!

Sunday morning traffic is always the heaviest around the greater Tel Aviv area, as well as other parts of the country. A large number of traffic jams seem to be unnecessarily caused by drivers who simply don't know how to use lanes properly - they hesitate too much, block exit lanes that could easily flow faster if they were surer of themselves or decisive in any way.
To compound all that, there is a fanning out or widening funnel effect caused by assholes who try to cut in further down the line and block additional lanes that are not part of the exit, this causes a chain reaction that slows down the rest of the lanes, causing a traffic jam backup of a few miles...So I wanted a mellow album to help me be patient, and also to try to wake up. I took along the new Bill Withers Super Hits compilation that I picked up last Friday.

Sundays are hard days to get back to work, the one and a half day weekend is short, and I'm quite often still very tired - the body wakes up at 6:30 in the morning, but the brain sometimes takes it's sweet time in fully waking up 'till around one hour after I arrive at the office...

I was just starting high school as Bill Withers began hitting the charts with songs like "Ain't No Sunshine (When She's Gone)", "Use Me", "When I'm Kissing My Love", and the following year, "Grandma's Hands" and his all time classic "Lean On Me".
I consider Withers to be a real crossover artist - someone with true R&B sensibilities - he started his career teamed up with Booker T. Jones.
Withers played acoustic guitar and wrote very catchy pop-oriented tunes, so it's not surprising that he made it big at the time as part of the Pop-Folk-Singer/Songwriter scene. Many of his songs are timeless, standing up today as well as they did back then when I would hear them on Boston radio stations all the time, and I have performed his classic "Lean On Me" quite a few times on stage over the years.

Well, maybe it was the karma of Bill Withers' music, and maybe it was sheer luck, but once I got past the unnecessary jam in the Sheraton City Towers area of the highway, the rest was smooth sailing, and I was in the office trying to wake up in no time...

Mingus is God

Tuesday, the middle of the work week, another one of those unexplained traffic slowdowns where the highway seems like a parking lot more than a thruway. Just as soon as I entered the highway from the La Guardia exit, I was already making my way back out at the Shalom exit, to continue up the main road parallel to the highway, that takes me northward to the edge of the urban center.

There is an old Jazz musician's joke about the musician who just arrived in heaven, and is sitting in at the big band rehearsal with all the great legends of Jazz, and there is one guy in the corner with a trumpet playing something awful. The punchline is: "oh, that's just God, he thinks he's Miles". Well to me, Mingus has always been and always will be God.

I finally cracked open that Mingus at Antibes CD that my buddy Yair gave to me for my birthday. This is a classic live session (so many of Mingus's recordings are...) from a festival on July 13, 1960 at Juan Le Pins, France. On hand with "Chazz" (Mingus never liked the nickname Charlie - he felt it was demeaning like calling a Black man "boy")were Ted Curson (Tpt), Eric Dolphy (various reeds), Booker Ervin (T Sax), and Dannie Richmond (Dms), with special guest Bud Powell sitting in on one song.
The first tune, "Wednesday Night Prayer Meeting" is true Mingus, a happy and upbeat Gospel song that allows each of the musicians to stretch out a bit and "present their case" as it were with Mingus egging them on with shouts and screams as well as his bass riffs.
The third track, "What Love" has an amazing blowing session as both Curson and Dolphy get to really explore some of the "outer limits", Curson soloing first, followed by Dolphy, who then gets into a direct dialog of call and response with Mingus's bass and the encouragement by Dannie Richmond from time to time.

As I make the turn into Devora Ha Nevia St. I see a bit of a slowdown, so I try the shortcut through the Ramat Hachayal residential neighborhood, only to find just as big a pileup on Raoul Wallenberg. Well, I finally get through it all as I hear the beginning of "I'll Remember April" with Bud Powell as a guest on piano.
It must have been a very hot day on stage at Juan Le Pins that day,
Mingus is God!!!

Todd Wolfe - Live

OK, my body is moving toward the car, but my brain doesn't seem to be fully awake yet.
I've got a piece of cake and my portable coffee mug (with a spring loaded seal at the top for drinking and driving) filled with hot Turkish coffee/swill.
I pop a live CD of Todd Wolfe in the player and get going while the getting is good.
It's a nice sunny day today, not hot, just pleasant. As I get onto the highway and start devouring the cake, I realize that some days you just gotta get tough with traffic - you gotta seize the moment and get past all the idiots who are hogging a lane while driving 60 kph while everyone else is up at 80-100 kph.
It doesn't hurt to have the hot guitar work of Todd Wolfe playing "The Cissy Strut" in the background, as I find the empty holes in traffic to maneuver around the slow-pokes and get myself ahead in line and into a more free and open zone of traffic going 100-120 kph.

"Cissy Strut" has become a minor classic instrumental piece favored by Jazz, Rock, and even some Blues artists, it was originally written and recorded by the New Orleans funk band the Meters. I first heard it on one of John Scofield's late 1980's albums, and in recent years I've discovered recordings by the Derek Trucks Band, Gov't Mule, Danny Gatton and Redneck Jazz Explosion, and by Jaco Pastorius playing with Hiram Bullock.

Two tracks later, and Wolfe is doing the early BB King number "Woke Up This Morning" from BB's first recordings in the 50's.
I've now managed to sip at least half the coffee and taste the strong Turkish coffee aroma from the Galilee with cardamom and ginger and other special Yemenite coffee spices that I put in this morning, this is no ordinary coffee at all, it is a festival of flavors.
A little background on Todd Wolfe - he's a hot Blues-Rock guitarist that I was alerted to by someone who returned from a year in New York and was a number one fan of Todd's live shows, and brought me a few CDs of his music.
Wolfe has a good bit of professional mileage behind him, playing in assorted Rock and Blues bands in the 80's on the east coast, followed by a five years working closely with Sheryl Crow both as guitarist and co writer, but then he turned his back on the Rock and Roll fame game, and decided to return to the Blues. More power to him!! for keeping the Blues alive and for reaching new and young audiences with the Blues.

As I approach the high tech industrial area where I work, Todd is singing the Peter Green classic "I Need Your Love So Bad"
I guess that getting tough paid off this morning as it was a relatively short ride with no serious nerve wracking situations...

"Fuzzaneli" - in memory of a true friend

Michael Jeffrey "Fuzz" Friend was a good friend to me back in my college days at Innis College in the University of Toronto. I just got the news today of his passing away last Friday, August 24th, 2007.


My first encounter with Fuzz was hearing him growling an expletive like "turkey shit" or "You look just like death warmed over" or "there goes some sex on the hoof..." at someone in the Innis College Student Society office in the "old building" of Innis College on St. George St.
I soon learned that Fuzz spoke this way all the time, but only to those he knew and liked or were in some way close to him.

I was good with my hands, and pretty soon I found myself doing handy work and house renovations with Fuzz during summer vacations, winter breaks, and any other free time I had when I could help out.
Fuzz taught me all the little professional secrets and tricks of the trade, as well as imparting much of his grass-roots life wisdom - and he had plenty life wisdom and plenty experience to base it on.

Mike was 13 years my senior, and had been a professional auto mechanic and a Narcotics Detective on the Toronto Police force before arriving at U of T. so, you can imagine how worldly and experienced he was in contrast to students who had just left home for the first time and/or were fresh out of high-school.

Many of the skills Mike taught me carried me through a renovations and handyman career for many years, safe work habits kept me from harm - it was Mike's insistence that we secure ourselves with strong rope that saved my life once when I fell off the side of a three story house we were painting.
Mike and I became good friends, and within the space of a year we were also a good work team that was in demand six months in advance each summer to fix, renovate, or re-build homes in the Toronto area.
On one particular job, we were putting up new drywall, and I had scribbled the words "Fuzz 'n' Eli" on the wall as a sort of signature of our "masterwork", well from that day on, Cathy - the wife of the family who's home we were renovating, referred to us as "the Italian firm of FUZZANELI".

Mike also knew how to enjoy himself with simple pleasures, like sitting at the Old Brunswick House bar in the main hall downstairs with friends, and drinking those little 40 cent glasses of beer that they would serve us by the dozen.
I can recall one very peaceful and quiet Christmas vacation weekend at the Innis College "InnisFree farm" out in the country, where Fuzz cooked a nice pot roast for us, and enjoying the company of a Fuzz and Sue and a few other friends out there.
Mike loved animals, from dogs (like the legendary "Guppy"), to birds, to reptiles. Through his live snake and reptile collection, Mike taught me and others to understand these reptiles, to not fear snakes (at least not boa constrictors), as well as providing himself with a hobby that he dedicated so much of his life to.
Mike loved Country music, but also appreciated many contemporary Canadian Folk and Rock artists. He certainly was not shy about speaking his mind or telling us what his likes or dislikes were.

On my recent two visits to Canada, in summer of 2001 and last month (July 2007), I was very glad to have had the chance to visit Mike and Sue and spend the evening with them.

Under that growling rough exterior, long hair and fuzzy long beard, Mike had a heart of 24 Carat gold.

"You Turkey Shit!!! You look like death warmed over!!!"

Rest in peace Mike - you've done your part, you deserve the rest!

In memory of Bill Perry RIP

I was quite shocked to receive the sad news last week of Bill Perry's passing on July 17th, 2007 - he died of an apparent heart attack at age 49,
a bit young for any active human being, and certainly an early age by Blues standards.
About eight years ago, I was given the pleasurable task of writing a promotional review for a one week stand at Tel Aviv's Camelot club.
I was given a preview copy of his 1999 CD, recorded live at Manny's Car Wash in NYC ( I highly recommend this CD!!!).
When Bill Perry got onto the stage at Camelot, I was a bit shocked at his diminutive size - the power and energy of his playing on the live CD, and the cover photo, had me expecting a much taller man, with a bigger physique.
Nonetheless, Bill Perry was a big man, in more ways than one. A powerful Blues guitarist and a singer with an unusual voice.
By all accounts from friends and musicians who worked with him, Bill was a very warm, genuine, and a funny man.
SInger Ritchie Havens considered him not just an excellent band member, but a soulmate, a close friend.
Bill, you left us much too soon, you will be sorely missed.

Sunday at the Toronto Beaches Jazz fest

I had a great day yesterday in the artistic village area called the Toronto Beaches where the Beaches Jazz Festival is held -
a totally free festival in its 19th year - http://www.beachesjazz.com/mainstage.html
they have sponsorships from Subaru to the provincial Lottery to food vendors...
I made contact with Brian Blane, the head of the Toronto Blues Society, and he directed me to the Media Tent so that I could sign in as a Radio Journalist, and get backstage access and meet all the other organizers and folks in the biz.
I met the mother of a new 16 year old Blues/Jazz diva Sophie Berkal Sarbit
- the mother heard I was from Israel, and spoke to me in Hebrew - she is the daughter of a Rabbi from Winnipeg - the Jewish connections in the music scene never cease to amaze and surprise me.
So I got to hear 2 blues shows of the Saturday Night Fish Fry
http://www.beachesjazz.com/mainstage/2007/bios/BillKingFishFry.html
headed up by singer, organist and piano player Bill King, who is also the Beaches Jazz festival organizer and the creator of the JazzReport and the http://www.jazzpromo.com/ sites

next up was an amazing guitarist and solid singer named Kal David in a trio with Hammond organ and drums, later accompanied by his partner, singer Lauri Bono:
http://www.beachesjazz.com/mainstage/2007/bios/KalDavid.html

of course, I distributed copies of the book (Touched By The Blues) to Jazz radio people, local organizers, etc. let's hope we get some reviews...

Belkin and Jutas - Blues from Lithuania

In the beginning of April 2007, two Blues performers from Lithuania arrived in Israel for a 10 day tour of local clubs. On many of the gigs, they were joined by local Bluesman and Blues-harp master Dov Hammer.

The Belkin-Jutas Duo are an acoustic Blues duo made up of guitarist and singer Aleksandr Belkin and guitarist and singer Virgilius Jutas. Each of these guys has his own electric Blues band back in Lithuania, but for the sake of travel, they formed this compact duo.

Belkin and Jutas are both fine guitarists, with Jutas playing acoustic guitar rhythm and some soloing on this tour, and Belkin playing acoustic rhythm and also some very nice slide guitar. Aleksandr Belkin also accompanies himself on harmonica part of the time. Both artists provided us with various renditions of Blues standards, and even a couple of original songs, although their English is far from perfect, the feeling was there, and they sure can "belt out" a few...

The 10 day tour was a success, thanks to local Blues promoter Alex Shain, and the duo is considering coming back to Israel again in the coming year.

Albert Collins' "My Mind is Trying to Leave Me"

I was recently re-acquainting myself with a live Albert Collins recording
from 1983 - "Don't Lose Your Cool" (Alligator Records ALCD4730)
and I really got into the humorous song -
"My Mind Is Trying To Leave Me"

so here are the lyrics for those of you that are not
familiar with the song,
search it out and give it a good listen (the guitar solos are pretty hot too!):


I went to breakfast this mornin',
Down to the corner bar
I thought I heard my baby call my name,
And it came from so far
I started runnin' and answerin',
Like a crazy fool would do
Aha, ya' see, my woman gone away and left me
And now my mind is tryin' to leave me too

Now my friend stepped out the bar
And stopped me and offered me a drink
I went in and had a double
And I began to think about my baby
Aha, like a crazy fool would do
You see, my woman gone away and left me
And now my mind is tryin' to leave me too

Oh!

Ha-ah, I went into the barber shop and ordered ham 'n' eggs
And each barber gave me fifty cent
They thought I was tryin' to beg
And I started cryin' like a baby (like a baby, ha!)
Like any fool would do
You see my woman gone away and left me
And now my mind is tryin' to leave me too


Another very nice Collins tune is "A Good Fool is Hard To Find"
which can be heard on the brand new Tommy Castro CD
"Painkiller" (Blind Pig Records),
where Tommy sings and plays some sizzling guitar in tribute to Albert Collins.

Collins recorded the tune for his 1986 Alligator release
"Cold Snap" (Alligator ALCD 4752).

Ted Cooper is in the house!

Canadian/Israeli Blues artist Ted Cooper was recently visiting in Israel and gave 2 acoustic performances in the country. Ted is an excellent electric and acoustic guitarist, harmonica player, and bass player, as well as a deep voiced singer of Blues, Country, R & B and Rock and Roll. Ted has a repertoire filled with a nice set of self penned songs that he's written over the last 25 years, and many standards of Blues, Country, and Folk-Rock that he's made sound like he wrote them himself.
Ted was a regular fixture of the Blues and Folk music scene in Israel throughout the 1980's, playing many Jacob's Ladder Festivals, as well as being a regular in clubs and kibbutz venues around the country. Ted moved back to Toronto in late 1993, and very rarely performs on stage these days, except during his visits to Israel.

Just about a year ago, Ted visited Israel and participated in a whirlwind reunion tour with singer Libi and many of the musicians and friends who used to accompany her and/or Ted over the years. Last year's reunion tour was a real blast of nostalgia and lots of wild fun too.
This year's visit was a bit more low key - but it is always a pleasure to hear Ted live on stage, this time accompanied by Assaf "Sweet Tooth" Rozov on acoustic guitar, vocals and dobro, and Dov Hammer on harmonica and vocals - both of them musicians who grew up in the Ted Cooper Band of the late 1980's.
Today, each one of them has a mature voice of his own to contribute to this trio, and the result was very smooth and enjoyable.

I really look forward to the next time Ted decides to grace us with a visit and gives a few rare performances on stage...

Michael Powers - Old Blood into new Blues

To look at Michael Powers, you would think he is just in his early twenties, just starting out in music, but don't let his baby face fool you. Michael Powers is already a seasoned veteran of the music scene and a very competent guitarist. He's also been connected to the Blues from an early age, from the early guitar lessons he received from the great Jimmy Reed, to the Blues spirit deep down in his soul...
Michael Powers spent a number of years playing in different rock bands, but in recent years, he has come back to the roots and has been playing and recording some traditional Blues alongside Rock, Blues-Rock and solid electric Blues.


Michel Powers has released two fine albums on the Baryon Records label -




"Onyx Root" released in 2004 with a good mix of traditional style acoustic and acoustic/electric tunes, as well as some modern originals.









"Prodigal Son", released in late 2006, which has a few traditional acoustic songs on it, but also originals like the haunting and beautiful title song "Prodigal Son".
His voice has allot of soul, a little bit of smoke, and the right touch of pain when needed. He is equally proficient on acoustic and electric guitar, and whether he's playing a Hendrix riff, or a John Lee Hooker riff, or even some Robert Johnson or Jimmy Reed, it sounds like it's his own style now.





I think that Michael Powers is an artist to keep watching and listening to, he's also on the list of nominations for the annual Blues Music Awards
(see Blues Music Awards), and I hope he wins one of those awards and that more people will take notice of him.

For a biographical and other info on Michael Powers see:
Baryon Records Website - artist Michael Powers

and

Michael Powers website

More Paul Pena Music

I finally got my hands on a copy of the live CD recorded by singer and harmonica player Big Bones (see his MySpace page at Big Bones) together with Paul Pena back in 1991.
Paul Pena is a minor Blues legend that wrote hit songs like "Jet Airliner" and "Gotta Move" (which is a favorite in recent years of the Derek Trucks Band).
A guitarist and singer who became legally blind at an early age, Paul Pena led a life that was sometimes charmed, and sometimes full of pain. When he passed away in the fall of 2005, I started searching for his recordings...

"Giant Killers" Paul Pena and Big Bones
This is a live acoustic set, but it has some nice surprises, such as guest (instrumental) performances by Alvin Youngblood Hart on a couple of songs, and when you hear Paul Pena's incredibly deep voice on songs such as "Swing Low Sweet Cadillac", you might not believe such notes are possible in a human!
Big Bones plays solid harmonica and also has a fairly deep and full voice on most of the songs. Paul Pena plays resophonic slide guitar on all tracks, and sings on a few.
I'm so glad I got my hands on this CD,
and you can also get yourself a copy by contacting Big Bones directly:
Big Bones Email

Paul Pena links:
The official Paul Pena website

Article on Paul in CV MusicWorld

Paul Pena memorial page on Friends of Tuva website

Paul Pena entry in Wikipedia

Trask Blues Band

See some recently recorded video clips of Trask playing live on Israel television:

Trask Blues Band on You Tube

Trask is a Blues-Rock cover band that does an excellent job of holding the crowd's attention at festivals and clubs in Israel.
They don't have any self penned songs to offer as yet, but what they do is a very professional job of covering some old and new Blues and Blues Rock, with a nice touch of class.

the Trask website is at: TRASK

Come Back Baby - part 2

Well, I guess it's been too long since the last post about the roots of the song "Come Back Baby" - one of my all time favorite Folk/Blues songs.

I finally got a hold of the double CD collection of Walter Davis recordings from the Document label...but beyond that, I also sat down to listen to and transcribe the lyrics to a few more versions of the song, following the trail of cover recordings that seems to start about 10 years after Walter Davis recorded his original 2 versions.
Here are the verses sung by some of my favorite artists, as I may have mentioned earlier, the Bert Jansch and Dave Van Ronk versions have been my favorite ones for many years - they have a very delicate but powerful and haunting melodic style both in the vocals and the acoustic guitar.


COME BACK, BABY (Lightnin' Hopkins rec. 1950)

Come back, baby. Baby, please don't go.
Way I love you, you'll never know
Come back, baby. Can't we talk it over one more time.

You know this world darlin', wasn't made in one day.
Why we can't talk it over, 'fore you go away.
Come back, baby. Let's talk it over one more time.

You know it's been a long time, since I seen you smile.
Made me think about, when you was a child.
Come back, baby. Can't we talk it over one more time.

If you ain't coming back baby, darlin' please tell me so
Then I won't have to worry, about you coming back no more.
Come back, baby. Let's talk it over one more time.



COME BACK BABY (Mance Lipscomb - rec 1964)

Come back, baby, Please don't go
The way I love you baby, you'll never know.
Come back, baby, let's talk it over, one more time

My hearts in trouble, head's in misery,
Ain't got nobody talk sweet talk to me,
Come back baby, let's talk it over one more time

Lone, lonesome day,
Seem like tomorrow gonna be the same old way.
Come back baby, can't we talk it over one more time

I left her standing, in the doorway crying
Hated to go, leave that girl behind,
Come back baby, let's talk it over one more time

I love you baby, I cain't help myself
Don't get you, don't want nobody else
Come back baby, let's talk it over one more time

Went up on the mountain, looked down at the sun,
Ain't seen nobody love me like you have done,
Come back baby, let's talk it over one more time

I love you baby, I cain't help myself
Don't get you, don't want nobody else
Come back baby, let's talk it over one more time

Come back baby, can't we talk it over one more time

Come back, baby, Please don't go
The way I love you baby, you'll never know.
Come back, baby, let's talk it over, one more time

Down to the river, couldn't get accross
Jumped on an alligator, thought it was a horse
Come back, baby, let's talk it over, one more time


Bert Jansch does a great version on his 1967 album - Nicola



Please come back baby, please don't go
for the way I love you you'll never know.
So come back baby, let's talk it over, one more time.

Woke up this morning, just past dawn,
Read the note, baby,
Saying you had gone,
Come back, baby, let's talk it over, one more time.

You know I love you, tell the world I do,
For the way I love you, baby,
You'll never know.
So come back, baby, let's talk it over,
One more time.


Dave Van Ronk recorded this a number of times,
and it was a regular part of his performing repertoire throughout his career

Please come back baby, please don't go
for the way I love you you'll never know.
Come back baby, let's talk it over, one more time

I love you baby tell the world I do
I don't want no one else but you
Come back baby, let's talk it over, one more time

Long old train, mean engineer
Took my baby, left me standing here
Come back baby, let's talk it over, one more time

If I could holler like a mountain jack
I'd climb this mountain, call my baby back
Come back baby, let's talk it over, one more time

Hey come back baby, please don't go
for the way I love you you'll never know.
Well come back baby, let's talk it over, one more time

Ray Charles had a top 10 R & B hit with his version in 1955,
Ray embellished the tune with a little traditional blues bridge (the last verse)
which is not found in any of the Folk or Country Blues versions of the song

Come back, baby, Please don't go
For the way I love you baby, how you'll never know
Oh, come back, baby, yeah yeah let's talk it over
oh one more time, oh now now

Well I admit Baby that I was wrong
Don't you know baby, aw you been gone too long
Oh, come back, baby, yeah yeah let's talk it over
oh one more time, oh now now

Say if I could holler like a mountain jack
Yeah yeah oh people I'd call my baby back
Oh come back, baby, yeah yeah let's talk it over
oh one more time, oh now now

Now one of these days baby, and it won't be long yeah
You gonna look for me child you know, and I'll be gone
So come back, baby, yeah yeah let's talk it over
oh one more time, oh now now

A Get Well Prayer for Jeff Healey

Get well soon Jeff Healey!!!
I want you to heal completely from your latest surgery,
so that you can keep on enriching our lives
with your music for many years to come!

I want to hear you playing your trumpet and singing again,
and also to hear your guitar gently weep...

Here's to your health!!!