There Are (Songs To Be Sung) – the album

Posted on February 8, 2025 by sixstrstories

There Are (Songs To Be Sung) was my second full-length, self-produced album.

All 14 tracks were digitally recorded in 1994 at Fishtraks Studios, in Portsmouth, N.H.

Jim Tierney was the recording and mixing engineer.

The recording sessions were held on October 24, November 13, December 4 and December 14.

The mixing sessions were held on December 29, 30 and January 14, 1995.

There were two mastering sessions: the first at Jeff Landrock’s Landrock Recording Services in Berwick, Maine on January 17, 1995 and the last back at Fishtraks with Jim on February 21, 1995.

The acoustic guitar that I played on every track was a Martin D28.

I was incredibly fortunate to have a phenomenally gifted group of friends and musicians join me in the creation of this music. They were…

Andy Inzenga – Bass Guitar

Bob Thibodeau – Percussion

Charlie Jennison – Alto Saxophone & Clarinet

Laura Jackson – Violin

The Amity Singers – Priscilla Barton, Linda Breden, Elaine Case, Gene Kelewae, John Marshall, Lisa Marshall, Sharon Newman, Anne Salzer, George Salzer and Connie Slater.

The Potholers – Mary Garrett, Dave Johnson, Andrea Sinclair, Kristin Sinclair & Tom Sinclair.

There Are (Songs To Be Sung) was released on CD and Cassette Tape.

Track 1: “There Are (Songs To Be Sung)” – with The Amity Singers

There Are (Songs To Be Sung)

There are songs to be sung
Stories to be told
There are hearts to be won and
Smiles to unfold.
There are bridges to be built
Roads to be walked down
There are dreams to be shared and
Secrets still to be found.

There are songs so good
Songs that must be heard
There are songs that are more
Than melody and words.
There are stories from the past
Stories from the heart
It’s the stories we tell
That tell us apart.

There are songs to be sung…

There are hearts in need
Hearts that must be healed
There are hearts that don’t know
How good a heart can feel.
There are smiles inside
Smiles that have learned
There are smiles that don’t
Get a smile in return.

There are songs to be sung…

There are bridges that connect
Bridges that provide
There are bridges that can span
The widest divide.
There are roads we’ve come
Roads that lie ahead
There are roads we could have
Taken instead.

There are songs to be sung…

There are dreams so real
Dreams that we embrace
There are dreams we can catch
And some that we just chase.
There are secrets we pursue
Secrets we employ
There are secrets we clutch
Like a brand, new toy.

There are songs to be sung…

Track 2: “Messin’ Around”

Messin’ Around

Saturday morning, that’s a fact
Sunny skies, hey, welcome back
Turn off the TV, who need that?
Oh, let’s get together and mess around.

Come on, come on, let’s mess around
Just you and me, just messin’ around
Nothin’ any better in this old town
So, let’s get together and mess around.

Hang around the house, go swing on the swings
Crawl around the ground on our hands and knees
Walk around the block, maybe climb a few trees
Oh, let’s get together and mess around.

Come on, come on, let’s mess around…

I’ll build a tower and you can knock it down
I’ll build another one and you can knock it down
Every time I build one, you can knock it down
Oh, let’s get together and mess around.

Come on, come on, let’s mess around…

So, come on, pal, now don’t be late
Hurry on over, I just can’t wait
Gonna have a good time, gonna be great
Oh, let’s get together and mess around.

Come on, come on, let’s mess around…

Track 3: “Daddy Fixed The Breakfast” – words by John Ciardi.

Daddy Fixed The Breakfast

Daddy fixed the breakfast
He made us each a waffle,
Daddy fixed the breakfast
He made us each a waffle,
It looked like gravel pudding
It tasted something awful.

“A little too well done,” he said,
“I’ll have to start over.”
That time what landed on my plate
Looked like a manhole cover.
Daddy fixed the breakfast
He made us each a waffle,
It looked like gravel pudding
It tasted something awful.

“Ha, ha,” he said, “I’ll try again.
This time I’ll get it right!”
But what I got was in between
Bituminous and anthracite.
Daddy fixed the breakfast
He made us each a waffle,
It looked like gravel pudding
It tasted something awful.

I tried to cut it with a fork
The fork gave off a spark,
I tried a knife and twisted it
Into a question mark,
I tried it with a hacksaw
I tried it with a torch
Oh, it didn’t even make a dent,
It didn’t even scorch.
Oh, Daddy fixed the breakfast
He made us each a waffle,
It looked like gravel pudding
It tasted something awful.

Well, the next time Dad gets breakfast
When Mommy’s sleeping late,
The next time Dad gets breakfast
When Mommy’s sleeping late,
I think I’ll skip the waffles
I’d sooner eat the plate.


From the poem “Mummy Slept Late and
Daddy Fixed The Breakfast” by John Ciardi.
From his book: You Read To Me – I’ll Read To You, 
published in 1962.

Track 4: “My Daughter’s Eyes”

My Daughter’s Eyes

She’s just a child
With the laughter of life in her eyes,
And a hint of the woman to be
Shining beneath the surface of her smile.

She’s got my nose
And the more she continues to grow
I can see other pieces of me
Flashing between the charms that are all her own.

Now, the words of the poet
Enlighten my walls,
Wisdom within easy reach.
So, I know that my children
Are destined to learn
Lessons I never intended to teach.

She tells me why
And a part of what keeps me alive
Is the hope that tomorrow will be
Filled with the laughter that flies
Across the clear blue skies
Of my daughter’s eyes.

Now, the words of the poet
Enlighten my walls,
Wisdom within easy reach.
So, I know that my children
Are destined to learn
Lessons I never intended to teach.

She’s just a child
With the laughter of life in her eyes,
And a hint of the woman to be
Shining beneath the surface of that smile
In my daughter’s eyes.

Track 5: “What” – with Andy, Bob & Charlie on Alto Saxophone.

What

What you doing?
What’s wrong?
What’s happening?
What’s been going on?
What you thinking?
What’d you say?
What, what, what, what, what
What a day.

What’s your pleasure?
What’ll it be?
What can I do for you?
What do you want from me?
What’s your problem?
Aw, what a shame.
What, what, what, what, what
What a pain.

Well, what is life?
What is Jazz?
What’s it all about?
What the heck was that?
What’s it take?
What’s it worth?
What a lucky guy,
What a crazy world.

What’s the secret?
What’s the catch?
What a coincidence,
What a lot of crap.
What’s the difference?
Ah ,what’s the use?
What, what, what, what, what
What’s your excuse?

Well, what’s your name?
What’s your sign?
What’re you looking for?
What’re you trying to hide?
What’s new?
What’s next?
What a waste of time.
What did you expect?

What goes up
What if?
Whatever happened to?
What’s this?
What’s the answer?
Ah, what fun.
What, what, what, what, what
What’s done is done.

Track 6: “Bear In The Air”

Bear In The Air

There’s a bear in the air over there
There’s a bear in the air over there
He’s shooting for the moon with a couple of crazy loons
There’s a bear in the air over there.

There’s a snake with a cake ready to bake
There’s a snake with a cake ready to bake
He’s waiting for the crow to fire up the stove
There’s a snake with a cake ready to bake.

There’s a fox with a box full of sox
There’s a fox with a box full of sox
Ah, but what he really needs is a barefoot centipede
There’s a fox with a box full of sox.

There’s a bear in the air…

There’s a goose cutting loose in the caboose
There’s a goose cutting loose in the caboose
She’ picking and a grinning with her old friend, chicken
There’s a goose cutting loose in the caboose.

There’s a cow that knows how to say “Wow!”
There’s a cow that knows how to say “Wow!”
Ah, but when she’s surprised, she goes “Me, oh, my.”
There’s a cow that knows how to say “Wow!”

There’s a bear in the air over there
There’s a bear in the air over there
He’s shooting for the moon with a couple of crazy loons
There’s a bear in the air over there.
There’s a cow that knows how to say “Wow!”
There’s a goose cutting loose in the caboose
There’s a fox with a box full of sox
There’s a snake with a cake ready to bake
There’s a bear 
In the air 
Over there.

Track 7: “Dancin’ In The Kitchen” – with Andy, Bob & me on Harmonica.

Dancin’ In The Kitchen

Sitting ‘round the kitchen with the radio on
Kids are in bed, the dishes are done
I was just thinking, would you like to dance?

Hey, there’s a good one, remember when?
Step right over here and take my hand
What do you say, girl, now’s our chance.

We can push back the table, stack up the chairs
Let the neighbors see us, I don’t care.
Turn it up a little and turn the lights down low,
Here we go now.

You do the pony, I’ll do the swim
We can pretend that we’re young again
C’mon now, honey, do you wanna dance?

We can push back the table, stack up the chairs
Let the neighbors see us, what do we care?
Turn it up a little and turn the lights down low,
Here we go now.

Dancin’ in the kitchen with the radio on,
Dancin’ in the kitchen, all night long
Just you and me, girl, c’mon let’s dance.

Dancin’ in the kitchen, gonna lose our blues,
Dancin’ in the kitchen, kick off your shoes
Just you and me, girl, c’mon let’s dance.

Dancin’ in the kitchen,
Aw, dancin’ in the kitchen,
Just you and me, girl, c’mon let’s dance.

Track 8: “Pothole Blues” – with Andy, Bob, The Potholers & me on Harmonica 

Pothole Blues

Well, I was driving into work one Wednesday morning,
Heading south, on my way through town.
When all at once, without warning,
Someone took away the ground.

I hit a pothole,
Biggest one I’d seen.
I hit a pothole,
Who’s gonna believe?
Well, it was six foot wide and two foot deep,
Commuter’s nightmare
A front-end man’s sweet dream.

Well, my car said “Ow! What was that?”
Both front tires went dead flat.
I pulled over and joined the crowd,
There were nineteen other cars, all broke down.

We hit the pothole, (Pothole!)
Biggest one we’d seen.
We hit the pothole, (Pothole!)
Who’s gonna believe?
Well, it was six foot wide and two foot deep,
Commuter’s nightmare
A front-end man’s sweet dream.

Well, I don’t mind these city roads
With all their dips and heaves and holes.
But, I wanna run some obstacle course
I’ll join the Army or the Air Force.

Oh! You know, I never did make it to work that morning,
Truth is I up and quit.
Hallelujah, I found my calling
And I can’t get enough of it.

Now I fix the potholes. (Potholes!)
Every one I see.
I fix the potholes. (Potholes!)
Who’s gonna believe?
There’s none too wide and nothing too deep,
All you commuters can sleep in peace.
But the sweetest part of this crazy dream
Is making all those front-end men scream.

Track 9: “What Do You Say” – with Charlie on Clarinet

What Do You Say

What do you say, what do you say
What do you say, what do you say
What do you say, what do you say?

Do you say “isn’t” or do you say “ain’t?”
Do you say “Fine” or “Can’t complain?”
Do you say “Charlie” or do you say “Chuck?”
Do you say “dollars” or do you say “bucks?”

Ah, what do you say…?

Do you say “huge” or do you say “humongous?”
Do you whoop it up or do you raise a ruckus?
Do you say “bother” or do you say “bug?”
Now, do you like to dance or do you cut the rug?

What do you say…?

Are you lazy or uninspired,
Too pooped to pop or just plain tired?
When you get upset, do you freak out,
Lose your cool or have a cow?

Do you say “scoot” or do you say “skedaddle”?
Do you say “phooey” or “fiddle faddle?
Do you say “slow” or do you say “pokey?”
Do you say “Sure!” or “Okey dokey?”

What do you say…?

When you’re scared, do you get the creeps,
The willies, the shakes or the heebie jeebies?
When you’re hungry, do you chow down,
Put on the feedbag and pig out?

Do you say “taters” or do you say “spuds?”
Do you say “Stop!” or do you say “Enough!”
Do you say “Uncle” or do you say “When?”
Now, do you say “Curtains” or do you say “The end?”

What do you say, what do you say
What do you say, what do you say
What do you say, what do you say?

What do you say, what do you say
What do you say, what do you say
What do you say, 
What do you, 
What do you,
What do you say?

Track 10: “Jerry Mulligan” – words by John Ciardi.

Jerry Mulligan

Jerry Mulligan came to see me,
Dropped his cap in the chowder pot.
Put it on as he was leaving
Said “My word, it’s getting hot!”

Good fish chowder, good clam chowder,
Makes you want to cry for more.
Three fat clams behind his ears,
Jerry started out the door.

Three fat fish heads, four fat fish tails,
Five grey squids with forty toes.
Six sea dollars, seven crab shells
Tickled down his hair and nose.

“It’s getting foggy out,” said Jerry,
“Well, goodbye” and shook my hand,
Just as a wave rolled down his sleeve
And left me holding a ton of sand.

Good fish chowder, good clam chowder,
Makes you want to shout for more.
Fills you up from toe to cap, sir,
Makes you hear the ocean roar!

Eight small whales will fill a kettle
Nine large barnacles will not.
Where do all the oceans empty?
Into my big black chowder pot.

Good fish chowder, good clam chowder,
Anybody seen my shoe?
Nancy put it in the chowder,
I was saving it for the stew.

“Bye, Jerry Mulligan, come again but
Keep your cap on when you do.
The chowder pot can hold a lot…
But not as much as you!”

Good fish chowder, good clam chowder,
Makes you shout for more and more.
Fills you up from toe to cap, sir,
Makes you hear the ocean roar.

Good fish chowder, good clam chowder,
Makes you shout for more and more.
Fills you up from toe to cap, sir,
Makes you hear the ocean roar.


From the poem “Jerry Mulligan” by John Ciardi.
From his book: The Man Who Sang The Sillies,
published in 1961.

Track 11: “Winter of ’92”

Winter of ‘92

When I was a kid in the sixties
In New Hampshire, in the winter time
My father would take me fishing with him
When the river got a good bridge of ice.

We fished on the Newmarket River
In a shack, with a hole in the floor
Just a ways in off of old Great Bay,
It was one among thirty or more.

We’d sit in that shack
With a lantern and a stove,
A basket between us
To bring the catch home.
There were six lines with spreaders
Going down through the hole,
Where the water was black
And the tide ran slow.
We’d wait for the fish to bite,
We’d wait for the fish to bite.

We’d drive in his truck to a farm on the hill
Overlooking the river and the bay,
We’d stop at the house to see Junior and Ruthie
And buy us a new box of bait.

Then we’d walk down the hill
On a path through the snow,
And we’d get out on the ice
By a plank from the shore.
And as we passed the other shacks,
He’d call through the doors,
“How are they biting today?”

And we’d sit in our shack…

Now there were times when those fish would be biting
So fast, it was all we could do
To haul in the lines and get the fish in the basket
And a new piece of bait on the hook.

But the times when they weren’t,
We’d stare at the hole
And listen to the tide
Lift the ice by the shore.
Once I brought a radio
And knocked it down the hole…

Well, I can still hear the silence today.

Well now, here in the winter of ninety-two,
It’s been ages since I caught a smelt.
But it’s the very first time in sixty-five years
That he hasn’t gone out there himself.

Well, first it was his knees,
And now it’s his hands
And the doctors who don’t seem to know.
So, here’s one to help us remember, Dad,
All the fish we pulled out of that hole.

When we’d sit in our shack
With a lantern and a stove,
A basket between us
To bring the catch home.
There were six lines with spreaders
Going down through the hole,
Where the water was black
And the tide ran slow.
We’d wait for the fish to bite,
We’d wait for the fish to bite.

Track 12: “Summer’s Here”

Summer’s Here

Little boy in the back yard
Swinging a bat with all his might.
Hitting hardball rainbows
Straight into the bushes out in right.

I’m trying to get the lawn mowed,
But I stop to help him search.
Doesn’t take all that long,
Pretty soon we both go back to work.

Summer’s here, same old tricks
Nothing’s wrong that can’t be fixed,
Sooner or later, you can’t predict, but you know 
Little boys aren’t always gonna be six.

Shooting hoops in the driveway,
Little game of half-court make-believe.
Hitting more than he misses,
Pretty good for just about four-foot-three.

Coming home from a hard day,
Time out for a great big hug and a smile.
Knows just what the score is, he says
“Hey, Dad, you wanna give it a try?”

Summer’s here, same old tricks
Nothing’s wrong that can’t be fixed,
Sooner or later, you can’t predict, but you know 
Little boys aren’t always gonna be six.

Don’t you know, 
Little boys aren’t always gonna be six.

Track 13: “Friday Night” – with Andy, Bob & Laura.

Friday Night

Time goes by and times go slow,
Most times never let you know.
But once in a while they let you see
Times the way they meant to be.

Oh, hey, hey, now, it’s all over
Hold on, here it comes.
Oh, hey, now, gonna roll me over
It’s Friday night and the weekend’s begun
It’s Friday night and the weekend’s begun.

Years are cruel and the months do grind,
They wear you down and run you dry.
Of them all, the week the best,
Make you work but it give you rest.

Oh, hey, hey, now, it’s all over…

Monday opens up the show,
Pulls you in and close the door.
Tuesday don’t care how you feel,
Holds your nose against the wheel.
Wednesday do it every time,
Show the way but it make you climb.
Thursday let you take a peek,
But Friday always seems to bring
Exactly what you need.

Oh, hey, hey, now, it’s all over
Hold on, here it comes.
Oh, hey, now, gonna roll me over
It’s Friday night and the weekend’s begun,
Ah, hey, hey, now, it’s all over
Hold on, here it comes.
Oh, hey, now, gonna roll me over
It’s Friday night and the weekend’s begun,
It’s Friday night and the weekend’s begun,
It’s Friday night and the weekend’s begun. Ho!

Track 14: “There Are (Songs To Be Sung) Reprise” – with The Amity Singers.

There Are (Songs To Be Sung) Reprise

There are songs to be sung
Stories to be told
There are hearts to be won and
Smiles to unfold.
There are bridges to be built
Roads to be walked down
There are dreams to be shared and
Secrets still to be found.

There are songs so good
Songs that must be heard
There are songs that are more
Than melody and words.
There stories from the past
Stories from the heart
It’s the stories we tell
That tell us apart.

There are songs to be sung
Stories to be told
There are hearts to be won and
Smiles to unfold.
There are bridges to be built
Roads to be walked down
There are dreams to be shared and
Secrets still to be found.

Album Photography by Frank Clarkson. Album Design by Kathryn deA. Klem/KDB Designs.

My goal in producing There Are (Songs To Be Sung) was to put together a collection of songs/recordings that the whole family – young and old alike – would enjoy listening to when traveling together in the car.

I’ve been told by more than one family that There Are (Songs To Be Sung) is exactly what I hoped it would be.

All songs – words (except as noted) & music – and performances are Copyright 1995 EFS Music/BMI.

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Anytime – the album

Posted on January 31, 2025 by sixstrstories

Anytime was my first full-length, self-produced album.

All 12 tracks were recorded live-to-digital on Friday, September 9, 1988. The “studio” was Mayer Auditorium, located in the basement of the Academy Building, on the campus of Phillips Exeter Academy in Exeter, N.H. The session started at 6:00 pm.

Frank Cunningham was the recording engineer. He was also the owner of a brand new – not-available-in-the-US – digital recorder that he’d brought home from a recent trip to Japan and used for this session. Frank mastered the album using the Lexicon Opus Audio Production System.

I played three guitars on this recording: an acoustic Ovation “Legend;” an acoustic Harmony H-165 (tuned down a whole step); and an electric Gibson ES-125T, running through a Polytone “102” amplifier.

Joining me that evening were Anne Black on viola and Jim Howe on upright bass.

Anytime was released on cassette tape, “Duplicated in Real Time on Chrome Tape with Dolby B NR.”

Side A

Track 1: “Anytime”

Anytime

Anytime
That you like 
Would be nice.
Any day 
That you say 
Will be alright.
But if it’s all the same to you,
I was hoping we could make it soon,
But either way, 
It’s ok, 
Anytime.

Anytime, 
Day or night, 
I don’t mind.
Any way, 
You don’t have 
To call or write.
You know you’re always welcome here,
Anytime of the year,
So come on down, 
I’m around, 
Anytime.

Well, I know that you’ve been busy,
Well, I’ve been busy, too.
But I can always find just a little time
For an old friend like you.

So, anytime 
That you like 
Would be nice,
Any day 
That you say 
Will be alright.
When you’ve got nothing else to do,
Or if you’re passing through,
Well, don’t be shy, 
Just drop by 
Anytime.

Well, I know that you’ve been busy,
Well, I’ve been busy, too.
But I can always find just a little time
For an old friend like you.

So, anytime 
That you like 
Would be nice,
Any day 
That you say 
Will be alright.
When you’ve got nothing else to do,
Or if you’re passing through,
Well, don’t be shy, 
Just drop by 
Anytime.
Ah, come on down, 
I’m around, 
Anytime.
Whoa, either way, 
It’s ok, 
Anytime.

Track 2: “You’re The One” – with Anne Black, Viola

You’re The One

I don’t know just what it is
But something about you gives me chills.
Always has, always will
Nothing thrills me quite the way you do.
How do you do it?

From the start, my heart told me
She’s the one you’ve been waiting for.
Now my heart won’t stop shouting
You’re the one, my one and only,
You’re the one, my only one.

Every time that you’re near
Everything else disappears.
All my cares, all my fears,
Nothing clears the way as well as you
Over and over.

From the start, my heart told me
She’s the one you’ve been waiting for.
Now my heart won’t stop shouting
You’re the one, my one and only
You’re the one, my only one.

Well, I can’t wait, anytime I’m away
When I’m home, I know right where I belong.

From the start, my heart told me
She’s the one you’ve been waiting for.
Now my heart won’t stop shouting
You’re the one, my one and only
You’re the one, my one and only,
You’re the one, my only one.

Track 3: “The Reason I’m Here”

The Reason I’m Here

Lately I’ve wondered, 
Asked me some questions
Had a few doubts that I can’t seem to shake.
For all of those times when life wants an answer
You’re all that I need to say.

You’re the reason I’m here,
The one thing I’m sure of,
The reason that keeps me from going astray.
You’re the reason I’m here,
It’s perfectly clear,
You’re the reason I’ll be here the rest of my days.

Sometimes I search,
Often, I stumble,
Sometimes I simply don’t know what to do.
But if I should hurt you, it’s not my intention,
I’ve never been that big a fool.

You’re the reason I’m here,
The one thing I’m sure of,
The reason that keeps me from going astray.
You’re the reason I’m here,
It’s perfectly clear,
You’re the reason I’ll be here the rest of my days.

I know how it might seem
But you’re still the reason I need to believe.

You’re the reason I’m here,
The one thing I’m sure of,
The reason that keeps me from going astray.
You’re the reason I’m here,
It’s perfectly clear,
You’re the reason I’ll be here the rest of my days.

You’re the reason I’ll be here the rest of my days.

Track 4: “The Force Of Habit”

The Force of Habit

Some things you do every day of your life,
Some things you do maybe once or twice.
Some things you do whenever you can,
Some things you didn’t do but wish you had.
Some things you do that you’d rather not
But the force of habit just won’t be stopped.

Sometimes you do what you think is best,
Sometimes you do like everybody else.
Sometimes you get to do whatever you want,
Oh, sometimes if you’re lucky you don’t get caught.
Aw but, just when you think you can’t do anything right
You know the force of habit shows you the light.

Now, you might think that you got a choice,
All you gotta do is try to avoid it.
You might think you got something to say,
Ah but, some things you’re never gonna change.

Some days you wish that you’d stayed in bed,
Some days you swear you’d be better off dead.
Some days you stumble, some days you dance,
Aw, some days are one big kick in the pants.
Aw but, just when you think you can’t stand anymore,
You know the force of habit takes control.

Now, you can go and try to get some help,
Find a doctor give you some kind for pill for it.
You can try every trick in the book,
Oh, and someday you might find one that works.

Some things you do that you can’t explain,
Some things you promise that you won’t do again.
Some things you do when there’s no way out,
Some things you’d never do, no matter what.
But when the things you do don’t make any sense
You know the force of habit’s your best defense.

Track 5: “Love Is Given” – with Jim Howe, Upright Bass (and me playing the Gibson) 

Love Is Given

Love is given
At the strangest times of the day.
It slips into your voice
Like the sun ‘round the edge of a shade.
But if it knocks on the door
When there’s nobody home,
Steps into the light before you’re really ready to go,
Ah, don’t you worry,
Love doesn’t have to explain.

A heart can be broken
At any time of the year,
There’s nothing in a season
That can make the pain disappear.
You can’t make it stop,
No, it’s not gonna to wait
All you can do is just let the damn thing break.
Oh, don’t you worry, 
Love will persevere.

Oh, don’t be afraid to fall,
It’s better to cry than not to have loved at all.

Love is given
At the most inappropriate times,
It’s never been famous
For its sense of reason or rhyme.
Ready or not, aw, you can’t say when,
Your heart comes open and there you go again.
Ah, don’t you worry,
Love’s what keeps us alive.

Ah, don’t you worry,
Love’s what keeps us alive.

Track 6: “All In All” – (with me playing the Harmony)

All In All

Hey there, buddy, it’s been quite a while,
Seen a lot of sights, crossed a lot of miles,
Bet you got some stories to tell.
Sit yourself down, take a load off your feet,
Nothing very much to say about me.
Got no stories to tell.

All in all, things are ‘bout the same,
All in all, I really can’t complain,
All in all, I’m doing alright.
I love my woman and she loves me,
I got me a job and I make good money,
Count my blessings every day.
All in all, still got to be a better way.

Day after day, the whole day through,
The harder I try, the more that I do,
Seems like it’s never enough.
But every now and then, late at night,
Lying in my bed, I wonder what it’s like
Living the way you do.

All in all, things are ‘bout the same,
All in all, I really can’t complain,
All in all, I’m doing alright.
I love my woman and she loves me,
I got me a job and I make good money,
Count my blessings every day.
All in all, still got to be a better way.

All in all, I really don’t mind,
All in all, I have a good time.
All in all, I just can’t deny
I want my cake like everybody else,
But ‘till I get it all, I’ll give it my best.
Count my blessings every day,
All in all, you couldn’t drag me away.

You couldn’t drag me away.

Side B

Track 7: “Anything At All” – (with me on harmonica)

Anything At All

I don’t know what’s the matter with me,
Something’s really got me shaking.
Nobody I’ve been to see can find an explanation.
It’s all a mystery, the way it comes and goes.
I don’t know what’s the matter with me,
I don’t think I wanna know.
But as long as I can turn to you,
Well, I know I can make it through
Anything at all, anything at all
Anything at all, anything at all.

I don’t know what’s got me down,
Maybe I’m just tired of waiting.
Every time I make a sound, ends up all complicated.
It’s all a mystery, is this how it’s supposed to go?
I don’t know what’s the matter with me,
Only hope it doesn’t show.
But as long as I can turn to you,
Well, I know I can make it through
Anything at all, anything at all
Anything at all, anything at all.

I don’t know what’s the matter with me,
Something’s really got me shaking.
Everybody I’ve been to see, got a different explanation.
It’s all a mystery, ah, but I’ve had enough,
I don’t know what’s the matter with me
But I’m not giving up.
‘Cause as long as I can turn to you,
Well, I know I can make it through
Anything at all, anything at all
Anything at all, anything at all.

Anything at all, anything at all...

Track 8: “If Looks Could Kill”

If Looks Could Kill

If looks could kill,
That one would’ve done the trick.
If names could break my bones like sticks and stones,
I’d sure be in a fix.
I said that I was sorry,
But I knew it wouldn’t help.
How can I explain when I’m not so sure myself?

If I’d been smart,
I’d ‘ve never said a word.
We’ve been through these things so many times before,
You’d think I’d learn.
So, let’s just get it over with,
C’mon and give me hell.
Have I ever mentioned that you wear your anger well?
If looks could kill,
I’d be lying cold and still.

If love’s so blind,
How’s it gonna see us through?
If you and I could put aside our stubborn pride,
Who knows what it could do?
Long as we keep talking,
As long as we can laugh,
Long as I survive all your fiery eyed attacks.
If looks could kill,
Whoa ho, if looks could kill.

If looks could kill,
Hm mm, if looks could kill

If looks could kill.

Track 9: “The Ladies Of Fairburn” – with Anne Black, Viola

The Ladies of Fairburn

Somewhere in England,
The Midlands of England,
By the banks of the Fairburn Inge,
Where the summertime light
Holds back on the night,
And it’s all so easy to see.

Well, out there between
The motorway’s stream
And the coal mines timeless refrain,
A village lies sleeping,
Peacefully sleeping,
And perched on the edge of a dream.

But tonight, the dream is kept waiting,
While the hall lights quietly burn.
There’s a whisper in the night,
“I pray God, they’re alright.”
For the Ladies of Fairburn have not yet returned
From the dance.

Well, Vicki and the queen,
Her best friend, Jeanine,
Are off in a world of their own.
A world made of lights,
Street noise and fights,
Glances and good rock ‘n roll.

Well, Vicki tries hard,
With her curls and her scarves,
While Jeanine just stands there and smiles.
They’re women of the world,
Disguised as two girls,
Doing all that they can to survive.

But the night can’t hold them forever,
The music plays only so long.
The summer must pass,
And when this one has passed,
The Ladies of Fairburn can never return
To the dance.

Both of them know,
When it comes time to go,
You leave all the lessons behind.
But then how do you start,
Can you follow your heart 
Or do you grab any hand you can find?

But tonight, it all doesn’t matter,
The summer sits tight by the curb.
And though it may not be bright,
There’s always that light
If the Ladies of Fairburn should ever return
From the dance.

Track 10: “Dancin’ To The Beat (Of Your Heart)” – with Jim Howe, Upright Bass (and me playing the Gibson)

Dancin’ To The Beat (Of Your Heart)

You pick me up, you drive me crazy
You calm me down and you show me the way
Day after day, right from the start
You got me dancin’ to the beat of your heart.

You got me twirled around your finger
You’re my girl, so why should I care?
Whether we’re together or apart
You got me dancin’ to the beat of your heart.

You got me dancin’, I’m kickin’ my heels
You got me pinchin’ myself
Can this be real?

You make me laugh, you make me wonder
How did I ever get along without you?
Now and forever, no matter what
You got me dancin’ to the beat of your heart.

You got me dancin’, oh, I’m slipped into a groove
Can’t think of anything else I’d rather be doin.’

You pick me up, you got my number
You calm me down and you show me the way
Now and forever, no matter what
You got me dancin’ to the beat of your heart.

Dancin’ to the beat of your heart

Dancin’ to the beat…

Track 11: “Song For Andrea”

Song For Andrea

I find myself imagining
You within my arms.
The pressure of your breathing near
The whisper of your heart
But as I do, I catch myself
And wondrously repeat
That what I’d only dreamed of
Is now something that I’ve seen.

I picture you as you and I
Gliding into place.
Lost among the nightlights falling
Softly through the rain.
But every time you look to me
That image never seems 
To be the kind of heaven
I’ve known only in my dreams.

Come between us
Call it what you shall
There’s a feeling now between us
That I swear I’ve never felt.

And sometimes, when I’m sitting here
Caught up in these scenes
I have to think that missing her
Was also once a dream.
But dreams are made for coming true
I feel another gone.
Yes, it seems I’ve found a woman to surround me
And be my song.

Track 12: “Sing Me Home”

Sing Me Home

Sometimes don’t know how to stop
And sometimes got nothing to hold on to
But sometimes all it takes
To chase my blues away
Is to hear my favorite song on the radio.

Now, late at night when everything is still
As I watch my love lie sleeping on her pillow
I know there’s just no way
I could make it through the day
If I had to make it on my own.

So, won’t you sing me home
Sing me home
The day is over, my work is done
Got a road to travel, but it won’t be long
If you’ll sing me home.

Now, life can be all cold and dark
And life can be like a fire in your heart
Aw, but livin’s at it best when you keep it off your chest
And every now and then you get what you want.

So, won’t you sing me home
Sing me home
The day is over, my work is done
Got a road to travel, but it won’t be long
If you’ll sing me home.

Sing me home…

All songs – words & music – and performances – guitar & vocals – are Copyright 1988 Eric F. Sinclair.

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Five Songs – the ep

Posted on January 27, 2025 by sixstrstories

Five Songs was my first venture into the world of Independent Music Production.

It was recorded live-to-two-track analogue tape on July 7, 1982 at Reelization Studios in Rye, NH.

Norm Thibeault was the owner of the studio and the recording engineer.

The guitar I played was my Ovation “Legend,” a sunburst, six-string acoustic.

Five Songs was released on cassette tape, with the “B” side left blank.

Track 1: “What Your Love”

What Your Love

Do you know, can you see
What your love does for me?

Do you know, can you see
What your love does for me?

You’re the light that fills my eyes,
You’re my day to day.
You’re the stuff that gets me high 
And all I need to take.
You’re the answer that I use 
When I don’t know why.
You’re the strength that pulls me through
Ev’ry single time.

Oh, do you know, can you see
What your love does for me?

You’re the music to my song
The picture for my frame.
You’re the switch that turns me on
When I’ve been too tame.
You’re the cause that stands behind
All the things I do,
You’re the one I hoped I’d find
When my dreams came true.

Do you know, can you see
What your love does for me?

What your love does for me?

What your love does for me?

Track 2: “Soft Serenade”

Soft Serenade

Soft serenade, try to ease my mind
Pick me up, lay me down slowly.
I’m a wastin’ time hopin’ that you
Will come on through that door, but
Someday I’m a going to see that a
Things don’t work that well for me
And when I do, I hope that I won’t 
Still be wanting just to have you near.

Hey there, minstrel man
Your lonesome band has hit a chord that’s
Been on my mind for quite some time
Just hope I never use it.
I don’t want to sing no song like 
“She is goin’” or “It’s gone,” ‘cause
When it comes right down to facts
I much prefer her smile to these sad songs.

Well, all those snowflake dancers sure do make me smile a lot.
But when they’re runnin’ down the road 
And all that’s left is that cold breeze to chill my lonesome bones,
I want to have her home.

Soft serenade, try to ease my mind
Pick me up, lay me down slowly.
I’m a wastin’ time hopin’ that you
Will come on through that door, but
Someday I’m a going to see that a
Things don’t work that well for me
And when I do, I hope that I won’t 
Still be wanting just to have you near.

Track 3: “Singin’ In The Dark”

Singin’ In The Dark

When I kissed you goodbye this morning
I wasn’t thinking about tonight.
How was I to know that being alone wouldn’t
Still fit me right.
I guess I figured that since I’d done it before
I could always do it again.
But this ain’t what I remember
And it’s sure not what I’d planned.

So here I am, singing in the dark
Without you here to hear,
I’m just singing in the dark
Trying to shake these fears
That there’s something gonna happen and you won’t be back
Even though you crossed your heart
And I’ll be sitting here all the rest of my days just
Singing in the dark.

When I drove on home this evening
I had everything all planned.
Gonna listen to the stereo all night long
Play all my records that you can’t stand.
But when I opened the door, stepped inside
And everything stayed right still,
Well, I knew that whatever I was gonna do
It could never break your spell.

So here I am, singing in the dark
Without you here to hear,
I’m just singing in the dark
Trying to shake these fears
That there’s something gonna happen and you won’t be back
Even though you crossed your heart
And I’ll be sitting here all the rest of my days just
Singing in the dark.

Track 4: “Tell You Very Simply (Wedding Song)”

Tell You Very Simply (Wedding Song)

What can I say to you that I haven’t said before?
Can I get those same old words to mean a little something more?
Well, what more could I ever want to do
Than tell you very simply that I love you?

I don’t think I need to say all the things I feel.
But if I should begin to try, that’s all you’d ever hear.
And besides, there’s more than one way I can use
To tell you more than simply that I love you.

Well, I never could have come so far with anyone but you.
So, listen while I tell you that I love you.

Track 5: “Rainy Day”

Rainy Day

The morning rain is pouring all around me, running
Off my nose and down my back.
It soaks my shoes, it wets my face
And it brings a little sunshine back.

‘Cause it’s just another rainy day
Pouring down like sunshine
Making rainbows in the morning sky
It’s just making the day shine.

An evening shower came to town today
And it left the empty streets all glistening.
Reflecting headlights and all of those neon signs
Aw the rain always leaves me listening.

‘Cause it’s just another rainy day
Oh, and it’s pouring down like sunshine
Making rainbows in the morning sky
It’s just making the day shine.

The rainy afternoons come to me now and then,
They do not cause a shower.
Whoa, no no no. 
They show me things I never thought I’d see,
They keep me high for hours.

‘Cause it’s just another, whoa ho ho, rainy day
Oh, and it’s pouring down just like sunshine, oh, no no no,
It’s making rainbows in the morning sky
It’s just making the day shine
Just like it was sunshine.

All songs – words & music – and performances – guitar & vocals – are Copyright 1982 Eric F. Sinclair.

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Marking The Trail: One Melody’s Journey Through American Music – Part Five

Posted on August 16, 2023 by sixstrstories

At the end of the trail, looking back.

“Sitting On Top Of The World” & “Things ‘Bout Coming My Way” made their entrance into my musical consciousness thanks to two items I purchased somewhere back in the mid-to-late 1970’s.

One was a songbook and the other was a 12″ vinyl LP.

Since I can’t remember which one came first, I’ll start with the LP.

Any Old Wind That Blows…

IMG_4549

…was an album released in 1975 on Philo Records by Arkansas-born, singer/guitarist/songwriter Jim Ringer (1936-1992).

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Any Old Wind That Blows was Jim’s third album, his first coming out in 1972.

The last track on the second side was “Sittin’ On Top Of The World,” with the songwriting credit given to: Traditional. Jim provided the vocals and rhythm guitar; Alfred Gertler played bass; and the bottleneck slide guitar part was by Martin Grosswendt in this timeless and truly outstanding performance.

BTW#1: Mr. Grosswendt’s gorgeous introductory statement of the melody in this recording sits deep in my heart as the inspiration for my beginning the on-going process of learning how to play slide guitar.

Take it, boys.

  

That recording of “Sitting On Top Of The World” led me to the discovery of a whole array of dazzling and inspirational covers, as well as the Mississippi Sheiks’ original.

The “Sitting On Top Of The World” playlist in my iTunes library presently includes versions by:

  • Doc Watson
  • Ray Charles
  • Bill Monroe
  • Howlin’ Wolf
  • the Grateful Dead
  • Chet Atkins
  • Cream
  • The Nitty Gritty Dirt Band
  • Bob Dylan
  • Sweet Honey In The Rock
  • Bill Frisell
  • Richard Shindell
  • Carolina Chocolate Drops
  • B.B. King.

Every single one of those is very highly recommended listening.

BTW#2: If you’ve been wondering where the “…Through American Music” part of my title for this series of posts came from, take a few minutes and figure out all the genres that are represented by the artists/bands in that list. I think you’ll see what I mean.

Now, the songbook.

Jerry Silverman’s Folk Song Encyclopedia, Volume 2 (1975, Chappell Music)…

…has proven itself to be one of the most valuable and often-referenced books in my library.

The first section of the contents in Volume 2 is titled: Blues And Jazz.

Page 26 is where I found “Things About Comin’ My Way.”

I learned how to play “Things About Comin’ My Way” from that transcription. But when I finally heard the Mississippi Sheiks recording of it, I pondered the differences between the two in both the lyrics and the chord progression.

The mystery remained until I discovered a recording of “Things About Comin’ My Way” by Josh White.

Joshua Daniel White (1914-1969)…

…was born in Greenville, South Carolina. His illustrious, successful and very influential career as a recording artist and performer began in 1928 and extended into 1969.

He first recorded “Things About Coming My Way” in 1932 under the name: Joshua White & His Guitar.  

He recorded the song again in 1960 for an album on Elektra Records titled: Spirituals & Blues. Bassist Bill Lee and drummer Walter Perkins accompany Josh’s guitar and vocals on this very cool and Jazz-influenced recording. (It even has a bass solo!)

 

In conclusion…

I will be forever grateful to Jim Ringer for introducing me to “Sitting On Top Of The World” and Jerry Silverman for introducing me to “Things About Comin’ My Way.”

I have musician, author, historian and educator Elijah Wald to thank for pointing me in the direction of “You Got To Reap What You Sow.” In his liner notes to the revelatory 2004 Yazzo Records CD, Back To The Crossroads: The Roots of Robert Johnson, Mr. Wald wrote this about “Sitting On Top Of The World” (one of the tracks on the CD): “Its success seems to have inspired Tampa Red, who had already recorded the same melody as an instrumental called ‘You Got To Reap What You Sow.'”

I opened the first post of this series back on June 18 with a quote from Wolfgang Amadeus Mozart:

“Melody is the essence of music.”

Well, for my money, no contemporary guitarist plays a melody like Bill Frisell…

William Richard “Bill” Frisell was born in 1951 in Baltimore, Maryland. His debut solo album – In Line – came out in 1983 on the ECM label. His fifteenth album – The Willies – came out on Nonesuch Records in 2002. 

The lead track on The Willies is “Sittin’ On Top Of The World.”

Bill Frisell plays electric and acoustic guitar on the album. He is accompanied by Danny Barnes on banjo, acoustic guitar, bass harmonica and pump organ and Keith Lowe on bass.

This a joyous rendering; a most fitting final mark.

Happy trails. Thanks for tagging along.

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Marking The Trail: One Melody’s Journey Through American Music – Part Four

Posted on August 5, 2023 by sixstrstories

Back on the trail!

Walter Vinson/Vincson/Jacobs’ melody to “Sitting On Top Of The World”/”Things ‘Bout Coming My Way,” soon became a popular one to borrow. I know of four now-legendary Bluesmen from the 1930’s  who each put it to very good use.

The First.

William Lee Conley “Big Bill” Broonzy (1898-1958)…

Big-Bill-Broonzy-Studio-Portrait-Cropped.jpg

…recorded a song he called “Worrying You Off My Mind” for the American Record Corporation on March 29, 1932.

Big Bill wrote six verses to the familiar melody (set in the Key of Eb, but with his guitar tuned down a half step and Bill using Key of E chord fingerings) and each verse ending with the lines: “So when I’m gone / I’ll take it easy / ‘Cause I’m just worryin’ you off of my mind.”

Big Bill Broonzy was an outstanding vocalist and even-better guitar player. This performance features brilliant guitar solos in the intro and in-between the fourth and fifth verses.

Enjoy!

Mississippi-born, professionally based in Chicago, Big Bill Broonzy made his debut recording in 1927 and did his last recordings in 1957. As a songwriter, he copyrighted more than 300 songs over the course of his career. He is rightfully revered as one of the key figures in the development of Blues music in the 20th Century.

The Second.

Arthur “Blind Blake” Phelps (Blake?) [1896(93?)-1934]…

Blind_Blake

…recorded a song he called “Depression’s Gone From Me Blues” for Paramount Records sometime in June of 1932.

Blind Blake also penned six verses of lyrics to go with our featured melody (set here in the Key of E, with the guitar tuned to standard pitch), with the last line of each verse being (mostly): “Now she’s gone / I ain’t worryin’ / For depression’s done gone from me.”

Blind Blake was a phenomenal fingerstyle guitarist and on this recording his playing shines brightly throughout, but especially in the intro and on the three solos (!) scattered among the verses.

Here he is!

Arthur Phelps (Blake?) was born in Jacksonville, Florida and spent parts of his professional life in Chicago, Illinois. He recorded 80 sides between 1926 – 1932 for Paramount Records, located in Grafton, Wisconsin. Those recordings have earned him the distinction of being known as “Ragtime Guitar’s Foremost Fingerpicker” and “The Master of the Ragtime Guitar.”

The Third.

Admirl Amos “Bumble Bee Slim” Easton (1905-1968)…

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…and His Three Sharks recorded a song they called “Someday Things Will Be Breaking My Way” among the eight sides they cut for Vocalion Records on March 22, 1934.

Bumble Bee Slim’s song is in the Key of G and has six verses, each ending with the lines: “But that’s alright / I’m still singing’ / Someday things will be breakin’ my way.”

Instrumentally, this recording features Bumble Bee Slim on vocals and (maybe) guitar, along with unknown musicians playing piano and mandolin.

Check it out!

Amos Easton was born in Georgia, moving to Indianapolis, Indiana at the age of 23. There he met and was influenced by Leroy Carr and Scrapper Blackwell. (Remember them? See: Part 1.) He relocated to Chicago in 1931 and made his first recordings for the Paramount label. Over the next six years he recorded for numerous record labels, amassing a catalogue of over 150 recordings. He also occasionally  served as accompanist to Big Bill Broonzy and Tampa Red. Bumble Bee Slim’s last album was released in 1962.

The Fourth.

Robert Johnson (1911-1938)…

Robert_Johnson

…recorded a song he called “Come On In My Kitchen” in his first recording session. The session was for Vocalion Records and took place at The Gunter Hotel in San Antonio, Texas, on November 23, 1936.

Johnson’s song is in the Key of Bb (played using a bottleneck slide with his guitar in Open Ab tuning and capoed at the second fret) and has five verses. Each verse ends with the lines: “You better come on / in my kitchen / for it’s goin’ to be rainin’ outdoors.”

This is a classic.

Robert Johnson’s legacy as the King of the Delta Blues Singers and one of the most influential musicians of the 20th century is based entirely on the collection of 29 songs that he recorded – using just his guitar and his voice – over the course of the three recording sessions in San Antonio in November, 1936 and two that were held in Dallas, Texas in June, 1937.

So there you have it: four songs built on the melody of “Sitting On Top Of The World,” “Things ‘Bout Coming My Way” and harkening back to “You Got To Reap What You Sow.”

Just to let you know, this kind of “borrowing” among songwriters was quite common back in the 1930’s.

As Ted Gioia wrote in his exceptional 2008 book, Delta Blues, about the singer/guitarist Booker T. Washington “Bukka” White [1900 (09?) – 1977]: “White had recorded ‘Shake ‘Em on Down’ (in 1937), a big seller that had been quickly imitated by a host of other Blues players. A few months later Big Bill Broonzy had an even bigger hit covering the song, and before you knew it, half the Blues artists in Chicago had a knock-off version…. ‘Ride ’em on Down’ or ‘Break ‘Em on Down’ or ‘Truck ‘Em on Down.'”

Now, that would be quite the trail to travel on down!

Coming up in Part 5: My favorite covers.

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Marking The Trail: One Melody’s Journey Through American Music – Part Three

Posted on June 24, 2023 by sixstrstories

The journey continues. But first, a divergence.

“Things ‘Bout Coming My Way” soon began to blaze a trail of its own.

On February 10, 1931 – twenty-two days after Sam Hill From Louisville (aka Walter Vinson) cut the inaugural recording – Tampa Red and Georgia Tom (Remember them? If not, turn back to Part Two) laid down their cover of “Things ‘Bout Coming My Way” in Chicago for Vocalion Records.

The record label of Vocalion #1637 lists the performer of “Thing ‘Bout Coming My Way” as “Tampa Red – ‘The Guitar Wizard’,” the performance as featuring “Vocal with Guitar and Piano” and the songwriter as “Hill.”

Here it is!

It then took slightly more than eight months for Walter Vinson to get together with Lonnie Chatmon and record “Things About Comin’ My Way” as the Mississippi Sheiks. (Again: See Part 2)

The deed was done on October 24, 1931 in Atlanta, Georgia for OKeh Records.

The record label on this 78 rpm disc – OKeh #8922 – lists the performer of “Things About Comin’ My Way” as “Mississippi Sheiks,” the performance as featuring “Vocal with Fiddle and Guitar Acc.” and the songwriter as “Jacobs.”

Check it out!

If you have a few minutes, go back to Part Two and listen again to “Sitting On Top of the World.”

Amazing, huh? Nearly identical!

Speaking of “Sitting On Top of the World,” the Mississippi Sheiks recorded a follow-up/remake/sequel to that immensely popular song of theirs. They called it “Sitting On Top of the World No. 2” The recording session took place on December 15, 1930 at the now-legendary King Edward Hotel in Jackson, Mississippi.

Likewise, Tampa Red & Georgia Tom recorded “Things ‘Bout Coming My Way No. 2” in New York City on February 4, 1932.

The record label of Vocalion #1699 lists the performer of “Things ‘Bout Coming My Way No. 2” as just “Tampa Red” (not “The Guitar Wizard” this time!), the performance as featuring “Vocal with Guitar and Piano” and the songwriter as “Williams.”

Give a listen! Tampa Red is just as wizardly as always on this track.

So, I hope you enjoyed this divergence into these three recordings of “Things ‘Bout Coming My Way.” Recordings like this are quite fascinating to me and as my motto says: “Good music doesn’t get old.”

Coming up in Part Four: Four years further down the trail.

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Marking The Trail: One Melody’s Journey Through American Music – Part Two

Posted on June 21, 2023 by sixstrstories

The journey continues: Rising to a higher elevation.

Mississippi Sheiks was a string band from Bolton, Mississippi.

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[Pictured, L-R: Armenter “Bo Carter” Chatmon (1893/4-1964), Alonzo “Lonnie” Chatmon (1890-1942) & Walter Vinson/Vincson (1901-1975).]

They made their first recordings on February 17, 1930 in Shreveport, Louisiana for OKeh Records.

The fourth of the six songs they recorded that day, the one that would eventually become their greatest hit, was called “Sitting On Top Of The World.”

The song was written and performed by singer/guitarist Walter Vinson and violinist Lonnie Chatmon. (For some reason, the copyright registration of “Sitting On Top Of The World” lists the composers as being Walter Jacobs & Lonnie Carter.)

Check it out!

“Sitting On Top Of The World” is part of this journey because its melody bears more than a passing resemblance to the melody of “You Got To Reap What You Sow.” Initially, both tunes are in 4/4 time and a major key (A flat for “You Got To Reap…” and F for “Sitting…”); make use of flatted “Blues” notes and a “swing” or triplet-based rhythm; and are built out of seven melodic phrases.

But that’s not all, folks! Take a look.

(For those of you who can read standard music notation, I transcribed the first verse of both songs from the original recordings, putting each in the key of G for a more direct visual comparison.)

Here is the first verse of “You Got To Reap What You Sow” by Leroy Carr.

You Got To Reap What You Sow jpeg

And here is the first verse of “Sitting On Top Of The World” by Mississippi Sheiks.

Sitting On Top Of The World 3

Comparing the melodies phrase by phrase, there really are a number of similarities. One is in the notes that some of the phrases end on.

For instance, each second phrase (“I want you to know” and “and all the fall”) ends on a B natural note; and then each third phrase (“you got to reap baby” and “just tryin’ to find my”) and fourth phrase (“just what you sow” and “little all and all”) ends on a G.

There are also rhythmic similarities, with most phrases in each tune ending on the first downbeat of a measure and the frequent use of eighth-note triplets.

The big difference, however, lies between the seventh phrase of the two melodies.

“You Got To Reap What You Sow” ends with a two beat phrase and the lyric “what you sow.”

“Sitting On Top Of The World” ends with an elongated five beat phrase. The lyric – “I’m sitting on top of the world” – mandates this extension. The change in the last phrase results in the lengthening of the entire melody (and chord progression) to nine measures for “Sitting On Top Of The World” as compared to the eight measures of “You Got To Reap What You Sow.”

Here again is “You Got To Reap What You Sow.”

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Over the next five years, Mississippi Sheiks – often including Bo Carter/Chatmon, Sam Chatmon and others – recorded about 70 original tunes and became the most important, popular and successful string band of the 1930’s.

“Sitting On Top Of The World” has been covered by a near-countless number of artists including Ray Charles, Bill Monroe, Howling Wolf, Doc Watson, The Grateful Dead, Cream, Bob Dylan, Sweet Honey In The Rock, Bill Frisell, Richard Shindell and Jack White.

Along with Leroy Carr’s “How Long – How Long Blues,” it was the other of the first two songs that Muddy Waters mastered on the guitar.

“Sitting On Top Of The World” was inducted into the Grammy Hall of Fame in 2008 and selected for preservation in the National Recording Registry by the Library of Congress in 2018.

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The trail takes a turn.

Charlie (or Charley) Patton (1891-1934)…

Charley_Patton_(1929_photo_portrait)

… was born in Hinds County, Mississippi. He was a friend of, played music with and was possibly related to, the Chatmon brothers.

The singer, guitarist and songwriter made a recording for Paramount Records on May 28, 1930 in Grafton, Wisconsin of a song called “Some Summer Day.”

The melody of “Some Summer Day” is virtually identical to the melody of “Sitting On Top Of The World.” The lyrics of the last phrase are: “‘Cause he’s stealing here some summer day.”

Here you go!

Charley Patton made his first recordings on June 14, 1929 and his last on January 31, 1934. The fifty-eight sides that he produced over those years have established him as not only the Father of the Delta Blues, but possibly one of the most important American musicians of the 20th century.

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One good turn deserves another.

Walter Vinson liked the melody of “Sitting On Top Of The World” so much that he wrote another set of lyrics for it. He called his new song “Things ‘Bout Coming My Way.”

He liked his new song so much that he couldn’t wait to record it with the Mississippi Sheiks and recorded it instead – on January 19, 1931 – as “Sam Hill from Louisville.” Walter sang and played guitar on the recording and he was joined by “Papa” Charlie McCoy (1909-1950) on slide guitar.

“But after all / by my hard travelin’ / things about comin’ my way.”

Give a listen! (This has some great guitar work!)

Coming up in Part 3: A divergence.

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Marking The Trail: One Melody’s Journey Through American Music – Part One

Posted on June 18, 2023 by sixstrstories

“Melody is the essence of music.”

   Wolfgang Amadeus Mozart
(1756-1791)

The trailhead.

Leroy Carr (1904-1935) – singer, pianist, songwriter, performer and recording artist – was one of the most prolific, popular and influential Blues musicians of the 1930’s.

Leroy and his musical partner, guitarist Francis Hillman “Scrapper” Blackwell (1903-1962)…

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…cut their first record, “How Long – How Long Blues,” on June 19, 1928 for Vocalion Records.

Released in early August, 1928, the song’s immediate popularity sent the Indianapolis, Indiana-based duo back into the recording studio where, on August 14, they recorded six new songs including a Carr original called “You Got To Reap What You Sow.”

“You Got To Reap What You Sow” is in the key of A-flat major and in 4/4 time. Its melody is built out of seven short phrases and is eight measures long. Lyrically, there are six verses set to this melody, each concluding with the line: “But you got to reap / just what / what you sow.”

Give a listen!

“You Got To Reap What You Sow” b/w “Truthful Blues” was Carr and Blackwell’s fourth release on the Vocalion label.

BTW: This song has no relationship at all with the similarly-titled “You Shall Reap Just What You Sow” – a song written by Alexander Robinson (1894-1970) and recorded by vocalist Alberta Hunter (1895-1984) in 1923.

                   __________________________________________               

The journey begins: the first cover.

Hudson “Tampa Red” Whittaker (1903-1981) – aka “The Guitar Wizard” – was a Chicago-based Blues singer, songwriter, kazoo player and slide guitarist whose recording career also started in 1928.

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Tampa Red’s first big hit was “It’s Tight Like That,” co-written and recorded (on October 24, 1928) with pianist Thomas A. “Georgia Tom” Dorsey (1899-1993). The record is estimated to have eventually sold over seven million copies.

Tampa Red frequently showcased his distinctive and stunning slide guitar skills on solo instrumental recordings. An early one of those was his June 22, 1929 cover of Leroy Carr’s “You Got To Reap What You Sow.”

On this recording, Tampa Red plays a National steel-bodied resonator guitar in Open D tuning. He reportedly used a short, glass “bottleneck” slide worn on the pinky finger of his left hand. After a brief fingerpicked introduction, he plays the melody – just the melody – adding a bass note or two, a strummed bit of a chord, to fill in the spaces between each of the phrases and rhythmically complete the eight measures of Carr’s composition.

Then Tampa Red plays it all again, and again; a total of ten times – each time slightly but brilliantly different in articulation and timing.  

Listen for yourself!

Tampa Red’s recording career extended into the 1960’s, but the bulk of his recordings were made between 1928 and 1953. Document Records needed 15 volumes to gather all of those recordings together for their CD series: “Tampa Red: In Chronological Order.”

Coming up in Part 2: Rising to a higher elevation.

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Last Thursday

Posted on April 23, 2023 by sixstrstories

I heard the motorcycle approaching from my left when I was about twenty paces from the crosswalk.

The pedestrians ahead of me had paused to let a few cars go by – something that actually happens on occasion in this small New Hampshire town – resulting in the Harley becoming the caboose of a slow-moving but short train of traffic.

The man driving the motorcycle was bearded, approximately middle-aged and looking very relaxed. He wore sunglasses, a military-style helmet and a particularly bright, multi-colored paisley jacket.

I didn’t hear his music until he was just past the crosswalk.

“Saw my baby down by the river. Knew she’d have to come up soon for air.”

Perfect.

I watched, smiling, as he drove off up the street, and walked on into the sunshine daydream of a now very cool April afternoon.

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Sparklers: “Tootie Blues” by Paul Geremia

Posted on April 8, 2023 by sixstrstories

This is the tenth installment of this category featuring recordings of outstanding performances by noteworthy guitarists – or – outstanding guitarists giving noteworthy performances.

Good day, Viewers & Readers! Let me introduce you to…

“Tootie Blues” by Paul Geremia.

Give a listen. (You’ll be glad you did!)

That recording was released in March 2004 on Paul’s Red House Records album Love, Murder & Mosquitos.

The song “Tootie Blues” was originally recorded in 1928 on Paramount Records by Blind Blake, the master Piedmont Blues fingerpicking guitarist & singer from Jacksonville, Florida.

Paul Geremia was born on April 21, 1944 in Providence, Rhode Island. He recorded his first album – “Just Enough” – in 1968 for Folkways Records and his eleventh and most recent one – “Love My Stuff” – in 2011 for Red House.

His phenomenal skill as a 6 and 12-string acoustic guitarist and his passionate dedication to keeping the timeless music of the Country Blues players of the 1920’s and 1930’s alive and very well has made him a truly legendary artist.

If listening to that performance of “Tootie Blues” from Love, Murder & Mosquitos did not convince you that Paul Geremia was at one time “the greatest living performer of the East Coast and Texas fingerpicking and slide styles,” but also “a national treasure,” then maybe watching him perform it will do the trick.

The following video is from the 2007 Vestapol Productions DVD Guitar Artistry of Paul Geremia – Six & Twelve String Blues.

Enjoy. (Watch his fingers! Whew!)

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