Georgia On My Mind

[C] Georgia, [E7] Georgia, [Am7] the [G7] whole day [F] through [Fm]
Just an [C] old sweet [A7] song keeps [D7] Georgia [G7] on my [E7] mind
[A7  D7  G7]

[C] Georgia, [E7] Georgia, [Am7]   A  [G7] song of [F] you [Fm]
Comes [C] sweet and [A7] clear as [D7] moonlight [G7] through the [C] pines
[F  C  E7]

[Am7] Other [F] arms reach [Dsus2] out to [F]me
[Am7] Other [F] eyes [Am7] smile tender [D7] ly
[Am7] Still in [F] peaceful [C] dreams I [A7] see the
[Dm7] road leads back to [G7] you

[C] Georgia, [E7] Georgia, [Am7] no [G7] peace I [F] find [Fm]
Just an [C] old sweet [A7] song keeps [D7] Georgia [G7] on my [C] mind 
[F  C  E7]

BRIDGE

[C] Georgia, [E7] Georgia, [Am7] no [G7] peace I [F] find [Fm]
Just an [C] old sweet [A7] song keeps [D7] Georgia [G7] on my [E7] mind
[A7  Dm7  G7]

Just an [D7] old sweet [G7] song keeps [F] Georgia [Fm] on my [C] mind 
[C  G7  Fm]

Photo:
Georgia Totto O'Keeffe (November 15, 1887 – March 6, 1986). An American modernist artist. She was known for her paintings of enlarged flowers.

Song: straightforward sing it into the can recording with separate microphones set up for voice and guitar, vocal layer overdubs added and my signature wa-wa at the end. Mics I use are a Sure Super 55 at my face and a Co2 pencil about 16 inches front of 69 Martin 00-21 guitar. Both mics record at the same time.

JTSunrise

Georgia on My Mind (Monday Business)

You know, that thing from yesterday. I found it.

Hot Dog Saturday Night (Faster Things Slowly)

The lyrics were written by Woody Guthrie, but Guthrie never recorded it or wrote music down for it. No exact date is known for the lyrics - it could have been anytime from the 1930s until it 1940s. Guthrie's recording career was more or less over by 1947. Guthries’s estate approached Billy Bragg in 1995 to set Woody's handwritten, unrecorded lyrics to music. Wilco recorded the song with Bragg on the album “Mermaid Avenue”. The song is a collaboration that took place 30 years after Guthrie died. Simple and dreamy, Guthrie's words paint a picture of sleeping beneath the beautiful California stars, and the lovely dreams that follow.

California Stars (Rhythm 'n Melody)

“Down to the River to Pray” has been referred to as a hymn, a spiritual and an Appalachian song. Some believe it was a Native American Tribal song that was adapted to include Christian lyrics. It is attributed to George H. Allan in the Slave Songbook of 1867, and Alison Krauss popularized it in the 2000 film, O Brother, Where Art Thou? The song also is known by alternate titles such as “Down in the Valley to Pray,” “Come, Let Us All Go Down” and “The Good Old Way.” Whatever the title might truly be, the deeply spiritual song is about keeping the faith in a time of darkness. JT

Down The River To Pray (Country Gentleman)

Oh! Susanna" was the first huge hit song in American popular music. Stephen Foster, often referred to as the Father of American Music, was only 21 years old when he composed it in 1848. He later wrote, “the two fifty-dollar bills I received (for "Oh! Susanna") had the effect of starting me on my present vocation as a songwriter.” In his 37 years of life, Foster wrote more than 200 songs. He visited the South only once, yet many of his songs portrayed blacks and slave life and were frequently performed by blackface minstrel singers. As "Oh! Susanna" was beloved by ‘49ers during the California gold rush and others heading west during the mid-nineteenth century, the song became emblematic of Westward Expansion.

The rise of blackface minstrelsy coincided with Foster's growth to adulthood. He wrote "Oh! Susanna" in the black "plantation" dialect that was common to the genre but is extremely racially offensive by today's standards. As a deeply-divided United States careened towards a Civil War, Foster's music and lyrics evolved to use white, middle-class American English to present sympathetic portrayals of people who were suffering in slavery. He also made attempts to replace the dialect in his earlier songs with verses in standard English.

Above text is internet history from several sources and may be true.

Lyrics:

chorus:
Oh, Susanna!
Oh, don't you cry for me
For I come from Alabama
With a banjo on my knee

verses:
I come from Alabama
With my banjo on my knee
I'm goin' to Louisiana
My true love for to see

It rained all night the day I left
The weather it was dry
The sun so hot I froze to death
Susanna, don't you cry

I had a dream the other night
When everything was still
I thought I saw Susanna
A-coming up the hill

A buckwheat cake was in het mouth
A tear was in her eye
I said, "I come from Dixie land
Susanna, don't you cry"

I soon will be in New Orleans
And then I'll look around
And when I find Susanna
I'll fall upon the ground

But if I do not find her
I will surely die
And when I'm dead and buried
Susanna, don't you cry

The song recording has banjo stereo overdubs and my 69 Martin 00-21. The phasing wave sound is an effect added to banjo.

JTSunrise

Oh Susanna (Rhythm ‘n Melody)

I love a good man outside the law, just as much as I hate a bad man inside the law,” Woody Guthrie once wrote on a lyric sheet for his song “Pretty Boy Floyd.”

The tale of Charles Arthur “Pretty Boy” Floyd must have appealed to Guthrie. Floyd was an Oklahoma native who turned to bank robbing and violence in the 1920s as the country faced economic difficulty.

Floyd’s exploits were well known during the era, and Guthrie, eight years younger than Floyd, would have likely followed the outlaw’s story in newspapers and local gossip.

By the time Guthrie wrote his outlaw ballad in 1939, Pretty Boy Floyd had been dead some five years, though his story must have seemed as relevant to Guthrie as other topical subjects like the Grand Coulee Dam or the USS Reuben James.

Guthrie turns Floyd’s story into a Robin Hood tale of good versus evil. A thief steals from the rich banker to give to the poor farmer, though one finds little evidence to support this benevolent version of the real Pretty Boy Floyd.

Floyd was best known for his part in the June 1933 Kansas City Massacre, a scheme to free the prisoner Frank Nash, who was arriving in Kansas City in FBI custody by train from Hot Springs, Arkansas. Floyd and his cohorts opened fire as FBI agents and police officers escorted Nash from Union Station to a car parked out front, in the end killing several agents as well as Nash.

By 1933, the 29-year-old Floyd was already a fugitive from the law, wanted for a St. Louis highway robbery and an Ohio bank robbery, among other crimes. He had arrived in Kansas City by way of escaping transport to the Ohio State Penitentiary.

Guthrie completely washes over Floyd’s criminology report. In Guthrie’s telling, Floyd simply beats-down a rude deputy then is wrongfully accused of “every crime in Oklahoma”.

The song contains one of Guthrie’s most famous lines on the subject of crime and money: “Yes, as through this world I’ve wandered/I’ve seen lots of funny men/Some will rob you with a six-gun/And some with a fountain pen.”

Another notable version of “Pretty Boy Floyd” was cut by The Byrds for their 1968 album, Sweetheart of the Rodeo. The song was recorded in Nashville in March of that year with John Hartford on banjo.

Pretty Boy Floyd has continued to be a subject of fascination in popular culture, with portrayals in numerous gangster films, most recently in the Johnny Depp-helmed Public Enemies.

“Pretty Boy Floyd”

If you’ll gather ’round me, children,
A story I will tell
‘Bout Pretty Boy Floyd, an outlaw,
Oklahoma knew him well.

It was in the town of Shawnee,
A Saturday afternoon,
His wife beside him in his wagon
As into town they rode.

There a deputy sheriff approached him
In a manner rather rude,
Vulgar words of anger,
An’ his wife she overheard.

Pretty Boy grabbed a log chain,
And the deputy grabbed his gun;
In the fight that followed
He laid that deputy down.

Then he took to the trees and timber
To live a life of shame;
Every crime in Oklahoma
Was added to his name.

But a many a starving farmer
The same old story told
How the outlaw paid their mortgage
And saved their little homes.

Others tell you ’bout a stranger
That come to beg a meal,
Underneath his napkin
Left a thousand dollar bill.

It was in Oklahoma City,
It was on a Christmas Day,
There was a whole car load of groceries
Come with a note to say:

Well, you say that I’m an outlaw,
You say that I’m a thief.
Here’s a Christmas dinner
For the families on relief.

Yes, as through this world I’ve wandered
I’ve seen lots of funny men;
Some will rob you with a six-gun,
And some with a fountain pen.

And as through your life you travel,
Yes, as through your life you roam,
You won’t never see an outlaw
Drive a family from their home.

Cover Photo: FBI wanted poster
Lyrics: Written by Woody Guthrie
Text: Internet fodder cut ‘n paste
Music: Rendition in open D on slide tri-cone brass bell resonator by JTS

Pretty Boy Floyd (Duck 'n Cover)

May the road rise up to meet you
May the winds be always at your back
May the sun shine warm upon your face
May the rains fall soft upon your fields
Until we meet again may he hold you in his hand
May God hold you in the palm of his hand
Until we meet again may he hold you in his hand
May God hold you in the palm of his hand
In the palm of his hand
In the palm of his hand
In the palm of his hand

Originally written in the Irish language, the prayer – the author is unknown – has three main images, namely wind, sun, and rain.

The reference to the wind is thought to be a reference to the Holy Spirit, who came as a “mighty wind” at Pentecost.

This is my end of set song JTS

MTRRUTMU (Duck ‘n Cover)

I was in the parlor with Mrs. Sunrise, singing an old-time tune about a beautiful harvest moon, when it all ended. It ended too soon.

"Kentucky Waltz" is a 1946 song written and performed by Bill Monroe. The song was Bill Monroe's most successful release on the Country & Western charts peaking at number three. In 1951 Eddy Arnold recorded his version of the song which reached number one on the Country & Western Best Seller charts.

The Kentucky Waltz is a true love song for me to sing to and with my lovely bride, but who was it about for the one who made it? 

William “Bill” Smith Monroe, the youngest of eight children was born on September 13, 1911 in  Rosine, Kentucky to James Buchanan “Buck” Monroe, a prosperous farmer who also ran timber and mining operations, and Malissa Monroe, who kept house and helped pass along dance steps and British-American folksongs to her children.

There’s more than a few women that come up in the story of Bill Monroe’s later life. Notably, Carolyn Brown, Bill’s first wife who inspired the song “Along About Daybreak” after stabbing Bill in the leg with an ice pick. Or the infamous mistress Bessie Lee Mauldin. As a long standing Bluegrass Boy bassist, her relationship with Bill allegedly bore an “illegitimate” child, if there can be such - I think not. You may know their daughter as “Little Georgia Rose”. Another story is that Wanda Huff once accused Bill Monroe of cheating and asked him to swear on a Bible that he hadn’t, Bill allegedly beat her silly with that same Bible. However, the case was dismissed after it came to light Wanda had threatened Bill’s life and a gun was found in her truck.

So maybe Bill didn’t have the best love life, if only he could go back to a simpler time. Spoiler Warning. Oh wait, you’re supposed to put that before you say the spoiler.

See before Bill met Carolyn, Bessie, or Wanda there was another love. A woman he met right in his hometown of Rosine, Kentucky. A woman that he shared some special moments with. Maybe he was playing a dance with Uncle Pen and he set out on a tune so he could dance with her:

“We were waltzing that night in Kentucky
Beneath the beautiful harvest moon
And I was the boy that was lucky
But it all ended too soon...”

Just like Bill says in that last line, it didn’t work out between them. Which sent him down a path of failed relationships as far as the eye can see. If only he had some kind of time travelling mandolin.

Oh wait, he did have a time travelling mandolin. Yup, Bill Monroe’s prized 1923 Gibson F-5 Lloyd Loar serial number 73987 was a time machine. Bill Monroe purchased the famed mandolin in October of 1943 from a barbershop in Florida. From that moment forward you can think of Bill Monroe as Marty McFly and Llyod Loar as Doc Brown. 

Monroe's last performance occurred on March 15, 1996. He ended his touring and playing career in April, following a stroke. Monroe died on September 9, 1996, in Springfield, Tennessee, four days before his 85th birthday.

The above is cut ‘n paste internet folklore about the father of American bluegrass, but one thing I know is true is that I botched this sweet little recording of Mrs. Sunrise and me during editing and somehow deleted most of the song. But maybe that’s just how it was meant to be. It most certainly all ends too soon. JT

Kentucky Fried Waltz, It All Ended Too Soon (Duck ‘n Cover)

I Get The Blues, Inspired by Tuba Skinny and Bo Carter:

 [C/G] Baby I'm so blue, so blue about you [A/A7] sweet thing ‘Cause your [D7] lovin' [G7], so soft and [C/G] warm 
When I get the deep blues down in my [A/A7] heart sweet babe
‘Cause I'm [D7] many miles [G7] from your lovin' [C/G] home
Now, listen here sweet baby, [C7/G] now please listen to me [F] 
I know that your lovin' is the [D7] best I’ve ever [G7] seen [C/G]  And I get so blue, so blue about you [A/A7] sweet babe ‘Cause your [D7] lovin' [G7] is so soft and [C/G] warm

C/G, A/A7, D7, G7, C/G
C7, F, D7, G7
C/G, A/A7, D7, G7, C/G
 Baby I'm so blue, still think about you sweet babe 'Cause your love is so soft and warm
When I get the blues deep down in my heart sweet babe
Because I'm so many miles from your lovin' home Now, listen here sweet baby, I really can't understand Thinkin' 'bout your lovin' mixed with some other man
And I get so blue, so blue about you sweet thing 'Cause your love is so soft and warm

Carter recorded the song in 1935. After making his recording debut in 1928 backing Alec Johnson, he became a prominent musician of the American blues era, recording 110 songs. He also played with and managed his family’s band, the Mississippi Sheiks, and several other acts. He and the Sheiks often performed for whites, playing the pop hits of the day and white-oriented dance music, as well as for blacks, playing the blues.

Carter went partly blind during the 1930s. He settled in Glen Allan, Mississippi, and despite his vision problems did some farming and continued to play music and perform, sometimes with his brothers. He moved to Memphis, Tennessee in the 1940s and worked outside the music industry 

Carter had strokes and died of a cerebral hemorrhage at Shelby County Hospital, in Memphis, Tennessee on September 21, 1964. He is buried in Nitta Yuma Cemetery, Sharkey County, Mississippi.

The above information about Carter was obtained from the internet and may be true.

This song is a string band overdub with my 1950 Hopf gut string, 69 Martin 00-21, banjo on the bounce, slide solo on uke, and some single note backing on my tricone resonator. The gut string is being pick strummed for percussion and it’s the first time I used a pick on a guitar in probably a decade. A finger tap on the tambourine and some shaker as well.  

JTSunrise

I Get The Blues “I’m So Blue” (Duck 'n Cover)

This song was first archived in 1906 by an English professor at the University of Missouri who joined a club that collected old folk songs.  The Carter Family wasn’t the first to record it, but they were the folks that made it famous.

This ballad was popularized mainly by the Carter Family who recorded it on Victor 21074 in 1927; and later on Bluebird B-6053 in 1935. They also recorded a remake of the song “Answer to Weeping Willow” on Decca 5234 in 1936.

The song was recorded by many of the early country artists including Burnett; Rutherford; Riley Puckett; Delmore Brothers; Lily Brothers, and the Monroe Brothers in 1937. Since then it has remained popular in bluegrass after being covered by Kingston Trio and later by Skaggs and Rice.

Text above information is from several internet sources and may be true.

Willow tree folk art painting is available from Matteson Art: http://www.mattesonart.com/bury-me-beneath-the-willow-product.aspx

This song has every alternating bass sideshow guitar gimmick I could do including numerous scale ramps and ends into shave and a haircut and two bits, and with two more bits with the uke at the far end of the track. Hopefully a bluegrass picker will think that’s funny some day. Also this is my first song recording playing the church organ.  

JTSunrise

Bury Me Under the Weeping Willow (Duck 'n Cover)

A home-cooked low-fi studio interpretation of The Lucky Numbers song in my reposts put to a ragtime blues chord progression. Check out “The Lucky Numbers” “Six Feet Down” video on YouTube, they kill this song, literally: https://youtu.be/02ZommgMUZo

The Lucky Numbers lyrics put into the same classic traditional ragtime 116bmp 2/2 (duple)chord progression as “Laughing When I’m Six Feet Down” by Tuba Skinny, also in reposts. I altered the syncopation snd the lyrics as follows:

Lyrics by Joslyn Crosby of The Lucky Numbers:

[F/C] Holy Roller, rolling [Bm] down the line
[F/C] He gets his before I [C] get mine
[F/C] And I see him smiling as he [Bm] drives the nail in
Oh [F] Lord I'm [C] six feet [F] down

[C7] Lady Luck, she's the [F] chosen one
But she [A7] takes far more than she [Dm] gives to [Bm] some
And I [F/C] hear her laughing as she [D] drives the nail in
Oh [G] Lord I'm [C] six feet [F] down

[F/C] White Lightning, [Bm] brightens up the sky
[F/C] Firewater, now he's [C] at my side
[F/C] And I see his eyes shine as he [Bm] drives the nail in
Oh [F] Lord I'm [C] six feet [F] down

[C7] Stardust shows me all the [F] sounds she brings
[A7] Sirens passing are the [Dm] songs she [Bm] sings
I [F/C] feel her heartbeat as she [D] drives the nail in
Oh [G] Lord I'm [C] six feet [F] down

[F/C] [Bm] 
[F/C] [C] 
[F/C] [Bm] 
[F] [C] [F]

[C7] [F] 
[A7] [Dm] [Bm]
[F/C] [D]
[G] [C] [F] 

[F/C] Holy Roller, rolling [Bm] down the line
[F/C] He gets his before I [C] get mine
[F/C] And I see him smiling as he [Bm] drives the nail in
Oh [F] Lord I'm [C] six feet [F] down

[C7] Stardust shows me all the [F] sounds she brings
[A7] Sirens passing are the [Dm] songs she [Bm] sings
I [F/C] fear her heartbeat as she [D] drives the nail in
Oh [G] Lord I'm [C] six feet [F] down

[F/C] [Bm] 
[F/C] [C] 
[F/C] [Bm] 
[F] [C] [F]

Yes [G] Lord I'm [C] six feet [F] down

Have you ever wondered why and when human beings saw it was fit to bury their loved ones 6-feet down?

Since this standardized burial depth is measured in Imperial British feet, the theory in most publications suggests that the 1665 bubonic plague in England is the source of this standard depth.

The plague allegedly forced the Mayor of London to set standard burial depth regulations to control the disease. 

This proposition is supported by a pamphlet titled, 'Orders Conceived and Published by the Lord Mayor and Aldermen of the City of London Concerning the Infection of the Plague'. 

This publication had a section that read "Burial of the Dead" with words directing, '...all the Graves shall be at least 6-foot deep.'

However, there are other reasons why it is advisable to dig a grave to this depth. 

Safety due to the possible collapse of the grave, the average height of gravediggers and prevention of theft are other factors necessitating this consideration.

Additionally, there is a folklore that demanded that a man had to be burried as deep as his height. The fact that average height is six feet made most graves to be this deep.

Cover Art: Cropped Image Area of 1933 World’s Fair Promotional Poster
Author of text about the plague: Nyamu Wa Mwombe
Music: JTS, 1950 Hopf Gut String, 1969 Martin 00-21, Gold Tone Micro Bass, Mastertone Banjo, Ukele, Wood Frog Guiro Rasp, Siren sample recording, defibrillating heart beat sample recording, EKG Monitor and Flatline Beep. Lights out after that ;)

JTSunrise

Oh Lord I’m Six Feet Down (Century of Progress)

Crow Jane has roots in the Piedmont (North and South Carolina, Virginia)and the song is known to have been a favorite among American bluesmen. Early versions can be traced to the Greenville, SC area and was in the repertoire of Greenville bluemen Blind Willie Walker and Rev. Gary Davis both born in 1896.

Other Piedmont bluesmen such as Josh White did the song as "Blood Red River" in 1933 and Blind Boy Fuller as "Bye Bye Baby Blues" in 1937. It's also been done by John Cephas (Cephas and Wiggins) and Skip James. Sonny Terry and Brownie McGhee later did versions.

Crow Jane Blues was first recorded in 1927 for Victor by Julius Daniels (b. November 20, 1901 in Denmark, South Carolina; d. October 18, 1947), a Piedmont bluesman originally from Greenville, SC. His song "99 Year Blues" appeared on the box set Anthology of American Folk Music and his "Can't Put the Bridal on this Mule," an early version of "This Morning, This evening Right Now" are important contributions to old-time country blues genre.

JTSunrise Version:

Crow Jane, Crow Janie, Crow Jane
You didn’t need to hold your head so high
But its ok baby you knew you were gonna die
They shot her down with a .44 ball
They shot Crow Jane just to watch her fall
That's the reason I begged Crow Jane
Not to hold her head so high
But it’s okay babe, you know sometimes you just gotta die 

They dug her grave eight feet in the ground
They didn’t feel sorry ‘til they laid their Crow Jane down
It’s the reason they begged Crow Jane to hold her head so high
But somedays baby they just need somebody die 
who will hold their head up high

They led her ‘round on a golden chain
And with every link they cried out Crow Jane's name
She never missed her water ‘till her well ran dry
They never missed Crow Jane ‘till the day she died
That's the reason they begged Crow Jane to hold her head so high
But it’s okay babe you know sometimes you just gotta die

They dug her grave eight feet in the ground
They didn’t feel sorry ‘til they laid their Crow Jane down
It’s the reason they begged Crow Jane to hold her head so high
But somedays baby they just need to see somebody die 
who will hold their head up high

Cover Art: Cropped area of promotion poster for 1933 Chicago World’s Fair. Note the headdress of the siren.
In Greek mythology, sirens were dangerous creatures who lured nearby sailors with their enchanting music and singing voices to shipwreck on the rocky coast of their island. It is said that they can charm the winds.

Song recording has 1950 Hopf gut string parlor guitar, tricone resonator guitar, and uke.

JTSunrise

Crow Jane (Century of Progress)

Biscuit Roller

The blues is loaded with culinary references to sex - this is a form of signifying, which is the use of innuendo and doubletalk that is understood by members of one’s community. Countless blues lyrics use metaphor and innuendo to allow the singer to brag about physical attributes and sexual prowess, and state all kinds of desires, without uttering a single profane or off-color word. That’s good signifying. 

it takes bit of imagination for a delicate flaky biscuit dripping with butter and honey to become a metaphor for a delectable woman, and her skillful lover who is called a biscuit roller.

A biscuit roller can be male or female, though, as evidenced by Robert Johnson’s lyric from “If I Had Possession Over Judgment Day”:

“I rolled and I tumbled and I cried the whole night long
Boy I woke up this morning, my biscuit roller gone”

Biscuit Blues Songs:
“Biscuit Roller Blues”- Kokomo Arnold (James Arnold)
“If I Had Possession Over Judgment Day”- Robert Johnson
“Big Mama’s Door”- Alvin Youngblood Hart

Cover Art: U.S. #729 1933 3¢ Century of Progress Issue Date: May 25, 1933 First City: Chicago, IL Quantity Issued: 480239300
Text: “The Language of the Blues” Debra Devi 
Song: JTS, Open D - Capo 5 (High Open G) Pinky Slide on Brass Bell Tricone Resonator Guitar, Three Fingers and the Truth
Full Band Song, “Son of a Biscuit Roller”: https://soundcloud.app.goo.gl/H19otF7gwytzyLEG9

Biscuit Roller (Century of Progress)

This is the offspring of prior “Biscuit Roller” with string band added - a slow build to the big hillbilly porch stomp.  

See “Biscuit Roller” for description: https://soundcloud.app.goo.gl/bxFqD9Lo31WdXtcXA 

JTSUNRISE

Son of a Biscuit Roller (Century of Progress)

Psychobilly version of a ho-down classic. JTSunrise

Keep On The Sunny Side (Century of Progress)

Until We Meet Again (Century of Progress)

"Going to Germany" “Goin’ to German” “Goin’ to Germa”

When Gus Cannon (blues banjo legend) Noah Lewis (blues harmonica legend) and the 'Jug Stompers' recorded this song in 1929 the record was titled 'Going to Germany' but they sang it "I'm goin' ta German". 

In my version, the phrase “going to German” is a historical reference to the on January 8–10, 1811 German Coast Uprising, the largest slave insurgency in US history, which is what I believe Cannon intended.

The blues provides an undertone way to protest oppression and a blues song that can still be heard over 90 years later can still be relevant today.

Jug Stompers 1929 original version: https://soundcloud.app.goo.gl/EGtavui9wyhK152m8

The German Coast was a region of early Louisiana settlement located above New Orleans, and on the west bank of the Mississippi River. It was largely settled by German immigrants.  Four slave-holding plantations were developed along this coast.

The 1811 Uprising gathered an estimated 500 slaves from plantations along the River Road and marched toward New Orleans. The insurgents killed two white men. The local militia was called out. Confrontations with militia and subsequent executions killed 95 slaves.

There was also a common reality of executions, imprisonment and enforcement fines from Jim Crow laws after Reconstruction. Jim Crow laws were a collection of state and local statutes that legalized racial segregation. Named after a minstrel show character, the laws existed for about 100 years, from the post-Civil War until 1968. Laws were lethally enforced to marginalize African Americans. Denying them the right to vote, hold jobs, get an education or other opportunities. Those who attempted to defy Jim Crow laws faced arrest, fines, jail sentences, violence and death.

In the song, the storyteller is considering collateral retaliation against the authorities while being mindful of severe punishment not only to himself but also to members of his community if he does something violent in retribution. Going to German is a way to pause to remember what happened to those who lost their lives fighting authoritarian injustice before retaliating. I believe “get away from my window” is a reference to self-isolation when Jim Crow was after the storytelling fugitive, because anyone associated with the fugitive would also be subject to severe punishment. Turning-in oneself to face the severity of Jim Crow punishment for whatever race crime was committed was the stoic option for the storyteller, but only after going to German to pray and think about it.

On the 1929 song, Cannon played a five-string banjo. His and most other early banjo playing styles was not like the modern country and bluegrass styles we know today. It had more in common with the playing of jazz musicians like Johnny St. Cyr who favored the tenor banjo or six-string banjguitar that is still used in New Orleans Traditional Music in a syncopated strum or pinch playing style correlated to the treble rhythm of the song opposite of the alternating bass note to create a bounce in the tune. A banjo is a drum with strings and can be played as such.

If you play old-time music and live near Seattle, or if you are visiting the PNW and want to play in an old-time parlor band with Banjo Tony (bandmate) and me please let me know.

JTSunrise version [G, C, D]

I'm goin' to German, might back some ol' day I'm goin' to German, might be back some ol' day Goin’ to German Mississippi
I might be back some ol' day

Get f'm my window; stop knockin' on my door  Get f'm my window; stop knockin' on my door Get f’m my window woman, ain’t got no woman no more

When you’s in trouble, I worked an' paid yo' fine When you’s in trouble, I worked an' paid yo' fine
Now I'm trouble babe, but you won’t be payn’ mine

Break

I went to German, I got down on my knees and prayed 
I went to German, I got down on my knees and prayed I went to German Mississippi, and now I’m back today 

JTSunrise

Going To German Mississippi (Century of Progress)

Texas Time Travel Dance Hall Days by JTSunrise

Stand in line
Extend a hand
Choose your partner
Now circle left
Allemande left
Do si do
Swing your partner 
Right and left grand
Promenade, swinging left
Roll away, now half sashay
Ladies In, now men sashay
Pass thru, separate and go
Weave the ring
Box the gnat
Wrong way grand
Now circle left
Promenade
Now half sashay
Roll away
Now promenade
Allemande left
Wrong way grand
Ladies in 
Naw all go home


12 Basic Calls for Square Dancing:

1. Circle Left: 
All eight dancers join hands and walk in a left circle.

2. Allemande Left: 
Everyone face their corner, take a left forearm with their corner and circles around until they are facing their partners again, Drop arms. 

3. Do Si Do: 
Face your partner, step past each other passing right shoulders and without turning around step back to back then back up passing left shoulders until you are in front of your partner again. 

4. Right and Left Grand: 
Everyone face their partner, and taking right hands, walk past each other, then alternate hands with the people that come to you, until you meet your partner. Stop when you come to your partner. 

5. Promenade: 
Couples in a skater's position, men on the ladies left side, and slightly behind her, take hands and walk together in a counter clockwise circle until you reach your home position. (Starting Position) 

6. Swing: 
Couples in a ballroom dance position, circling in a clockwise direction a full 360 degrees or until facing the line of dance. Man twirls the lady under his arm to finish the swing. 

7. Roll Away To A Half Sashay: 
Men will basically just help the ladies roll in front of them to get to his other side. Starting and ending in a handholding circle. 

8. Ladies In, Men Sashay: 
Ladies will into the center, curtsy and yell "Whoo" At the same time, the men will walk to the left to get on the other side of the woman. Women back out, so everyone is in a hand holding circle again. 

9. Pass Thru, Separate And Go Home: 
Heads, (or sides) pass the person in front of you, passing on your right, turn your back to your partner and then walk around the other couple until you get to your home (starting position) 

10. Weave The Ring: 
Everyone face their partner and walk forward in a circle formation passing each other with alternating shoulders, starting with the right. Stop when you get to your partner. 
(just like right and left grand, but with no hands) 

11. Box The Gnat: 
Take right hands with your partner. Man go behind the woman while she is turning left under his arm and end up facing the opposite direction. Never letting go of hands. (like a jitterbug) 

12. Wrong Way Grand: 
Just like the right and left grand except going the other way. 

For all Things Square Dancing, visit Dale Hoppers at: www.callerdale.com.
Image: 1958 square dancing calendar, Texas Time Travel - Twin Sisters Dance Hall https://texastimetravel.com/directory/twin-sisters-dance-hall/
Music: JTSunrise mucho gloriouso string band orchestra

Dance Hall Days (Country Gentleman)

String band version of (Going to German Mississippi). For solo version see: https://soundcloud.app.goo.gl/Fd9PdPa7rnn1Vv7p9

Cover Art: Cropped area of promotion poster for 1933 Chicago World’s Fair. 

Chicago's "I Will" Motto: the figure depicted and the words “I Will” represent a rival or alternative to Chicago’s official motto “Urbs in Horto” (City in a Garden), which was adopted in 1837. The figure and slogan were dreamed up by Chicago artist Charles Holloway, who was the first-place winner in an 1891 contest sponsored by The Chicago Inter Ocean newspaper. Some three hundred artists submitted entries, and Holloway’s entry of a goddess figure suited for battle came out on top. Reflecting her defiant attitude, she wore a breastplate that reads "I Will." With her crown depicting a phoenix rising from the flames, she also seems to symbolize the resolve of Chicago to rise from the ashes of the Great Chicago Fire, which destroyed much of the city just 20 years before the Inter Ocean contest. For his inspired creation, Holloway was awarded $200 (about $6,000 today).

Song recording has Martin 00-21 parlor guitar, tricone resonator guitar, banjo, harmonica, jaw harp, tambourine, spoons, and shaker,

May the road rise up to meet you,

JTSunrise

Going to Germa (Century of Progress)

Fire On The Mountain - JTS Stringband Version

[C/G] Took my fam'ly from our [G] Carolina home 
Had [Am] dreams about the West and [F] started to roam 
[C/G] Six long months on a [G] dust covered trail 
They say [Am] heaven's at the end but so [F] far it's just been hell 
And there's [C] fire on the mountain, [G] lightnin' in the air 
O’ there’ [Dm] gold in those hills and it's [F] waitin' for us [Am] there 

F, Am, F, C

[C/G] Now were diggin' and siftin' from [G] morinin’ to night
Sellin' [Am] everything we own just to [F] stay alive
Blood [C/G] flows free as [G] whiskey in the bars
[Am] Sinnin' is the winnin babe and [F] the devils are the stars
And there's [C] fire on the mountain, [G] lightnin' in the air 
[Dm] Gold in those hills and it's [F] waitin' for us [Am] there 

[C/G] Those dance hall girls they are the evenin's [G] treat
And Empty [Am] cartridges and blood line the [F] gutters of the streets
[C/G] where Men are shot down down for the [G] sake of fun [Am] just to hear the sound of their [F] six-shoot’n guns
And there's [C] fire on the mountain, [G] lightnin' in the air 
[Dm] Gold in those hills and it's [F] waitin' for us [Am] there 

C, G, Am, F
C, G, Am, F
C, G, Dm, Am, F, C

[C/G] Now my widow she [G] weeps at my grave
And Her [Am] tears flow like blood from the [F] man she couldn't save
[C/G] Shot down dead by a [G] gun that carried fame
All for a [Am] useless and no [F] good worthless claim
And there's [C] fire on the mountain, [G] lightnin' in the air 
[Dm] Gold in those hills and it's [F] waitin' for us [Am] there 

[C] fire on the mountain, [G] lightnin' in the air 
[Dm] Gold in those hills and it's [F] waitin' for us [Am] there
[C] fire on the mountain, [G] lightnin' in the air 
[Dm] Gold in those hills and it's [F] still waitin' for us [Fm] there 

George McCorkle was a founding member and guitarist for the Marshall Tucker Band. He wrote "Fire on the Mountain", the band's first top 40 hit, though had hoped that Charlie Daniels would record the song. He left the band in 1984 and later worked as a songwriter. He released a solo album, American Street, in 1999. The song was originally recorded by the band on their 1975 album, Searchin' for a Rainbow, and released as the album's first single. It peaked at number 38 on the Billboard Hot 100.

JTS did this song for a useless and no good worthless claim with the JTS Mostly Good String Band.

May the road rise up to meet you.

Cover Art: Fire on the Mountain by Meg Goff https://fineartamerica.com/profiles/meg-goff

Fire On The Mountain (Country Gentleman)

Basic marketing terms:

- Lead. Leads are potential buyers who have engaged with a brand in the past and are likely to make a purchase in the future.
- Content. Content is any piece of information that's created to be viewed by an audience. ...
- Infographic. Infographic images tell a story.
- Analytics. Analytics are specific, measurable, realistic, and time bound measurements of market impact 
- Brand. Brands are identifiable 
- Buyer persona. Buyer personas can be demographic or situational customer demand interests.
- Call to action (CTA). CTAs are when you get two for the price of one, but only for a limited time.
- Customer journey. Ask the Marlboro Man what this means.
- “Soylent Green is People” AKA the buyers remorse of Charlton Heston:

Story Plot:
By 2022, the cumulative effects of overpopulation, pollution and an apparent climate catastrophe have caused severe worldwide shortages of food, water and housing. In New York City alone, there are 40 million people, and only the city's elite can afford spacious apartments, clean water, and natural food. The homes of the elite are fortified, with private security and bodyguards for their tenants. Property includes concubines (who are referred to as "furniture") and serve tenants as slaves to their masters. The poor live in squalor, haul water from communal spigots, and eat highly processed wafers: "Soylent Red," "Soylent Yellow," and the latest product in the Soylent brand, the far more flavorful and nutritious, "Soylent Green”.

JTSUNRISE

Economy Royale (Country Gentleman)

Chain Of Command (Century of Progress)

The song Saturday Satan, Sunday Saint was written by Wayne Walker and was first recorded and released by Ernest Tubb in 1969. 

Saturday Satan, Sunday saint
Foolin' your neighbors
That's what you think
Readin' the good book
Singin' the hymns
Come Monday morning and it's back to a life of sin

Old brother Brown
All week he steals
Tells everyone
His big business deals
The deacon walks by
A dollar hits the plate
Tryin' to buy himself a ticket to the pearly gates

Old sister Rose
In the very first row
Been a-sittin' right there
Twenty years or so
Never hears a word
When the preacher speaks
Too busy talkin' bout the bad girls down the street

Saturday Satan, Sunday saint
Foolin' your neighbors
That’s all that you think
Readin' that good book
And singin' those hymns
Come Monday mornin' and it's back to a life of sin
Come Monday mornin' and it's back to a life of sin

The seventh day of the week in many religious traditions, and the sixth day of the week in systems using the ISO 8601 norm; the Biblical seventh day of the week, observed as Sabbath or "Day of Rest"; it follows Friday and precedes Sunday.

Saturday Etymology: sæterndæg, from Sætern, from Saturnus, possibly from Etruscan, + dæg; a translation of dies Saturni. All I know is Monday morning it’s back to a life of sin. JTS

Saturday Satan Sunday Saint (Country Gentleman)

Five men who appeared in Marlboro-related advertisements — Wayne McLaren, David McLean, Dick Hammer, Eric Lawson and Jerome Edward Jackson, aka Tobin Jackson — died of smoking-related diseases, thus earning Marlboro cigarettes, specifically Marlboro Reds, the nickname "cowboy killers".

Eric Lawson, who appeared in Marlboro print ads from 1978 to 1981, died at the age of 72 on January 10, 2014, of respiratory failure due to chronic obstructive pulmonary disease, or COPD. A smoker since age 14, Lawson later appeared in an anti-smoking commercial that parodied the Marlboro Man, and also in an Entertainment Tonight segment to discuss the negative effects of smoking.
.

Mustache Wisdom (Country Gentleman)

The traditional “Wayfaring Stranger” has been at the foundation of North American music for at least two centuries, its origin is unknown.

Some historians have traced its genesis to the 1780s, others, the early 1800s. Depending on who you’re talking to the song may be a reworked Black spiritual, a lifted native hymn, or even a creation of nomadic Portuguese settlers from the southern Appalachian region.

According to the book The Makers of the Sacred Harp, by David Warren Steel and Richard H. Hulan, the lyrics were published in 1858 in Joseph Bever's Christian Songster, which was a collection of popular hymns and spiritual songs of the time. This may or may not have been the first time the song appeared in English print, and the songwriter is unknown. Steel and Hulan suggest the song was derived from an 1816 German-language hymn, "Ich bin ja nur ein Gast auf Erden" by Isaac Niswander.

During and for several years after the American Civil War, the lyrics were known as the Libby Prison Hymn. This was because the words had been inscribed by a dying Union soldier incarcerated in Libby Prison, a warehouse converted to a notorious Confederate prison in Richmond, Virginia known for its adverse conditions and high death rate. It had been believed that the dying soldier had authored the song to comfort a disabled soldier, but this was not the case since it had been published several years before the Civil War in 1858, before Libby Prison was put into service (1862).

Members of the Western Writers of America chose it as one of the Top 100 Western songs of all time.

[Intro]
Am  Dm  E  Am

[Verse]
Am
I'm just a poor

Wayfaring stranger
             Dm
Travelling through
             Am
This world below

There is no sickness

No toil, nor danger
                Dm
In that bright land
E           Am
 To which I go


[Chorus]
            F
I'm going there
           C
To see my father
            F
And all my loved ones
            E  E7 E
Who've gone on
          Am
I'm just going over Jordan
         Dm  E       Am
I'm just going over home


[Instrumental]
Am  Dm  E  Am      Am  Dm  E  Am


[Verse]
Am
I know dark clouds

Will gather round me
          Dm
I know my way
             Am
Is hard and steep

But beauteous fields

Arise before me
              Dm
Where God's redeemed
E             Am
Their vigils keep


[Chorus]
            F
I'm going there
           C
To see my mother
                F
She said she'd meet me
        E  E7 E
When I come
          Am
I'm just going over Jordan
         Dm  E       Am
I'm just going over home
          Am
I'm just going over Jordan
         Dm  E       Am
I'm just going over home...

Low-fi overdub with my Martin 00-21 guitar, gold tone micro bass, banjo, uke, mandolin, jaw harp and harmonica. JTSUNRISE

Wayfaring Stranger (Mr. Saturday Night)

JTSunrise cover of “The Tigers Have Spoken”, the title track of a 2004 live album by Neko Case. The album was recorded at several live shows in Chicago and Toronto in the spring of 2004. Neko's backing band featured The Sadies and Jon Rauhouse. 

“Let's champion the tiger 'cause. You know, I think that maybe I wrote this song for many reasons But I was telling them earlier, I was in a cab in Toronto the other day And the CBC was on and they were talking to a lady Who specializes in animal husbandry And she takes care of the tigers at The Toronto Zoo. And they said "Well do you ever reintroduce the tigers?" And she goes "Well, no, because their habitat can't sustain them." And immediately I thought to myself 'There's so many extra children, we could just feed the children, to these tigers.' (Laughter) We don't need them. We're not doing anything with them. Tigers are, tigers are...
Noble!
Hungry!
Noble, and sleek Children are loud and messy I was one of those children If I were to become tiger food It would've been more noble than
Heavy!
Anyway Probably ruined the song for you now But we'll still play it for you anyway” 

They shot the tiger on his chain
In a field behind the cages
He walked in circles 'til he was crazy
And he lived that way forever
And he lived that way beside them
Separate from the other tigers
He did not know another tiger

They shot the tiger on his chain
In a field behind the cages
He walked in circles 'til he was crazy
And he lived that way forever
And he lived that way forever
Just as long as he could remember
If he'd wanted to remember 

It was the last time he had felt alive
When he saw that brown-haired lady
She fed him with a bottle as a baby
And he recalled her face and smile
They shot that tiger on his chain

They shot the tiger on his chain
They shot the tiger on his chain
They shot the tiger on his chain
They shot the tiger on his chain

Neko is also the Japanese word for cat. It can refer to actual cats or to characters in anime or manga that have catlike features. Specifically, the catgirl (a woman with cat ears, whiskers, and sometimes paws or a tail) is referred to as a neko. JTSUNRISE

The Tigers Have Spoken - He Shot The Tiger On Its Chain (Mr. Saturday Night)

Please See: https://on.soundcloud.com/VWjw9SVJycC6oQBQ7

They Shot The Tiger On His Chain (Mr. Saturday Night)

Gin Blossoms Cover.  Story about a time ago:

I lived in Tempe, AZ from 1987-92 where the Gin Blossoms originated. When I was 21 in 1989 I was able to see them play at Long Wongs. Before I turned 21 I listened to them in the street in front of the bar along Mill Ave with the other underage kids. Long Wongs was a chicken wing and beer joint with live music on Mill Ave. A fixture in Old Town Tempe. The Gin Blossoms  sometimes played at Long Wongs incognito as the “Del Montes” and played for about five hours straight and played old TV theme songs. Once I saw them with Elvis The Cat, a neighborhood street artist and overall character. Robin Wilson is also a truly kind man. He once set me up at an open mic at the Sun Club in Tempe around 1990 so I could sing a few songs for my girlfriend. That ended up being the girl I took to Seattle and married. Anyway, I never got to thank that Gin Blossoms singer as he became a rock star and I moved to Seattle with the girl. But all remains well to this day thanks to him.  JT

Follow You Down (Mr. Saturday Night)

Classic Americana/Rockabilly Song by Clint Lewis and James Hutchins. Recently re-done by Charlie Crockett. My version is based on an old folk tune.


[Verse 1]
Am              C
The flowers are wilted
Em
The preacher's gone
Am
And I'm let here jilted
G
On the church-house lawn

Am              C
Through the old graveyard
E
I'm gonna walk around
Am
And bury my heart
G
Where it won't be found


[Chorus]
F        C
Six foot under
F        Am7
Six foot under
F        C
Six foot under
G7                     C
Down in the cold, cold ground


[Verse 2]
Am            C
Like a fool i trusted
E
Your honey-like words
Am
Now my heart is broken
G
It's off with the birds

Am             C
In a deep deep hole
E
I'll vanish safe and sound
Am
Where you can't get to it
G
And kick it around


[Chorus]
F        C
Six foot under
F        Am7
Six foot under
F        C
Six foot under
G7                     C
Down in the cold, cold ground

Am C (X2)

[Chorus]
F        C
Six foot under
F        Am7
Six foot under
F        C
Six foot under
G7                     C
Down in the cold, cold ground

Six Foot Under (Mr. Saturday Night)

Americana guitar and banjo songs I play and record.
All music matters. JT

JTSunrise

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