Smoketown Strut: Sylvester Weaver’s Blues Pt. 2

Sylvester Weaver Photo

In part one we followed Sylvester Weaver’s career up through his April 1927 sessions. Up to that point Weaver had only sang lead on two numbers but in upcoming sessions would sing on several numbers. Weaver sang in a careful, deliberate manner which revealed a fine baritone. What wasn’t evident was his lyric ability which displays a wicked wit and some very imaginative an unusual imagery. I’ll be reprinting many of these lyrics and want to thank John M. and the folks at Weenie Campbell who have done a remarkable job transcribing Weaver’s lyrics.

One of Weaver’s duties for Okeh was apparently as talent scout. On April 27th April, 1927 he received the following Western Union cable from Tom Rockwell, OKeh’s Director of Recording:

Report with Jug-band as soon as possible.

Wire me Chase Hotel when you leave and if quartet and girls is coming.
T.G. Rockwell

It’s clear from this that Weaver was in charge of bringing talent to the OKeh studio in St. Louis for the session on April 29th and 30th. The jug band mentioned in the cable is Whistler and His Jug Band which had recorded for Gennet in 1924. The others taking part in the session were Helen Humes and the Kentucky Jubilee Four. The Kentucky Jubilee Four cut four religious sides on April 29th and Helen Humes made her debut the next day. Although Lonnie Johnson played on Humes’ two issued sides, Weaver may have played on the session too since one of the unissued titles is “Stomping Weaver’s Blues.”

On August 30th Weaver accompanied Sara Martin for the last time in New York on a four song session and the following day cut six solo sides, two of which were unissued. Martin’s sides are particularly strong and Weaver’s playing is as tasteful and inventive as we’ve come to be expect. “Black Hearse Blues” is a commanding performance with dark, unique lyrics:

Old dead wagon, don’t you dare stop at my door (2X)
You took my first three daddies, but you can’t have number four

Smallpox got my first man, booze killed number two (2X)
I wore out the last one but with this one, I ain’t through

Roll on, old black hearse, don’t you dare to stop (2X)
My man ain’t fit to die, he’s a special liquor cop

Low-down bone orchard, call your corpse cart back (2X)
My daddy’s engine still running on my double track

Black hearse, there ain’t no use, you sure can’t have my man
Black hearse, ain’t no use, you sure can’t have my man
I’m just using him up on the old installment plan

“Useless Blues” is sung in a lighter manner but showcases Martin singing from the viewpoint of a saucy, independent woman as she explains to her man:

Oh, hey, what’s that I heard you say?
Hey, what’s that I heard you say?
You are going away and leave me today

If you go away, and leave me today (2x)
Says, you can’t come back, so you had better stay

Uh, here’s a little lesson I want you to learn (2X)
That if you play with fire you are sure to get burned

Now, you know you used to love me just like a sheik (2X)
But now all you can do is to pat my cheek

So if you want to come back, papa, you’ve got to get some monkey glands (2X)
‘Cause I don’t want no cripple man hanging on my hands

Dad's blues Ad The following day Weaver cut four vocal numbers: the instrumentals “Soft Steel Piston” and “Off Center Blues” with the latter two numbers unissued and no copy of “Off Center Blues” found. “Soft Steel Piston” first surfaced in the 1970′s and like “Six String Banjo Piece”, no file information exists on this number. It was first issued on the album Folk Music In America Vol. 14 – Solo And Display Music part of a 15 LP Library of Congress series to celebrate the Bicentennial in 1976. Both numbers were likely provided titles by Dick Spottswood who compiled and wrote the notes for the series. “Soft Steel Piston” is lovely, gentle mid-tempo number featuring Hawaiian style slide with Weaver accompanied by guitarist Walter Beasley. “Dad’s Blues” is a beautiful twelve-bar blues as is “What Makes A Man Blue” with a musically similar approach. “Can’t Be Trusted Blues” is languorously sung blues as Weaver delivers menacing lyrics quite at odds with his mellow vocals:

I don’t love nobody, that’s my policy (2X)
I’ll tell the world that nobody can get along with me

I can’t be trusted, can’t be satisfied (2X)
The men all know it and pin their women to their side

I will sure back-bite you, gnaw you to the bone (2X)
I don’t mean maybe, I can’t let women alone

Pull down your windows and lock up all your doors (2X)
Got ways like the devil, papa’s skating on all fours

“Penitentiary Bound Blues” is another mellow number given an exceptional lonesome sounding vocal performance as Weaver really inhabits the persona of a prisoner resigned to his fate:

Thought I was goin’ to the workhouse, my heart was filled with strife (2X)
But I’m goin’ to the penitentiary, judge sentenced me for life

There’ll be rock walls around me, burnin’ sand below
There’ll be rock walls around me, burnin’ land below
There forever, got no other place to go

Goodbye, here’s the jailer with the key (2X)
Farewell to freedom, tain’t no use to pity me

Gonna get my number, four-eleven forty-four (2X)
Soon be an inmate, steel upon my door

Killed my triflin’ woman, folks, I done commit a crime (2X)
Nothin’ will release me but old Father Time

Weaver Ad 8504 Weaver was back in the studios for two sessions on November 26th and 27th. Walter Beasley appears alongside Weaver on all numbers and Helen Humes recorded eight numbers with the duo. In 1977 Jim O’Neal interviewed Humes (Living Blues No. 52, 1982) and she recalled Weaver and the circumstances behind these recordings:

LIVING BLUES: You made some records with Sylvester Weaver.

HELEN HUMES: Yes, he was the man, he had heard me play with a little band-we had a little Sunday school band and we would go out and play for little dances, you how, and play at the theater and what have you. And Mr. Weaver heard me and he brought Mr. Rockwell out to my house to hear me sing and play. I used to play the piano. So I played and sang for Mr. Rockwell, and he wanted me to come to St. Louis to make this tape. And so 1 went, he tool; my mother with me because I was a little young to travel by myself. So then after I made that, well, he wanted me to call my mother to ask her if I could join a show. And my mother told him no, I’d have to finish school first, and then after I finished school, than whatever I wanted to do, she would go along, you know, if it was something nice.

Was Sylvester Weaver involved with your work very much?

No, no, on that just that particular thing.

Did the producers or the A&R men give those songs to you, or did you have some songs already?

No, they gave ‘em to me. Yeah. There, boy, here I am, a little 14-year-old, singing Do What You Did Last Night, [Laughs] and If Papa Has Outside Lovin’, Mama Has Outside Lovin’ Too. You know I didn’t have that. [Laughs.] Yes

One year before her death Humes wrote writer Guido Van Rijn the following letter in response to an inquiry:

“We were playing a theater called The Palace, at 11th and Walnut and Mr. Weaver heard me, and came to me and introduced himself. I had heard of him, but had never met him before. He got my name, address and phone number, and the next time I saw him he was at my house Mr. Rockwell. He became very good friends with my mother and father, and when I made my second session in New York, my mother let me go with Mr. and Mrs. Weaver. He used to play the T.O.B.A. circuit and traveled the south. He was very well-known down there. …I’ve never heard no one say a bad thing about Mr. Weaver. All his Smoketown friends adored him. He was so nice + friendly and everybody in Ky. adored him.”

The Humes recordings are marked by some terrific backing from Weaver and Beasley who, free from vocal duties, lay down some exciting, dramatic accompaniment . While Humes sounds young, she possesses a strong, bright voice with clear diction and really sings these numbers with conviction. The lyrics to many are quite unusual and I assume it was probably Weaver who wrote the numbers. Take “Cross-Eyed Blues” for example:

Got one superstition, that’s the one I really prize (2X)
I don’t like nobody who’s got a pair of mean crossed eyes

Had a cross-eyed man, hateful as a man could be (2X)
Slept with his eyes open, always looking ‘cross at me

Gee, but he was ugly, eyed me every way I turn (2X)
I could feel him lookin’, Lordy, how his eyes did burn

Crossed eyes make me shiver, ’cause they’re evil, low and mean (2X)
Hateful as the Devil, queerest eyes I’ve ever seen

Folks who’s got them cross-eyes, says they see in vain
Folks who’s got them cross-eyes, things they see is always wrong
That’s why me and cross-eyes, never gonna get along

If I see a cross-eyed person I was about to meet (2X)
I’d just cross my fingers, then I’d walk across the street

“Alligator Blues” is a similarly strange and intriguing number with a cinematic quality:

Sleepin’ in the swamps last night, down in the Everglades (2X)
Woke and found the alligators ’bout to make a raid

Heard ‘em talkin’ softly, said, “We’re gonna have dark meat.” (2X)
Gee, their mouths did water, thought that they was gonna eat

My flesh commenced to crawlin’, my skin began to itch (2X)
It was time for travelin’, but the swamp was dark as sin

Soon the moon was shinin’ softly through the old cane brake (2X)
Got myself together for a dash I tried to make

The sweat it was a-popping, hair was standing on my head (2X)
I said, “Lord, have mercy, or that woman’s gonna be dead

“Alligator Blues” was advertised in the January 14th, 1928 Chicago Defender as the flipside to “Everybody Does It Now.” “Race Horse Blues” is a another humorous number featuring some exciting interplay between Weaver and Beasley and more marvelous wordplay; the third couplet’s a real gem:

Went down to the race track, with my money in my hand (2X)
Bet on Chocolate Puddin’, but he just an also-ran

On old Fleetfoot Suzy, I done and went and bet the most (2X)
She never did get started, the ponies left her at the post

Never seen a race horse like the one that broke my heart (2X)
Just a rippling has-been, he made my dough from me depart

Darn that lazy jockey, wouldn’t do what he was told (2X)
Now I’m in the barrel, sweet papa’s left in the cold

Bet on old Speeding Meter, sure thing and he couldn’t lose (2X)
Now I’m broke and busted and cryin’ with the race horse blues

Similar lyrical invention can be found in “Nappy Headed Blues” and the hilariously vivid “”Garlic Blues.” Weaver takes the vocals on six numbers including fine narrative blues like “Chitlin’ Rag Blues”, “Railroad Porter Blues”, the latter advertised in the Chicago Defender with its flipside “Polecat Blues”, and more striking lyricism in “Me And My Tapeworm” and “Devil Blues.” Dick Spottswood wrote the following regarding “Me And My Tapeworm:”

Polecat Blues 78 “This gourmand’s confession is one of several intriguing and previously undocumented recordings which have emerged from the CBS archives. No information in their extensive files revealed its existence; a sample pressing was made to determine what the music was. Though we are certain about the performers’ identities, the title of the song is taken from song’s words.”

The song first surfaced in the 1970′s along with “Soft Steel Piston” and “Six String Banjo Piece” and, like those numbers appears as part of a 15 LP Library of Congress series to celebrate the Bicentennial in 1976 o the volume titled Folk Music In America Vol. 11 – Songs Of Humor And Hilarity. Why this number wasn’t released is anybody’s guess. The lyrics are truly remarkable and the numbers sports some marvelous bottleneck that really drive the song home:

Gee, I’m always hungry, can’t get enough to eat
Gee, I’m hungry, can’t get enough to eat
I’m just like a savage, I could eat a barrel of meat

Set down to the table, ate up everything I could found
Set down to the table, ate up everything I found
Would have ate the dishes if someone hadn’t been around

Pot of ham and cabbage, ain’t enough to fill mine (2X)
That just makes me peckish, I could eat a dozen fine

Saw my family doctor, said I had a big tapeworm
I saw my family doctor, said I had a big tapeworm
Said I had ate a cow, made me good and firm

Went to the country, broke into a chicken coop
I went to the country, broke into a chicken coop
Stole a dozen chickens, put ‘em in a pot of soup

I’m a greedy glutton, eat fifty times a day (2X)
When I’m around a pigpen, they hide the slop away

Guess me and my tapeworm must go further down the road (2X)
‘Cause we eat so much, won’t nobody give us no board

“Devil’s Blues” is another imaginative and humorous number:

Had a dream while sleeping, found myself way down below, my Lord,
I had a dream while sleeping, found myself way down below
Couldn’t get to Heaven, Hell’s the place I had to go

Devil had me cornered, stuck me with his old pitchfork (2X)
And he put me in an oven, thought he had me for roast pork

Hellhounds start to chasin’ me and I was a runnin’ fool
Hellhounds start to chase me and I was a runnin’ fool
My ankles caught on fire, couldn’t keep my puppies cool

Four thousand devils with big tails and sharp horns, my Lordy,
Saw a thousand devils with tails and sharp horns
Everyone wandered, tried to step on my corns

For miles around I heard men scream and yell, my Lord,
For miles around, heard men scream and yell
Couldn’t see a woman, I said, “Lord, ain’t this Hell?”

This number was surprisingly updated by Lazy Bill Lucas in 1954 for Chance as “I Had A Dream.” The two day session was of a remarkably productive, high caliber with Weaver and Beasley proving an unbeatable team. Sore Feet Blues 78 Nothing is known of Beasley and when asked Humes did not remember him. The duo cut loose on two instrumentals: the breakneck masterpiece “Bottleneck Blues” and a gorgeous, seductive reading of “St. Louis Blues.”

Weaver and Beasley were back in the studio for the final time on November 30th for a five song session. It was Beasley’s turn to shine, taking the vocal on four numbers: “Georgia Skin”, “Southern Man Blues”, “Toad Frog Blues” and “Sore Feet Blues.” “Georgia Skin” is named for the card game celebrated by Peg Leg Howell, Memphis Minnie and others. Beasley draws out his vocals slowly and surely, revealing a very expressive vocal style. The session features superb integration between bottleneck and the accompanying guitar, particularly on “Toad Frog Blues” and “Sore Feet Blues.” There seems to be a a bit of conjecture as to who’s playing the bottleneck and who’s providing accompaniment. Once again we are treated to some imaginative lyrics as in “Toad Frog Blues” which touches on the surreal:

Tadpole in the river, hatchin’ underneath of a log (2X)
He got too old to be a tadpole, he hatched into a natch’l frog

If a toad frog had wings, he would be flyin’ all around (2X)
He would not have his bottom bumpin’ thumpin’ on the ground

Ever time I see a toad frog, Lord, it makes me cry (2X)
Make me think about my baby, when he (sic) roll her goo-goo eyes

The humorous “Sore Feet Blues” is another gem sporting a very droll delivery from Beasley:

I got two feet, keeps me with the blues (2X)
Got nineteen corns, can’t wear nar’ pair shoes

A peg-legged man, he’s one lucky fool (2X)
Only got one feet to hurt, he kicks that like a mule

I can’t walk, feets hurts me when I stand
I can’t walk around, my feets hurts me when I stand
Got to take a lesson, learn to walk on my hands

‘Black Spider Blues” is a solo number taken at Weaver’s typically relaxed pace with some terrific superstitious imagery:

Saw a big black spider, creepin’ up my bedroom wall (2X)
Finds out he was only goin’ to get his ashes hauled

Say, if that black spider bit you, it would be “Too bad, Jim” (2X)

Give your heart to the devil and your hips would belong to him

I’m gonna get a black spider, put him in the bottom of your shoe (2X)
That’s the only way I can get rid of a jade like you

A rattlesnake is dangerous, a black spider is worser still (2X)
A razor gun, a pistol, will kill you like a black spider will

I been workin’ like a work ox, on Saturday night you got my pay (2X)
While you’re in the black bottom dance hall, black bottomin’ your
time away.

Black spider, black horses, black horses with the curtains down (2X)
Black gal, you and your black bottom be six feet in the ground

Sylvester Weaver’s career came to an abrupt end after these recordings. It’s unknown why he stopped recording as he appears to have still been quite popular. Of his post-recording career we know that Weaver went into the Chauffeur business. As the blues revival was picking up steam, Weaver died of carcinoma of the tongue on April 4th, 1960 at 2001 Old Shepardville Road in Louisville. It was only two years after his death hat blues researcher Paul Garon, at the prompting of Paul Oliver, spoke to Weaver’s widow Dorothy who said she had never heard her husband play. Garon would later open up a Chicago book store named Beasley Books (wonder where he got that name?!) which remains active to this day. Fortunately Weaver’s widow saved some of his old records and his scrapbook which has become a prime source of information about Weaver’s recording activities. In 1992 the Kentucky Blues Society raised enough funds to place a headstone on the grave of Sylvester Weaver, and this same organization presents its Sylvester Weaver Award annually to “those who have dedicated their lives to presenting, preserving, and perpetuating the blues.”