Big Road Blues

 Between December 10 and the 14th 1947 Johnson recorded twenty-one sides all of which were issued. Despite the success of the ballad “Tomorrow Night” most of the material was straight blues. Johnson recycled many of his earlier triumphs including one of his most enduring themes, a superb update of “Falling Rain Blues.” Johnson first recorded the song back in 1925 accompanying himself on violin, in 1929 as “The New Fallin’ Rain Blues” again on violin (lyrically the song is about floods where the earlier one was a metaphor for misery) and in 1937 as “New Falling Rain Blues” a faithful remake of the 1925 version but played on guitar and the model for his King version. “Blue Ghost Has Got Me” was a remake of 1927’s “Blue Ghost Blues” (remade in 1938 with the same title), “Feeling Low Down” was a remake of 1942’s “When You Feel Low Down”, “Working Man’s Blues” a remake of 1941’s celebrated “Crowing Rooster”, “Lazy Woman” a remake of 1941’s “Lazy Woman Blues”, “Chicago Blues” a remake of the same titled 1941 number while “Jelly Roll Baker” a remake of his 1942 smash “He’s A Jell-Roll Baker.” Two other updates were “Drunk Again” which shares lyrics with 1926’s “Bed Of Sand” while “Friendless Blues” is a remake of 1938’s “Friendless And Blue.” Both were marvelous updates and really get at the heart of Johnson’s lyrical sensibility. There’s a consistent feeling of alienation, loneliness and a haunted psyche that’s always been at the core of Johnson’s songs. In “Friendless Blues” he sings:

Don’t the world seem lonesome, battling by yourself (2x)
Yes, to think the one you love, is turned her back for someone else
When my mother and dad left me, I was too small to help myself (2x)
And my sisters and brothers, they drove me away to somebody else
So many nights and days, I tramped through the rain and snow (2x)
I wanted to go back home but I know I’m not wanted there no more

And in “Drunk Again” he sings:

Friends I drink to keep from worrying and I smile to just keep from crying (2x)
I try to cover my troubles so the public don’t know what’s on my mind
My brains is so cloudy the world seems upside down (2x)
Yes I would feel so much better if was no liqueur around
Love has caused so many men to drink and gamble, and stay out all night long (2x)
Love will drive a man into places, friends, where he don’t belong

1948 saw only fourteen sides recorded (one was unissued) including big hits “Pleasing You (As Long As I Live)” and “So Tired” (which hit the charts in early 1949) first recorded in 1928 as “I’m So Tired Of Living All Alone” (the song became a hit in 1951 for Roy Milton). Among the blues material were a fine version of Bessie Smith’s “Backwater Blues’ which Johnson first covered in 1927 (three months after Bessie’s version) and a lovely cover of “Careless Love.” Special mention goes to “I Know It’s Love” recorded in 1941 as “That’s Love Blues.” The newer version has more of a pop song feel but Johnson’s guitar is remarkable, and as Per Notinl noted he lets his guitar speak for an amazing 48 bars.

Lonnie Johnson’s place in blues history would have been immortalized if even if he had never recorded past the 1930’s. It certainly would have made blues critics life easier who generally tend to dismiss Johnson’s later recordings. Unfortunately, for them, Johnson persisted hooking up with the King label in the late 1940’s, enjoying the biggest commercial success of his career and after a fallow period in the 1950’s made a full fledged comeback in the 1960’s before passing in 1970.

In latter years Johnson couldn’t win with blues or jazz fans. In the 1960’s the blues and folk audience looked away in embarrassment when he sang “How Deep Is the Ocean,” “My Mother’s Eyes,” or “Red Sails in the Sunset.” The jazz crowd dismissed him as a relic. Supposedly Duke Ellington, with whom Johnson recorded with in 1928, declined to appear with this “old blues guy” when he guest-starred with Ellington’s band at Town Hall in 1961. The New York Daily News caught the flavor of the moment with the headline “The Janitor Meets the Duke.” As singer Barbara Dane noted: “…He was a very sophisticated player in a moment when the world was looking for the rough and earthy Delta players. …Lonnie had a strong attraction for the romantic pop songs like “I Left My Heart In San Francisco” etc. which he played when the audiences were looking for the gritty blues. People during the early ’60s searching for blues roots wanted to hear ‘funky and back-alley’ and Lonnie played clean and uptown. Lonnie craved respect for what he created, like any other musician. The (white) public at that time was mostly looking for someone who could personally introduce them to their fantasy of black culture. In other words, he was out of tune with the times.”

We’ll save Johnson’s 1960’s sides for another time which also warrant more attention. In this article we reassess Johnson’s stint with King which ran from 1947 through 1952 and resulted in close to seventy issued sides. When Johnson signed with King in 1947 his music and music in general was changing. By 1947 he had switched to electric guitar, was incorporating more ballads into his repertoire while the music was in transition from blues to R&B. It is true that Johnson reworked several of his earlier songs and perhaps over relied on a few signature guitar phrases during this period. Still, while many were unprepared for the changing musical times, Johnson seamlessly sailed into the new era not only achieving commercial success but also cutting music of a consistently high artistic caliber.

On December 10, 1947 Johnson entered the King Records studio at 1540 Brewster Avenue in Cincinnati, Ohio and recorded what was probably the most successful record of his long career, “Tomorrow Night”, often subtitled on the King label as “Lonnie Johnson’s Theme Song.” By 1950 “Tomorrow Night” had sold a million copies. With his guitar subdued, Johnson’s bittersweet voice is at the fore as he croons what is essentially a pop number. In a bluesier mode from this same session are the laid back “What A Woman” and the outstanding “Happy New Year Darling”a melancholy love song with superb guitar:

Christmas Eve morning, baby I was on my way back home to you (2x)
It was your love that kept me fighting, kept me safe the whole war through

It seems a long, long time since I been fightin’ the Japs ‘cross the deep blue sea (2x)
Yes, that’s why I’m so glad darling, to have a little wife love still waitin’ for me

It’s so great to have you darlin’, to have a little wife like you (2x)
My three brothers couldn’t make it, but they say happy new year to you

Johnson’s songwriting is often undervalued. He wrote well crafted and imaginative songs usually filled with dark imagery, longing and an unflinchingly misogynist view of woman and love. The rest of Johnson’s King tenure would find him recording a mix of ballads in the manner of “Tomorrow Night”, straight blues and a sort of hybrid of the two styles.

Show Notes:

I’ve always be fascinated by topical blues songs and this week we spotlight songs dealing with blues artists’ response to war. In this week’s show we hear songs dealing with WW I, WW II, Korea and Vietnam. I plan to do a follow-up show or two spotlighting topical songs dealing with natural disasters, social issues and politics.

In the “Jim Crow” world of pre-1945 America, black servicemen confronted not only the hostility of enemies abroad but that of enemies at home. African-American soldiers and sailors had two formidable obstacles to deal with: discrimination and segregation. Yet, black servicemen in both world wars repeatedly demonstrated their bravery, loyalty, and ability in combat or in support of frontline troops.

World War I (1914-1918) – More than 350,000 African Americans served in segregated units during World War I, mostly as support troops. No black men were allowed in the Marines, Coast Guard or Air Force. They were allowed in the Navy only as messmen. Several units saw action alongside French soldiers fighting against the Germans

President Roosevelt established the country’s first “peacetime draft” when he signed into law the Selective Training and Service Act of 1940 following the fall of France to the Nazis. More than 10 million men were drafted during World War II. More than 2.5 million blacks were registered for the draft in World War II, and about 909,000 served in the Army. At its peak in In 1944 there were over 700,000 blacks in the Army. Segregated troops remained official U.S. Army policy throughout World War II.

With the onset of World War II the government found it necessary to ration food, gas, and even clothing during that time. In the spring of 1942, the Food Rationing Program was set into motion. Rationing ended in 1946. Reconversion refers to moving the economy from wartime economy to a peacetime economy and Louis Jordan’s “Ration Blues” and “Reconversion” humorously sums up the situation.

One response to the war was the idea of burrowing underground either to escape a nuclear attack or avoid the draft. We play three such songs: Jimmy Rogers (“This World Is In A Tangle”), Honeyboy Edwards’ (“Build A Cave) and Arthur Crudup’s (“I’m Gonna Dig Myself A Hole”). In addition several others have used this imagery including John Lee Hooker (“Build Myself A Cave”), Robert Lockwood & Sunnyland Slim (“I’m Gonna Dig Myself A Hole”), Lightnin’ Hopkins (“War News Blues”).

The Korean War began as a civil war fought between 1950–1953 on the Korean Peninsula, which had been divided by the post-World War II Soviet and American occupation zones. The civil war began on June 25, 1950, when North Korea attacked South Korea. The civil war was greatly expanded when the United Nations, led by the United States, and later China entered the conflict. The conflict ended when a cease-fire was reached on July 27, 1953. Sister Rosetta Tharpe’s “There’s Peace In Korea” was cut on July 27, 1953 the very day armistice was declared in Korea.

In 1948 the draft was re-instated. It was expanded by the Universal Military Training and Service Act in 1951, in response to the manpower needs caused by the Korean War. African-Americans served in all combat and combat service elements during the Korean War and were involved in all major combat operations, including the advance of United Nations Forces to the Chinese border. In June 1950, almost 100,000 African-Americans were on active duty in the U.S. armed forces. In October 1951, the all-black 24th Infantry Regiment, a unit established in 1869, which had served during the Spanish-American War, World War I, World War II and the beginning of the Korean War, was disbanded, essentially ending segregation in the U.S. Army.

The Vietnam War saw the highest proportion of blacks ever to serve in an American war. During the height of the U.S. involvement, 1965-69, blacks, which formed 11 percent of the American population, made up 12.6 percent of the soldiers in Vietnam.

U.S. involvement in Vietnam unfolded against the domestic backdrop of the civil rights movement. From the outset, the use, or alleged misuse, of African American troops brought charges of racism. Civil rights leaders and other critics, including Dr. Martin Luther King, Jr., described the Vietnam conflict as racist—”a white man’s war, a black man’s fight.” Volunteers and draftees included many frustrated blacks whose impatience with the war and the delays in racial progress in America led to race riots on a number of ships and military bases.

The Vietnam War was especially well documented in soul circles. Apart from country music, no other genre of music can offer anywhere near as much social commentary on the subject. It is no coincidence that the overwhelming majority of enlisted personnel came from either poor white or poor black America, where Country and Soul ruled their respective musical roosts.

Jesse Thomas recorded sporadically from the late 1920’s through the early 1990’s and despite his longevity didn’t achieve much in the way of success or recognition. In 1929, at 18, Thomas cut four excellent sides for Victor showing a prowess beyond his years. Three of the number are strongly indebted to Lonnie Johnson while the session highlight, “Blues Goose Blues”, is clearly inspired by Blind Blake. By the post-war era Thomas had developed a brilliant, highly individual style unlike anyone else. For proof just listen to Document’s “Jesse Thomas 1948-1958” which collects 28 tracks the enterprising Thomas cut for nine different West Coast labels over the course of a decade (“Gold Mine Blues” cut in 1948 is not included for some reason). For a complete discography click here.

The music ranges from solo down home numbers, rollicking band driven R&B and smoky after hours cuts. Thomas’ guitar playing is dazzling; by this time he had developed a harmonically sophisticated style, playing highly unpredictable, inventive guitar phrases in a manner that incorporated both down home and uptown styles. His guitar playing, while highly individual, still bears a Lonnie Johnson influence but also owes a debt to T-Bone Walker. Thomas developed his sound, as Chris Smith notes, “in part by transferring saxophone solos and his own piano playing to electric guitar.” Thomas’ singing is equally striking, a deep burnished voice that a times sounds like Robert Johnson.

The solo sides, featuring superb integration between guitar and vocal, find him at his best. High points include the catchy “Same Old Stuff”, “Mountain Key Blues” and “Zetter Blues.” All display fine songwriting and characteristic of many of his songs, he inserts long pauses between lyrics that enhance the dramatic effect, punctuated by short, unpredictable guitar runs. The remarkable “Double Due Love You” opens with a tongue twisting run of words that is sort of a vocal equlivalent to his knotty guitar phrases. On the laid back, conversational “Gonna Move to California”, a variation on the classic “Kansas City”, Thomas plays some deft acoustic guitar.

The small group recordings are generally successful backed by a combination of piano, bass drums and saxophone. “Melody in C” is a jazzy instrumental backed by unknown bass and piano that finds Thomas playing in very sophisticated style with a nod to T-Bone Walker. “Let’s Have Some Fun” is a rocking full band number with wailing tenor and baritone featuring some draw dropping electric guitar solos while the shuffling, irresistibly catchy “I Can’t Stay Here” benefits from the rippling piano work of Lloyd Glenn. Glenn pops up to good effect on all four of Thomas’ Swing Time numbers including the bouncy “It’s You I’m Thinking Of.” Backed by an unknown band and booting sax man, Thomas rocks on “Cool Kind Lover” from 1951 that is as close to rock & roll as he ever got. Another highlight is “Another Fool Like Me” a propulsive boogie number with Thomas just accompanied by a unknown but wailing harmonica blower.

Jesse Thomas died in 1995 and continued cutting material intermittently on his own Red River imprint, Ace and Delmark. However, he never quite matched the sheer brilliance of these late 40’s and 50’s sides.