Tag Archives: Traditional

Blues, folk, Gospel, The Best Songs

The Best Songs: John The Revelator

John_the_Revelator_single_cover

The Best Songs: John The Revelator

The Revelation of Jesus Christ, which God gave unto him, to shew unto his servants things which must shortly come to pass; and he sent and signified it by his angel unto his servant John: Who bare record of the word of God, and of the testimony of Jesus Christ, and of all things that he saw. Blessed is he that readeth, and they that hear the words of this prophecy, and keep those things which are written therein: for the time is at hand.
– Revelation 1:1-3

John the Revelator is a traditional gospel blues call and response song.  Music critic Thomas Ward describes it as “one of the most powerful songs in all of pre-war acoustic music … [which] has been hugely influential to blues performers”. Blind Willie Johnson recorded John the Revelator in 1929 (or 1930) and is the first known recording (at least to me) and subsequently a variety of artists have recorded their renditions of the song, often with variations in the verses and music.

The song’s title refers to John of Patmos (or traditionally John the Apostle) in his role as the author of the Book of Revelation. A portion of that book focuses on the opening of seven seals and the resulting apocalyptic events. In its various versions, the song quotes several passages from the Bible in the tradition of American spirituals.

This is a dark and brooding masterpiece!

The Blind Willie Johnson version:

Blind Willie Johnson recorded the song on April 20, 1929 (or 1930) in Atlanta (his second (1929) or his fifth and final recording session for Columbia Records (1930)). He is accompanied by his first wife (probably), Willie B. Harris. Johnson was a gospel blues singer and guitarist. While the lyrics of his songs were usually religious, his music drew from both sacred and blues traditions. It is characterized by his slide guitar accompaniment and tenor voice, and his frequent use of a lower-register ‘growl’ or false bass voice.

Blind Willie Johnson – John The Revelator:

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Blues, Gospel, Jazz, The Best Songs

The Best Songs: St. James Infirmary blues

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George E. Lee's Novelty Singing orchestra
George E. Lee’s Novelty Singing orchestra

“One place you’re going to find a lot of doctors is St. James Infirmary. This song’s history is convoluted and fascinating. Louis Armstrong recorded it as early as nineteen and twenty-eight, but it goes back much further. According to one study it got its start as a ballad called ‘The Unfortunate Rake’…”
– Bob Dylan (Theme Time Radio Hour, Doctors)

The Best Songs: St. James Infirmary blues

“St. James Infirmary Blues” is an American folksong of anonymous origin, though sometimes credited to the songwriter Joe Primrose (a pseudonym for Irving Mills). Louis Armstrong made it famous in his influential 1928 recording.

There are hundreds of recordings and it has been difficult to choose my favourites. I’ve tried to pick some for their historic significance and some just because they are so incredibly good.

“St. James Infirmary” is based on an 18th-century traditional English folk song called “The Unfortunate Rake” (also known as “The Unfortunate Lad” or “The Young Man Cut Down in His Prime”), about a soldier who uses his money on prostitutes, and then dies of a venereal disease.

My first pick is an a cappella version of The Unfortunate Rake done by  Ian McShane from the TV-series Deadwood (we can also clearly hear the melody that became Streets of Laredo):

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Bob Dylan, Bob Dylan - The songs he didn't write

Bob Dylan: Barbara Allen (traditional)

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bob dylan barbara allen

In Charlotte town, not far from here,
There was a fair maid dwellin.’
And her name was known both far and near,
And her name was Barb’ry Allen.

‘Twas in the merry month of May,
Green buds they were swellin’,
Poor William on his death-bed lay,
For the love of Barb’ry Allen.

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…. And, you know, then the folk music, which I’d heard somewhat to a degree. I knew people that sung Barbara Allen and stuff like that. And I listened to all that music.
~Bob Dylan (to Nat Hentoff – Autumn 1965)

Wikipedia:

Written by Traditional
Published 17th century (earliest known)
Language English
Form Broadside ballad and folksong

“Barbara Allen” (Child 84, Roud 54) is a traditional ballad originating in England and Scotland, which immigrants introduced to theUnited States, where it became a popular folk song. Roud and Bishop described it as, “…far and away the most widely collected song in the English language — equally popular in England, Scotland and Ireland, and with hundreds of versions collected over the years in North America.”

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The story is a simple one. In “Scarlet Town,” a young man named Sweet William lies on his death bed and calls for Barbara Allen. He asks for her love; she coldly informs him that he is dying. There is some discussion over who slighted whom. She leaves and is smitten by remorse when she hears “the death bell knelling.” She asks her father to dig her grave. This done, she “will die for him tomorrow,” and buried next to Sweet William in the old churchyard, a rose that blossoms from his heart, and a briar that springs from hers, “grew and grew… till they twined a true love’s knot.”
~Lenny Kaye, liner notes for “O Love Is Teasin'” (Elektra 9 60402-1-U, 1985).

He sent his man down to town
To the place that she was dwellin’
Sayin’, “Master bids your company,
If your name is Barb’ry Allen.”

Oh slowly, slowly she got up
To the place where he was lyin’,
And when she pulled the curtain back,
Said, “Young man, I b’lieve you’re dying!”

Other notable versions

Joan Baez:

Pete Seeger:

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