LYRICS AND MUSIC BY
JESSE
FULLER
| Introduction |
|
|
| Dylan |
1. |
Well, I don't know why I love you like I do.
Nobody in the world can get along with you.
You got the ways of a devil sleeping in a lion's
den.
I come home last night, you wouldn't even let me in. |
|
2. |
Oh, sometimes you're as sweet as anybody wanna be.
Oh, when you get the crazy notion jumpin' all over me.
When you gimme the blues,
I guess you're satisfied.
When you gimme the blues, I wanna lay down and die. |
|
3. |
After when you had no shoes on your feet, pretty mama,
after when you had no food to eat.
You're a kind of woman that just don't understand.
You're taking all my money 'n'
give it to another man. |
|
4. |
Well, you're that kind of woman makes a man lose his brains.
You're that kind of woman drives a man insane.
You gimme the blues, I guess you're satisfied.
You gimme the blues, I wanna lay down and die.
Well, you gimme the blues, I wanna lay down and die. |
| Bridge |
|
|
|
5. |
|
| Close |
|
|
Performance lyrics initially transcribed at
The Lonesome
Sparrow Sings
|
SOURCE/PRECEDENTS
| Jesse Fuller : You're No Good circa
1950 |
NOTES
| 1. |
Jesse 'Lone Cat' Fuller
b. 12 March 1896 Jonesborough, Georgia.
d. 29 January 1976 Oakland, California.
A veteran of the tent shows, Fuller fashioned himself a unique one-man-band
of six-string bass (played with his right foot), a combination of
kazoo, harmonica, microphone fixed to a harness around his neck,
a hi-hat cymbal (played with the left foot) and a 12-strng guitar. His
success came in the late 50s as a result of appearances on USA television
following Ramblin' Jack Elliot's lionization via his recording of 'San
Francisco Bay Blues'.
- Guiness Who's Who of Folk Folk Music, page103. My emphasis.
Apart from covering this song of Jesse Fuller, the use of the harmonica
and harness was to be integral in the early performances and recordings
of Bob Dylan. The harmonica was able to add dramatically to the vocal performance,
while the ability of playing two instruments at once maintained the first-take
spontaneity of the recordings.
|
| 2. |
lion's den : Biblical
reference to Daniel,
Since Christian (Old and New Testament) philosophy and imagery
pervades Western art and literature, and is an intinsic feature in the
development of Afro-American Blues; its use in the songs of Bob Dylan is
extensive.
|
| 3. |
the blues : definition?
|
| 4. |
'n' : and - a case of savage
abbreviation, characteristic of vernacular/slang. Although standard
use in American folk (black and white) music, often enhancing the delivery
of the lyric, abbreviation was an early criticism by academics of Bob Dylan's
recordings. Of particular annoyance was the dropping of the 'g' - made
obvious in the printed album titles, for example
THE
FREEWHWEELIN' BOB DYLAN and
THE
TIMES THEY ARE A-CHANGIN'. This was only marginally redressed
by adding a 'g' to the name of western outlaw, John Wesley Hardin. See
JOHN
WESLEY HARDING . |
| 5. |
|
| 6. |
|
THE CRITICS
|
ALTERNATIVE RECORDINGS
Bob Dylan
Other Artists
For extensive information on alternate versions see Olof Björner's
excellent ...
It
Ain’t Me, Babe
|
RECORDING DETAILS
| Recorded: |
20 November 1961 |
| Release Date : |
19 March 1962 |
| Published : |
|
| Studio: |
Columbia Studio A, New York, New York, U.S.A. |
| Master Number: |
CO 68726-5 |
| Take: |
3 |
| Producer: |
John Hammond |
| Engineer/s: |
|
| Company: |
CBS |
| Record Number : |
Columbia CL 1779 and Stereo CS 8579 |
| CD Number: |
CBS 462835-2 |
| Record: |
Side A Track 1 (Date) |
| CD: |
Track 1 (Date) |
| Time: |
1.42 minutes |
| Musicians: |
|
| Bob Dylan |
Vocals/Guitar/Harmonica |
All Recording Data usually from Record /Compact Disc Cover,
and
Clinton Heylin, Dylan : Behind Closed Doors - The Recording Sessions
1960-1994
Penguin Books 1996
|
