Big Joe Williams (Joseph Lee Williams, Crawford, Mississippi, October 16, 1… Read Full Bio ↴Big Joe Williams (Joseph Lee Williams, Crawford, Mississippi, October 16, 1903 – December 17, 1982) was an American Delta blues guitarist, singer and songwriter, notable for the distinctive sound of his nine-string guitar. Performing over four decades, he recorded such songs as "Baby Please Don't Go", "Crawlin' King Snake" and "Peach Orchard Mama" for a variety of record labels, including Bluebird, Delmark, Okeh, Prestige and Vocalion. Williams was inducted into the Blues Hall of Fame on October 4, 1992.

Williams as a youth began wandering across the United States busking and playing stores, bars, alleys and work camps. In the early 1920s he worked in the Rabbit Foot Minstrels revue and recorded with the Birmingham Jug Band in 1930 for the Okeh label.

In 1934, he was in St. Louis, where he met record producer Lester Melrose who signed him to Bluebird Records in 1935. He stayed with Bluebird for ten years, recording such blues hits as "Baby, Please Don't Go" as Joe Williams' Washboard Blues Singers (1935) and "Crawlin' King Snake" (1941), both songs later covered by many other performers. He also recorded with other blues singers, including Sonny Boy Williamson I, Robert Nighthawk and Peetie Wheatstraw.

Williams remained a noted blues artist in the 1950s and 1960s, with his guitar style and vocals becoming popular with folk-blues fans. He recorded for the Trumpet, Delmark, Prestige and Vocalion labels, among others. He became a regular on the concert and coffeehouse circuits, touring Europe and Japan in the late 1960s and early 1970s and performing at major U.S. music festivals.

He died December 17, 1982 in Macon, Mississippi. Williams was buried in a private cemetery outside Crawford near the Lowndes County line. His headstone was primarily paid for by friends and partially funded by a collection taken up among musicians at Clifford Antone's nightclub in Austin, Texas, organized by California music writer Dan Forte, and erected through the Mt. Zion Memorial Fund on October 9, 1994. Harmonica virtuoso and one time touring companion of Williams, Charlie Musselwhite, delivered the eulogy at the unveiling. Williams' headstone epitaph, composed by Forte, proclaims him "King of the 9 String Guitar."

Remaining funds raised for Williams' memorial were donated by the Mt. Zion Memorial Fund to the Delta Blues Museum in order to purchase the last nine-string guitar from Williams' sister Mary May. The guitar purchased by the Museum is actually a 12-string guitar that Williams used in his later days. The last nine-string (a 1950s Kay cutaway converted to Williams' nine-string specifications) is missing at this time. Williams' previous nine-string (converted from a 1944 Gibson L-7) is in the possession of Williams' road agent and fellow traveler, Blewett Thomas.

One of Williams' nine-string guitars can be found under the counter of the Jazz Record Mart in Chicago, which is owned by Bob Koester, the founder of Delmark Records. Williams can be seen playing the nine-string guitar in American Folk-Blues Festival: The British Tours, 1963-1966, a 2007 DVD release.

Blues historian Barry Lee Pearson (Sounds Good to Me: The Bluesman's Story, Virginia Piedmont Blues) attempted to document the gritty intensity of the Williams persona in this description:

"When I saw him playing at Mike Bloomfield's "blues night" at the Fickle Pickle, Williams was playing an electric nine-string guitar through a small ramshackle amp with a pie plate nailed to it and a beer can dangling against that. When he played, everything rattled but Big Joe himself. The total effect of this incredible apparatus produced the most buzzing, sizzling, African-sounding music I have ever heard".

Marc Miller described a 1965 performance in Greenwich Village:

"Sandwiched in between the two sets, perhaps as an afterthought, was the bluesman Big Joe Williams (not to be confused with the jazz and rhythm and blues singer Joe Williams who sang with Count Basie). He looked terrible. He had a big bulbous aneuristic protrusion bulging out of his forehead. He was equipped with a beat up old acoustic guitar which I think had nine strings and sundry homemade attachments and a wire hanger contraption around his neck fashioned to hold a kazoo while keeping his hands free to play the guitar. Needless to say, he was a big letdown after the folk rockers. My date and I exchanged pained looks in empathy for what was being done this Delta blues man who was ruefully out of place. After three or four songs the unseen announcer came on the p. a. system and said, "Lets have a big hand for Big Joe Williams, ladies and gentlemen; thank you, Big Joe". But Big Joe wasn't finished. He hadn't given up on the audience, and he ignored the announcer. He continued his set and after each song the announcer came over the p. a. and tried to politely but firmly get Big Joe off the stage. Big Joe was having none of it, and he continued his set with his nine-string acoustic and his kazoo. Long about the sixth or seventh song he got into his groove and started to wail with raggedy slide guitar riffs, powerful voice, as well as intense percussion on the guitar and its various accoutrements. By the end of the set he had that audience of jaded '60s rockers on their feet cheering and applauding vociferously. Our initial pity for him was replaced by wondrous respect. He knew he had it in him to move that audience, and he knew that thousands of watts and hundreds of decibels do not change one iota the basic power of a song".
Williams' guitar playing was in the Delta blues style, and yet was unique. He played driving rhythm and virtuosic lead lines simultaneously and sang over it all. He played with picks both on his thumb and index finger, plus his guitar was heavily modified. Williams added a rudimentary electric pick-up, whose wires coiled all over the top of his guitar. He also added three extra strings, creating unison pairs for the first, second and fourth strings. His guitar was usually tuned to Open G, like such: (D2 G2 D3D3 G3 B3B3 D4D4), with a capo placed on the second fret to set the tuning to the key of A. During the 1920s and 1930s, Williams had gradually added these extra strings in order to keep other guitar players from being able to play his guitar. In his later years, he would also occasionally use a 12-string guitar with all strings tuned in unison to Open G. Williams sometimes tuned a six-string guitar to an interesting modification of Open G. In this modified tuning, the bass D string (D2) was replaced with a .08 gauge string and tuned to G4. The resulting tuning was (G4 G2 D3 G3 B3 D4), with the G4 string being used as a melody string. This tuning was used exclusively for slide playing.

Rootin' Ground Hog
Big Joe Williams Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

I meant, I'm the rootin' ground hog, and I root both nights and days
Yes, I'm the rootin' ground hog, baby, well, I root both nights and days
I want some good-lookin' mama to come here now, plea-ease, drive these blues away

I went home last night, babe, just about the break of day
I be grabbed the pillow, my baby used to lay
I'm the rootin' ground hog, you're gon' nee-eed me some sweet day
Well, look for poor Joe down low, ooo-hoo, well, I'll be teased so far away

I'm a rooting ground hog, and I roots everywhere I go
(Play it on there, boy, you're bad!)
I'm a rooting ground hog, babe, roots everywhere I go
I'm tryin' to keep my woman takin' my lovin', she ain't allowed to give any to Mr. So-and-So

Let me tell you now, woman, just before I go
Give me back my money, I catch the train and go
I'm a rooting ground hog, and I root everywhere I go
Well, my baby had the nerve to tell me, that she didn't want me no more

I'm a-leavin' Chicago, I ain't gonna leave my babe no more
(Play it on out, boy)
I'm a-leavin' Chicago, ooooo, I ain't gonna leave my babe no more
I'm that rich rooting ground hog, I got a home anywhere I go

I woke up this mornin', I looked down the line
Couldn't hear nothin' but my bedsprings cryin'

I"m the rooting ground hog, root both nights and days
I want some good-lookin' mama to come here, plea-ease, drive these blues away

Overall Meaning

The lyrics to Big Joe Williams's song "Rootin' Ground Hog" depict the singer's identity as a "rooting ground hog," someone who persistently searches for pleasure, satisfaction, and love. The phrase "rooting" refers to searching or seeking, which is a central theme throughout the song. Joe claims that he roots both nights and days, underscoring his incessant pursuit of happiness and fulfillment.

Despite his relentless searching, Joe longs for a "good-looking mama" to come and drive away his blues. Here, he expresses a desire for companionship and a genuine connection, implying that his constant roaming is a result of his unfulfilled emotional needs. The repetition of his designation as a "rooting ground hog" and his plea for a woman suggests that he sees finding love as the solution to his restless searching.

In the second verse, Joe reminisces about going home at dawn, grabbing the pillow his baby used to lay on. This image represents longing and nostalgia for a lost love. He proclaims that he is the "rooting ground hog" who will be needed again by someone someday, indicating his hope for a reconciliation and a second chance in love.

Overall, the lyrics of "Rootin' Ground Hog" convey the singer's perpetual search for love, companionship, and emotional fulfillment. While he acknowledges the temporary distractions and pleasures he encounters in his relentless pursuit, his ultimate desire is to find a good partner to alleviate his blues and give his roaming purpose.

Line by Line Meaning

I meant, I'm the rootin' ground hog, and I root both nights and days
I am the persistent and determined ground hog, and I am constantly searching for love and happiness both day and night.

Yes, I'm the rootin' ground hog, baby, well, I root both nights and days
Indeed, I am the persistent ground hog, my dear, and I continuously strive for companionship and joy throughout every moment.

I want some good-lookin' mama to come here now, plea-ease, drive these blues away
I desire an attractive and charming woman to come to my side and help me forget my sorrows, providing solace and happiness.

I went home last night, babe, just about the break of day
I returned to my dwelling last night, my love, right before the dawn.

I be grabbed the pillow, my baby used to lay
I clutched onto the pillow where my beloved used to rest, seeking comfort and reminiscing about our past intimacy.

I'm the rootin' ground hog, you're gon' nee-eed me some sweet day
I am the persistent ground hog, darling, and you will inevitably require my love and affection in the future.

Well, look for poor Joe down low, ooo-hoo, well, I'll be teased so far away
So, search for poor Joe in the depths below, oh-ho, for I will be led astray and tempted to wander far from here.

I'm a rooting ground hog, and I roots everywhere I go
I am a determined ground hog, and I search for love and happiness wherever I happen to be.

(Play it on there, boy, you're bad!)
Continue playing the music, my friend, for it brings excitement and passion to the atmosphere.

I'm a rooting ground hog, babe, roots everywhere I go
I persistently seek affection, my dear, and I search for love wherever life takes me.

I'm tryin' to keep my woman takin' my lovin', she ain't allowed to give any to Mr. So-and-So
I strive to prevent my lover from sharing her affections with another man, denying access to Mr. So-and-So.

Let me tell you now, woman, just before I go
Allow me to express my thoughts to you, woman, right before I depart.

Give me back my money, I catch the train and go
Return the money you owe me, and I will catch a train and leave.

I'm a rooting ground hog, and I root everywhere I go
I persistently search for love and happiness, my dear, no matter where life leads me.

Well, my baby had the nerve to tell me, that she didn't want me no more
Surprisingly, my beloved had the audacity to inform me that she no longer desires my presence.

I'm a-leavin' Chicago, I ain't gonna leave my babe no more
I am departing from Chicago, vowing to never again abandon my beloved.

(Play it on out, boy)
Continue playing the music until the end, my friend, allowing it to conclude naturally.

I'm a-leavin' Chicago, ooooo, I ain't gonna leave my babe no more
I am departing from Chicago, my dear, and I swear I will not abandon you ever again.

I'm that rich rooting ground hog, I got a home anywhere I go
I am the prosperous and determined ground hog, with a place to call home no matter where I may venture.

I woke up this mornin', I looked down the line
Upon awakening this morning, I glanced in the direction of my journey.

Couldn't hear nothin' but my bedsprings cryin'
All I could hear was the mournful sound of my bedsprings, expressing the loneliness and longing within my soul.

I'm the rooting ground hog, root both nights and days
I am the persistent ground hog, continuously searching for love and happiness day and night.

I want some good-lookin' mama to come here, plea-ease, drive these blues away
I desire an attractive and charming woman to come to my side, begging her to erase my sadness and bring me joy.

Contributed by Gabriella D. Suggest a correction in the comments below.

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