According to Bob Dylan's autobiographical Chronicles, Woody Guthrie gave his unpublished songs to Dylan but Bob was unable to get them from Guthrie's family (he tells a story about a reluctant babysitter).
Nora Guthrie's liner notes in Mermaid Avenue indicate that it was her intention that the songs be given to a new generation of musicians who would be able to make the songs relevant to a younger generation. She therefore contacted singer-songwriter Billy Bragg in spring 1995 about recording some unreleased songs by her father, folk singer Woody Guthrie. Most of the songs were written late in Guthrie's life when he was unable to record due to the motor impairments of Huntington's disease. By the 1990s, Woody Guthrie had become a "relic" to the MTV generation, and Nora sought to establish a different legacy for the musician. To Nora, Bragg was "the only singer I knew taking on the same issues as Woody." Bragg was concerned, however, that his fans would not realize that the songs were written by Guthrie when he performed them on tour, so he decided to record the album with another band.
Bragg contacted Tweedy and Bennett about co-recording the album while Wilco was on the European segment of their Being There tour. Bragg was particularly fond of Being There because their influences extended farther back than the 1950s. Although Tweedy was indifferent to the offer, Bennett was enthused about recording songs of one of his idols—Bennett's previous band Titanic Love Affair was named after a Billy Bragg lyric. A recording contract between Bragg and Wilco was signed after a show at Shepherd's Bush Empire. Bragg mostly recorded the politically-charged lyrics, while Tweedy preferred to record lyrics that showcased Guthrie as a "freak weirdo." The recording of Mermaid Avenue began on December 12, 1997, and was the topic of BBC's Man in the Sand documentary film.
Tempers flared between Bragg and Wilco after the album was completed. Bennett believed that Bragg was overproducing his songs, a sharp contrast to Wilco's sparser contributions. Bennett called Bragg about the possibility of remixing Bragg's songs, to which Bragg responded with "you make your record, and I'll make mine, fucker." Eventually Bragg sent copies of his recordings to Chicago for Bennett to remix, but Bragg refused to use the new mixes on the album. The two parties were unable to establish a promotional tour and quarreled over royalties and guest musician fees.
Despite these conflicts, the album was released on June 23, 1998, and sold over 277,000 copies. The album received rave reviews from Robert Christgau and Rolling Stone, and was nominated for a Grammy Award for Best Contemporary Folk Album. It also placed fourth on the Pazz & Jop critics poll for 1998 (right behind Bob Dylan's Live 1966).
Hoodoo Voodoo
Billy Bragg & Wilco Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Haystacka hostacka, ABC
High poker, low joker, ninety-nine-a-zero
Sidewalk, streetcar, dance a goofy dance
Blackbirdy, bluejay, one, two, three, four
Trash sack, jump back, EFG
Biggy hat, little hat, fatty man, skinny man
Hoodoo voodoo, chooka-chooky-choo-choo
True blue, how true, kissle me now
Momma cat, Tommy cat, diapers on my clothes line
Two, four, six, eight, I run and hide
Pretty girl, pretty boy, pony on a tin can
I'll be yours, you'll be mine
Hoodoo voodoo, chooka-chooky-choo-choo
True blue, how true, kissle me now
Jinga jangler, tinga lingle, picture on a bricky wall
Hot and scamper, foamy lather, huggle me close
Hot breeze, old cheese, slicky slacky fishy tails
Brush my hair, kissle me some more
Hoodoo voodoo, chooka chooky choo choo
True blue, how true, kissle me now
Hoodoo voodoo, chooka chooky choo choo
True blue, how true, kissle me now
Kissle me now
Brush my hair
And kissle me some more
Kissle me some more
Kissle me some more
The lyrics to Billy Bragg & Wilco's song "Hoodoo Voodoo" may seem nonsensical at first glance, but they are actually full of meaning and significance. It is a song that celebrates the joy of language and the rhythms of everyday life. The lyrics are a playful combination of words, phrases, and sounds that create a musical and rhythmic flow. The words themselves are a mix of southern slang, random numbers, and animal sounds, which add to the overall sense of fun and improvisation.
The song begins with a series of chants and sounds that set the tone for the rest of the song. "Hoodoo voodoo, seven twenty one two" and "Haystacka hostacka, ABC" are nonsensical phrases that are meant to be chanted out loud. The next verse of the song is a list of random phrases and sounds, including "high poker, low joker, ninety-nine-a-zero," "sidewalk, streetcar, dance a goofy dance," "blackbirdy, bluejay, one, two, three, four," and "trash sack, jump back, EFG." These phrases are all evocative of the sounds and sights of everyday life.
The final verse of the song focuses on personal relationships, with the lyrics "pretty girl, pretty boy, pony on a tin can, I'll be yours, you'll be mine." This verse suggests that the real magic of life is in these simple connections with others. Ultimately, the song is a celebration of the joy of language and the beauty of life's everyday moments.
Line by Line Meaning
Hoodoo voodoo, seven twenty one two
This line has no clear meaning on its own and seems to serve as a sort of meaningless introduction or chant to set the mood for the rest of the song.
Haystacka hostacka, ABC
A phrase that seems silly and nonsensical, perhaps serving as a callback to childhood rhymes and games.
High poker, low joker, ninety-nine-a-zero
Referring to a card game and the different values of cards - this could be seen as a metaphor for life, where some people are lucky and others are not.
Sidewalk, streetcar, dance a goofy dance
Encouraging listeners to let go and enjoy the moment, perhaps by dancing or being silly in public.
Blackbirdy, bluejay, one, two, three, four
Listing different bird names; could represent a child's counting song or an appreciation for nature.
Trash sack, jump back, EFG
More silly and nonsensical phrases, perhaps meant to be fun and entertaining to listen to.
Biggy hat, little hat, fatty man, skinny man
Describing different people based on their appearance; possibly a commentary on societal norms and expectations around body size.
Grasshopper greensnake, hold my hand
Asking for someone to hold their hand or keep them company; could be interpreted as a romantic or platonic request.
True blue, how true, kissle me now
Suggesting a desire for intimacy, connection, and affection.
Momma cat, Tommy cat, diapers on my clothes line
Describing a mundane scene that might be familiar to many listeners; could be seen as a way of finding beauty and meaning in everyday life.
Two, four, six, eight, I run and hide
Another childhood counting rhyme that could evoke nostalgia or a sense of playfulness.
Pretty girl, pretty boy, pony on a tin can
Describing a scene that is both cute and simple; could be seen as a celebration of the innocence and joy of childhood.
Jinga jangler, tinga lingle, picture on a bricky wall
More silly and nonsensical phrases; once again, it could be argued that these lines are meant to be enjoyed for their sound and rhythm rather than for any particular meaning.
Hot and scamper, foamy lather, huggle me close
Describing physical sensations, including heat and touch; once again, intimacy and connection seem to be a recurring theme throughout the song.
Hot breeze, old cheese, slicky slacky fishy tails
More imagery that is both playful and nonsensical; this could be seen as a way of keeping the energy and fun of the song going.
Brush my hair, kissle me some more
Asking for more intimacy and affection; it could be argued that the repetition of certain phrases throughout the song help to build a sense of anticipation and longing.
Kissle me now
A plea for someone to kiss them and show them affection; once again, intimacy is a key theme in the song.
Lyrics © Budde Music Publishing GmbH, Downtown Music Publishing, Warner Chappell Music, Inc.
Written by: BILLY BRAGG, WOODY GUTHRIE, KEN COOMER, JEFF TWEEDY, JAY BENNETT, JOHN STIRRATT, COREY HARRIS, BOBBY EGAN
Lyrics Licensed & Provided by LyricFind