There are at least two artists with the name Blind Blake

1. Arthur "… Read Full Bio ↴There are at least two artists with the name Blind Blake

1. Arthur "Blind" Blake (c. 1893-c. 1933) was an influential blues singer and guitarist. There is only one photograph of him in existence.
Very little is known about his life. His birthplace was listed as Jacksonville, Florida by Paramount Records, but even that is in dispute. Nothing is known of his death. Even his name is not certain. During recordings he was asked about his real name and he answered that his name was Blind Arthur Blake which is also listed on some of the song credits, strengthening his case on his real name, although there is a suggestion that his real name was Arthur Phelps.
Blake recorded about eighty sides for Paramount Records in the late 1920s and early 1930s. He was one of the most accomplished guitarists of his genre, with a surprisingly diverse range of material. He is best known for his distinctive guitar sound, whose complex and intricate fingerpicking was comparable in sound and style to a ragtime piano.
His first recordings were made in 1926 and his records sold well. His first solo record was "Early Morning Blues", with "West Coast Blues" on the B-side. He made his last recordings in 1932, the end of his career being aided by Paramount's bankruptcy.
One would surmise, given Blake's importance, celebrity status, popularity and sizeable recorded output that we would know something about the man. And after more than five decades of searching conducted by experts on behalf of Blind Blake, we still don't know anything verifiable about Blake which he doesn't tell us on his records. Practically all of what is "known" about Blind Blake outside of that is a combination of conjecture, rumor, slander and nonsense. At one point a theory was advanced that Blind Blake's true name was "Arthur Phelps" and it is under this name that Blake's entry is filed in Sheldon Harris' Blues Who's Who. But the theory is easily debunked by Blake himself, who states on his 1929 recording "Blind Arthur's Breakdown" that his name is "Arthur Blake." He briefly breaks into Geechee dialect during the course of "Southern Rag," and this advanced a theory that Blake was really born in the Georgia Sea Islands and spoke Geechee as a first language, accounting for his "uncomfortable negro dialect" on records like "Early Morning Blues." But there is nothing wrong with Blake's "negro dialect," thus it was easy to disprove this ridiculous notion.
Blind Blake is known to have had family in the area of Jacksonville, Florida and was likely born there; Blake may have grown up in Georgia. Blake was first seen in Chicago in the mid-1920s. His birth date is assumed to be sometime between 1895-1897, as the only existing photo of Blind Blake, taken at his first Paramount session in August, 1926, shows a man of about thirty. Interviews with some of the musicians personally acquainted with Blake only reveal that he had a seemingly inexhaustible appetite for liquor. No one has discovered any reliable account of what happened to Blind Blake after his last Paramount session in June 1932. The story that has Blake murdered in Chicago shortly after his Paramount date did not hold up after an intensive search of local police files. The most reasonable notion about what might've happened to Blind Blake after 1932 is that he drifted back to Jacksonville and lived a few years more, with 1937 suggested as a possible date of death. In the summer of 1935, Mary Elizabeth Barnicle led an Archive of Folk Song expedition into the area where Blake is likely to have resettled and canvassed it for black musicians, yet never encountered him.
Many of the recordings made by Blind Blake are singled out as classic early blues performances, too many to be listed in detail here. But a few that stand out include "Early Morning Blues," "Too Tight," "Skeedle Loo Doo Blues," "That Will Never Happen No More," "Southern Rag," "Diddie Wa Diddie," "Police Dog Blues," "Playing Policy Blues" and "Righteous Blues." Several of Blind Blake's original tunes are by now country-blues standards, and judging from the further developments in Atlanta-based Piedmont blues, Blake's influence there must've been formidable, even if it came only by way of recordings. Anyone who hears Blind Blake can't help but be astonished by his sincerity, his gentle, off-the-cuff humor and the sheer effortlessness with which he plays some of the most treacherously complex finger-work on the face of creation.

Blind Blake is not to be confused, incidentally, with Blake Higgs, a Bahamian Calypso artist who also recorded as "Blind Blake."

2. Blind Blake was a Bahamian singer active in the 1930s and 1940s, often entertained rich visitors to the island. One of these was the former Edward VIII, who became governor general of the islands. Blind Blake's best known song, "Love, Love Alone", was written in praise of the things the former monarch gave up for love

Dry Bone Shuffle
Blind Blake Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

'Let's go boys'

'That's the way to play them bones, boy'

'Whup them boys into grace!'

'Get them boys feet goin'

'Oh, that's good'

'Didn't you feel like getting money from home'

'Everybody can't do the Charleston like that'

'That run and bump, vicious'

'Go, boys'

'Six-seven thing, boys'

Overall Meaning

Blind Blake's song Dry Bone Shuffle is a lively and infectious instrumental piece that is full of energy and enthusiasm. It begins with a call to action that sets the mood for the entire song: "Let's go boys." This is followed by a series of phrases that encourage the musicians to play their instruments with gusto, such as "That's the way to play them bones, boy" and "Whup them boys into grace!" The lyrics convey a sense of joy, spontaneity, and celebration that is typical of many traditional African-American musical styles.

As the song progresses, the lyrics become more focused on the specific rhythms and techniques being used by the musicians. For example, the line "Get them boys feet goin'" seems to be a call for the dancers to start moving faster and more vigorously. Later on, the lyrics acknowledge the technical skill required to perform the Charleston, another popular dance style of the time: "Everybody can't do the Charleston like that." Finally, the song ends with a series of numerical references ("Six-seven thing, boys") that suggest a final burst of frenzied activity before the music comes to a close.

Line by Line Meaning

Let's go boys
We need to start playing now, guys.

That's the way to play them bones, boy
You're doing a great job playing the percussion instrument called bones.

Whup them boys into grace!
Let's motivate those guys to dance gracefully with our music.

Get them boys feet goin'
Our music should make those guys move their feet and dance.

Oh, that's good
Our performance sounds great.

Didn't you feel like getting money from home
Our music is so good it feels like we're earning money just by playing it.

Everybody can't do the Charleston like that
Not everyone can dance the Charleston as well as those guys are doing right now.

That run and bump, vicious
The dancing moves they're doing, like the run and bump, are intense and powerful.

Go, boys
Let's keep the music and the dancing going!

Six-seven thing, boys
Let's add some variation to our rhythm, guys. Let's try a six-seven pattern!

Contributed by Madison P. Suggest a correction in the comments below.