Patton was born in Hinds County, Mississippi, near the town of Edwards, and lived most of his life in Sunflower County in the Mississippi Delta. Some sources say he was born May 1, 1891, but there is some debate about this, and the years 1887 and 1894 have also been suggested.
Patton's parentage and race have been the subject of debate. Although born to Bill and Annie Patton, locally he was regarded as having been fathered by former slave Henderson Chatmon, many of whose other children also became popular Delta musicians both as solo acts and as members of groups such as the Mississippi Sheiks. Biographer John Fahey describes Patton as having "light skin and Caucasian features." Though Patton was considered African-American, because of his light complexion there have been rumors that he was Mexican, or possibly a full-blood Cherokee, a theory endorsed by Howlin' Wolf. In actuality, Patton was a mix of white, black, and Cherokee (one of his grandmothers was a full-blooded Cherokee). Patton himself sang in "Down the Dirt Road Blues" of having gone to "the Nation" and "the Territo'"—meaning the Cherokee Nation portion of the Indian Territory (which became part of the state of Oklahoma in 1907), where a number of Black Indians tried unsuccessfully to claim a place on the tribal rolls and thereby obtain land.
In 1900, his family moved 100 miles (160 km) north to the legendary 10,000-acre (40 km2) Dockery Plantation sawmill and cotton farm near Ruleville, Mississippi. It was here that both John Lee Hooker and Howlin' Wolf fell under the Patton spell as well as Willie Brown, Tommy Johnson, and Fiddlin' Joe Martin. It was also here that Robert Johnson played and was given his first guitar. At Dockery, Charley fell under the tutelage of Henry Sloan, who had a new, unusual style of playing music which today would be considered very early blues. Charley followed Henry Sloan around, and, by the time he was about 19, had become an accomplished performer and songwriter in his own right, having already composed "Pony Blues," a seminal song of the era.
Robert Palmer describes Patton as a "jack-of all-trades bluesman" who played "deep blues, white hillbilly songs, nineteenth-century ballads, and other varieties of black and white country dance music with equal facility". He was extremely popular across the Southern United States and also performed annually in Chicago, Illinois and, in 1934, New York City. In contrast to the itinerant wandering of most blues musicians of his time, Patton played scheduled engagements at plantations and taverns. Long before Jimi Hendrix impressed audiences with flashy guitar playing, Patton gained notoriety for his showmanship, often playing with the guitar down on his knees, behind his head, or behind his back. Although Patton was a small man at about 5 foot 5,[8] his gravelly voice was rumored to have been loud enough to carry 500 yards without amplification. Patton's gritty bellowing was a major influence on the singing style of his young friend Chester Burnett, who went on to gain fame in Chicago as Howlin' Wolf.
Patton settled in Holly Ridge, Mississippi with his common-law wife and recording partner Bertha Lee in 1933. He died on the Heathman-Dedham plantation near Indianola on April 28, 1934 and is buried in Holly Ridge (both towns are located in Sunflower County). Patton's death certificate states that he died of a mitral valve disorder. Bertha Lee is not mentioned on the certificate, the only informant listed being one Willie Calvin. His death was not reported in the newspapers. A memorial headstone was erected on Patton's grave (the location of which was identified by the cemetery caretaker C. Howard who claimed to have been present at the burial) paid for by musician John Fogerty through the Mt. Zion Memorial Fund in July, 1990. The spelling of Patton's name was dictated by Jim O'Neal, who also composed the Patton epitaph.
Screamin' and Hollerin' the Blues: The Worlds of Charley Patton (2001) is a boxed set collecting Patton's recorded works. It also featured recordings by many of his friends and associates. The set won three Grammy Awards in 2003 for Best Historical Album, Best Boxed or Special Limited Edition Package, and Best Album Notes. Another collection of Patton recordings, released under Catfish Records, is titled The Definitive Charley Patton.
Charley Patton's song "Pony Blues" (1929) was included by the National Recording Preservation Board in the Library of Congress' National Recording Registry in 2006. The board selects songs in an annual basis that are "culturally, historically, or aesthetically significant."
In 2013 Jack White's Third Man Records teamed up with Document Records to reissue The Complete Recorded Works in Chronological Order of Charley Patton, Blind Willie McTell and The Mississippi Sheiks.
The Mississippi Blues Trail placed its first historic marker on Charley Patton's grave in Holly Ridge, Mississippi, in recognition of his legendary status as a bluesman and his importance in the development of the blues in Mississippi. It placed another historic marker at the site where the Peavine Railroad intersects with Highway 446 in Boyle, Mississippi, designating it as a second site related to Patton on the Mississippi Blues Trail. The marker commemorates the original lyrics of Patton's "Peavine Blues" that describe the railway branch of Yazoo and Mississippi Valley Railroad, which ran south from Dockery Plantation to Boyle. The marker emphasizes that a common theme of blues songs was riding on the railroad which was seen as a metaphor for travel and escape.
Tributes
"Blind Owl" Alan Wilson & Canned Heat covered Patton songs "Pony Blues", "Shake It and Break It" and "Yellow Bee".
Bob Dylan dedicated his song "High Water (For Charley Patton)", on his 2001 album "Love and Theft", to Patton.
The Reverend Peyton's Big Damn Band internationally touring American country blues recording/touring artists, fronted by Kentucky Colonel, The Reverend Peyton, produced a tribute recording to Charley Patton: Peyton on Patton, which was released July 19, 2011. The album entered the Billboard Blues Album chart at #7.
French singer-songwriter Francis Cabrel refers to Charley Patton in the song "Cent Ans de Plus" on his 1999 album Hors-Saison.
Indie rock band Gomez recorded a song on their 2006 release How We Operate, entitled "Charley Patton Songs".
There is a picture of Charley Patton in the recording studio used for The White Stripes' album Icky Thump. It can be seen in the background of the short demo video on their website
Jule Brown recorded an updated arrangement of Patton's "Green River Blues", on their 2006 release Smoke and Mirrors.
Robert Crumb narrated Patton's life in a comic book.
The 1980s NYC Punk/Blues band Hi Sheriffs of Blue (which included visual artists Mark Dagley, George Condo and Elliott Sharp) was named after the Patton song "High Sheriff Blues".
Discography
Gennett Records, Richmond, Indiana, 1929
"Pony Blues"
"Mississippi Boweavil Blues"
"Screamin' And Hollerin' The Blues"
"Down The Dirt Road Blues"
"Banty Rooster Blues"
"Pea Vine Blues"
"It Won't Be Long"
"Tom Rushen Blues"
"A Spoonful Blues"
"Shake It And Break It (But Don't Let It Fall Mama)"
"Prayer Of Death Part 1 & 2"
"Lord I'm Discouraged"
"I'm Goin' Home"
Paramount Records, Grafton, Wisconsin, 1929
"Going To Move To Alabama"
"Elder Greene Blues"
"Circle Round The Moon"
"Devil Sent The Rain Blues"
"Mean Black Cat Blues"
"Frankie And Albert"
"Some These Days I'll Be Gone"
"Green River Blues"
"Hammer Blues"
"Magnolia Blues"
"When Your Way Gets Dark"
"Heart Like Railroad Steel"
"Some Happy Day"
"You're Gonna Need Somebody When You Die"
"Jim Lee Blues Part 1"
"Jim Lee Blues Part 2"
"High Water Everywhere Part 1"
"High Water Everywhere Part 2"
"Jesus Is A Dying-Bed Maker"
"I Shall Not Be Moved"
"Rattlesnake Blues"
"Running Wild Blues"
"Joe Kirby"
"Mean Black Moan"
"Farrell Blues"
"Come Back Corrina"
"Tell Me Man Blues"
"Be True Be True Blues"
Paramount Records, Grafton, Wisconsin, 1930
"Dry Well Blues"
"Some Summer Day"
"Moon Going Down"
"Bird Nest Bound"
Vocalion Records, New York City, New York, 1934
"Jersey Bull Blues"
"High Sheriff Blues"
"Stone Pony Blues"
"34 Blues"
"Love My Stuff"
"Revenue Man Blues"
"Oh Death"
"Troubled 'Bout My Mother"
"Poor Me"
"Hang It On The Wall"
"Yellow Bee"
"Mind Reader Blues"
Hang It On The Wall
Charley Patton Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Throw it out the window, catch it 'fore it falls
You can break it, you can hang it on the wall
Out the window, catch it 'fore it falls
Sweet jelly, my roll, sweet mama don't let it fall
I ain't got nobody now
Ah, I fooled around
Ah, I and my brown
'Bout the jelly, my roll, sweet mama don't let it fall
Just snatch it, you can grab it, you can ring it, you can switch it
Any way that I come and get it
Ah, I had my right mind
Ah, I stay blue all the time
'Bout the jelly, my roll, sweet mama don't let it fall
Just shake it, you can break it, you can hang it on the wall
Out the window, catch it 'fore it falls
You can shake it, you can hang it on the wall
Out the window, catch it 'fore it falls
Sweet jelly, my roll, sweet mama don't you let it fall
(Look here baby, getting good to me now, I'm starting shakin')
Ah, me and my brown
Ah, when the sun goes down
'Bout the jelly, my roll, sweet mama don't let it fall
Just snatch it, you can grab it, you can ring it, you can switch it
Any way that I come and get it
Ah, I had my right mind
Ah, I stay blue all the time
'Bout the jelly, my roll, sweet mama don't let it fall
Just shake it, you can break it, you can hang it on the wall
Out the window, catch it 'fore it falls
You can shake it, you can hang it on the wall
Out the window, catch it 'fore it falls
Sweet jelly, my roll, sweet mama don't you let it fall
Everybody got a jelly roll like mine
I fooled around, I mean, when the sun goes down
Ah, me and my brown
'Bout the jelly, my roll, sweet mama don't let it fall
Just shake it, you can break it, you can hang it on the wall
Out the window, catch it 'fore it falls
You can shake it, you can hang it on the wall
Out the window, catch it 'fore it falls
Sweet jelly, my roll, sweet mama don't you let it fall
Everybody have a jelly roll like mine, I lives in town
I mean, since the sun went down
Ah, me and my brown
'Bout the jelly, my roll, sweet mama, don't let it fall
Just shake it, you can break it, you can hang it on the wall
Out the window, catch it 'fore it falls
You can shake it, you can hang it on the wall
Out the window, catch it 'fore it falls
Sweet jelly, my roll, sweet mama don't you let it fall
Aw sure baby, it's getting close again
Ah, I catch my wind
Back to town again
'Bout the jelly, my roll, sweet mama, don't let it fall
Hang It On The Wall by Charley Patton is a blues song that discusses jelly rolls. The song is composed of eight verses and a chorus that is repeated several times throughout the song. The chorus "Just shake it, you can break it, you can hang it on the wall, out the window, catch it 'fore it falls, sweet jelly, my roll, sweet mama don't you let it fall" is a phrase that is constantly repeated in the song, and it's the most memorable. The song is about the importance of jelly rolls to the singer, and he begs his sweet mama to protect it so it doesn't fall apart.
The first verse focuses on shaking the jelly roll and not letting it fall. The second verse talks about grabbing the jelly roll before it falls out the window. The third and fourth verses are about shaking, breaking, and hanging the jelly roll. The fifth and sixth verses also talk explicitly about the "jelly roll, sweet mama don't let it fall" line--the singer refuses to let his jelly roll get away from him. The seventh and eighth verses return to more general lines about grabbing and shaking the jelly roll. Throughout the song, the lyrics are repetitive and have a frantic quality to them, highlighting the singer's desperate attachment to his jelly roll.
Overall, Hang It On The Wall is a simple, catchy blues song with some memorable lyrics. While the lyrics are somewhat repetitive, they effectively convey the singer's love for his jelly roll and the importance of keeping it safe. The song is typical of the blues style, focusing on personal experience rather than broader concerns.
Line by Line Meaning
Just shake it, you can break it, you can hang it on the wall
You can handle it anyhow; it won't break; it can even be hung on the wall
Throw it out the window, catch it 'fore it falls
If you decide to throw it away, swiftly catch it before it hits the ground
You can break it, you can hang it on the wall
It's so flexible, it can be utilized in different ways, even as a wall hanging
Out the window, catch it 'fore it falls
Even when it seems to be going out of control, it can still be caught before it falls
Sweet jelly, my roll, sweet mama don't let it fall
Jelly roll is highly cherished and appreciated; it shouldn't be allowed to fall
I ain't got nobody now
He no longer has anyone in his life
Ah, I fooled around
He hadn't been serious for a while and thus messed things up
I mean, when the sun goes down
He's referencing an event in the past when his life took a downward turn
Ah, I and my brown
He is likely referring to his lover, who is also hurting
'Bout the jelly, my roll, sweet mama don't let it fall
Despite everything, this line is a reminder that the jelly roll is still of significant value
Just snatch it, you can grab it, you can ring it, you can switch it
It's so flexible; it can be handled in different ways
Any way that I come and get it
He can always access it and make use of it whenever he wants
Ah, I had my right mind
I had a clear purpose and knew what I was doing
Ah, I stay blue all the time
He was always unhappy and downhearted
'Bout the jelly, my roll, sweet mama don't let it fall
Regardless of the situation, the jelly roll is still essential to him
Everybody got a jelly roll like mine
Everyone has something cherished to them that is unique and special
I fooled around, I mean, when the sun goes down
He didn't take it as seriously as he ought to have done and now things aren't going well
Ah, me and my brown
He might be referring to his lover who's also experiencing similar troubles
'Bout the jelly, my roll, sweet mama don't let it fall
Despite everything that's happening in his life, this line is a reminder of the importance of jelly roll to him
Everybody have a jelly roll like mine, I lives in town
Everyone has something unique and special to them, and he's happy to have his whiles living in the town
I mean, since the sun went down
Since the moment things went wrong in his life, he's been having difficulties
Aw sure baby, it's getting close again
He's reminiscing about a time when things were better, and he's hopeful that he can get there again
Ah, I catch my wind
He's feeling hopeful and optimistic
Back to town again
He's going to live in the town once more
'Bout the jelly, my roll, sweet mama, don't let it fall
He emphasizes that jelly roll is still essential to him, no matter the situation
Writer(s): CHARLEY PATTON
Contributed by Annabelle L. Suggest a correction in the comments below.
@jonathandemiguel1458
It downright incredible how good this copy sounds... We're talking about one of the rarest records in the world!
@markritchie9590
Charlie Patton - Hang it on the Wall
Just shake it, you can break it, you can hang it on the wall
Throw it out the window, catch it ‘fore it falls
You can break it, you can hang it on the wall
Out the window, catch it ‘fore it falls
Sweet jelly, my roll, sweet mama don’t let it fall
I ain’t got nobody now
Ah, I fooled around
I mean, when the sun goes down
Ah, I and my brown
‘Bout the jelly, my roll, sweet mama don’t let it fall
Just snatch it, you can grab it, you can ring it, you can switch it
Any way that I come and get it
Ah, I had my right mind
Ah, I stay blue all the time
‘Bout the jelly, my roll, sweet mama don’t let it fall
Just shake it, you can break it, you can hang it on the wall
Out the window, catch it ‘fore it falls
You can shake it, you can hang it on the wall
Out the window, catch it ‘fore it falls
Sweet jelly, my roll, sweet mama don’t you let it fall
(Look here baby, getting good to me now, I’m starting shakin’)
Ah, me and my brown
Ah, when the sun goes down
‘Bout the jelly, my roll, sweet mama don’t let it fall
Just snatch it, you can grab it, you can ring it, you can switch it
Any way that I come and get it
Ah, I had my right mind
Ah, I stay blue all the time
‘Bout the jelly, my roll, sweet mama don’t let it fall
Just shake it, you can break it, you can hang it on the wall
Out the window, catch it ‘fore it falls
You can shake it, you can hang it on the wall
Out the window, catch it ‘fore it falls
Sweet jelly, my roll, sweet mama don’t you let it fall
Everybody got a jelly roll like mine
I fooled around, I mean, when the sun goes down
Ah, me and my brown
‘Bout the jelly, my roll, sweet mama don’t let it fall
Just shake it, you can break it, you can hang it on the wall
Out the window, catch it ‘fore it falls
You can shake it, you can hang it on the wall
Out the window, catch it ‘fore it falls
Sweet jelly, my roll, sweet mama don’t you let it fall
Everybody have a jelly roll like mine, I lives in town
I mean, since the sun went down
Ah, me and my brown
‘Bout the jelly, my roll, sweet mama, don't let it fall
Just shake it, you can break it, you can hang it on the wall
Out the window, catch it ‘fore it falls
You can shake it, you can hang it on the wall
Out the window, catch it ‘fore it falls
Sweet jelly, my roll, sweet mama don’t you let it fall
Aw sure baby, it’s getting close again
Ah, I catch my wind
Back to town again
‘Bout the jelly, my roll, sweet mama, don't let it fall
@billlloyd4029
Would love to have heard a Ramones cover of this. Too late now...