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"
Shake It and Break It
Charley Patton Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Out the window, catch it 'fore it roll
You can shake it, you can break it, you can hang it on the wall
Out the window, catch it 'fore it falls
My jelly, my roll, sweet mama, don't let it fall
Everybody have a jelly roll like mine, I lives in town
I, ain't got no brown, I, an' I want it now
You can snatch it, you can grab it, you can break it, you can twist it
Any way that I love to get it
I, had my right mind since I, I blowed this town
My jelly, my roll, sweet mama, don't ya let it fall
Jus' shake it, you can break it, you can hang it on the wall
It out the window, catch it 'fore it falls
You can break it, you can hang it on the wall
It out the window, catch it 'fore it
My jelly, my roll, sweet mama, don't let it fall
I ain't got nobody here but me and myself
I, stay blue all the time, aw, when the sun goes down
My jelly, my roll, sweet mama, don't let it fall
You can shake it, you can break it, you can hang it on the wall
It out the window, catch it 'fore it fall
You can break it, you can hang it on the wall
Out the window, catch...
My jelly, my roll, sweet mama, don't let it fall
You can snatch it, you can grab it, you can break it, you can twist it
Any way that I love to get it
I, had my right mind, I, be worried sometime
'Bout a jelly, my roll, sweet mama, don't let it fall
Just shake it, you can break it, you can hang it on the wall
It out the window, catch it 'fore it falls
You can break it, you can hang it on the wall
It out the window, catch it 'fore it falls
My jelly, my roll, sweet mama, don't let it fall
I know I been to town, I, I walked around
I, start leavin' town, I, I fool around
My jelly, my roll, sweet mama, don't let it fall
Just shake it, you can break it, you can hang it on the wall
It out the window, catch it 'fore it falls
You can break it, you can hang it on the wall
It out the window, catch it 'fore it
My jelly, my roll, sweet mama, don't let it fall
Jus' shake it, you can break it, you can hang it on the wall
It out the window, catch it 'fore it
My jelly, my roll, sweet mama, don't let it
The lyrics of Charley Patton's song "Shake It and Break It" describe the importance of protecting an important possession, referred to as "jelly and roll." The lyrics encourage the listener to shake it, break it, and hang it on the wall, but to always catch it before it falls. Patton's urgency in protecting his "jelly and roll" suggests that it may be a metaphor for something more significant, such as his identity or his music.
The repetition of the phrase "my jelly, my roll, sweet mama, don't let it fall" throughout the song highlights the importance of these possessions and creates a catchy chorus that the listener can easily sing along to. The lyrics also include references to living in town, wanting "brown," and staying "blue all the time," suggesting a level of sadness or dissatisfaction with life.
Overall, "Shake It and Break It" is a song about preserving what is important to you, whether it be a possession, a part of yourself, or your music. The repetitive chorus and upbeat tempo make for a fun and catchy tune that audiences have enjoyed for decades.
Line by Line Meaning
Just shake it, you can break it, you can hang it on the wall
This song is about the singer's desire to keep his 'jelly roll' safe and secure by any means necessary. He suggests that shaking or breaking it is an option, and that it's valuable enough to hang on the wall.
It out the window, catch it 'fore it roll
The singer is urging the listener to act quickly and catch his 'jelly roll' before it falls or rolls out of reach.
You can shake it, you can break it, you can hang it on the wall
The singer is repeating his point from the beginning of the song, emphasizing the importance of his 'jelly roll' and the many ways he's willing to protect it.
It out the window, catch it 'fore it falls
The artist is again urging the listener to move quickly to catch his 'jelly roll' before it falls or gets lost.
My jelly, my roll, sweet mama, don't let it fall
This is the chorus of the song, and it's a simple plea to keep the artist's 'jelly roll' safe and secure.
Everybody have a jelly roll like mine, I lives in town
The singer is suggesting that everyone has something valuable that they need to protect, and that he lives in a town where danger threatens his 'jelly roll'.
I, ain't got no brown, I, an' I want it now
It's unclear what 'brown' refers to here, but the singer seems to be saying that he's lacking something important and he wants it immediately.
You can snatch it, you can grab it, you can break it, you can twist it
The artist is again emphasizing the many ways that someone might try to take his 'jelly roll', and suggesting that he's prepared to fight to keep it.
Any way that I love to get it
The artist is saying that he values his 'jelly roll' so much that he'll do anything to keep it safe, and he's urging the listener to do the same with their own valuable possessions.
I, had my right mind since I, I blowed this town
The artist is saying that he's been in control of his own fate and his own possessions since he left town.
My jelly, my roll, sweet mama, don't ya let it fall
This is another repetition of the chorus, emphasizing the importance of his 'jelly roll' and the urgency of keeping it safe.
I ain't got nobody here but me and myself
The artist is suggesting that he's alone and has to rely on himself to keep his 'jelly roll' secure.
I, stay blue all the time, aw, when the sun goes down
The singer is expressing his constant fear and anxiety about the safety of his 'jelly roll', particularly at night.
You can break it, you can hang it on the wall
This is another repetition of the singer's earlier suggestion that there are many ways to keep his 'jelly roll' safe, including breaking it or hanging it on the wall.
Out the window, catch it 'fore it fall
The singer is once again urging the listener to act quickly and catch his 'jelly roll' before it falls or gets lost.
I know I been to town, I, I walked around
The artist is suggesting that he's been around and seen the danger that exists in town, and that he knows what it takes to keep his 'jelly roll' safe.
I, start leavin' town, I, I fool around
The artist is suggesting that he's considering leaving town to keep his 'jelly roll' safe, but he's also hesitating and second-guessing himself.
Lyrics © Sony/ATV Music Publishing LLC
Written by: CHARLEY PATTON
Lyrics Licensed & Provided by LyricFind
@strangelovemd1
Just shake it, you can break it, you can hang it on the wall
Out the window, catch it 'fore it roll
You can shake it, you can break it, you can hang it on the wall
Out the window, catch it 'fore it falls
My jelly, my roll, sweet mama, don't let it fall
Everybody have a jelly roll like mine, I lives in town
I, ain't got no brown, I, an' I want it now
My jelly, my roll, sweet mama, don't let it fall
You can snatch it, you can grab it, you can break it, you can twist it
Any way that I love to get it
I, had my right mind since I, I blowed this town
My jelly, my roll, sweet mama, don't ya let it fall
Jus' shake it, you can break it, you can hang it on the wall
It out the window, catch it 'fore it falls
You can break it, you can hang it on the wall
It out the window, catch it 'fore it
My jelly, my roll, sweet mama, don't let it fall
I ain't got nobody here but me and myself
I, stay blue all the time, aw, when the sun goes down
My jelly, my roll, sweet mama, don't let it fall
You can shake it, you can break it, you can hang it on the wall
It out the window, catch it 'fore it fall
You can break it, you can hang it on the wall
Out the window, catch...
My jelly, my roll, sweet mama, don't let it fall
You can snatch it, you can grab it, you can break it, you can twist it
Any way that I love to get it
I, had my right mind, I, be worried sometime
'Bout a jelly, my roll, sweet mama, don't let it fall
Just shake it, you can break it, you can hang it on the wall
It out the window, catch it 'fore it falls
You can break it, you can hang it on the wall
It out the window, catch it 'fore it falls
My jelly, my roll, sweet mama, don't let it fall
I know I been to town, I, I walked around
I, start leavin' town, I, I fool around
My jelly, my roll, sweet mama, don't let it fall
Just shake it, you can break it, you can hang it on the wall
It out the window, catch it 'fore it falls
You can break it, you can hang it on the wall
It out the window, catch it 'fore it
My jelly, my roll, sweet mama, don't let it fall
Jus' shake it, you can break it, you can hang it on the wall
It out the window, catch it 'fore it
My jelly, my roll, sweet mama, don't let it
Source: LyricFind
Songwriters: Charley Patton
Shake It & Break It (But Don't Let It Fall, Mama) lyrics © Sony/ATV Music Publishing LLC
@raagehomar
You can shake it, you can break it,
you can hang it on the wall
Throw it out the window, catch it 'fore it roll
You can shake it, you can break it,
you can hang it on the wall
...it out the window, catch it 'fore it falls
My jelly, my roll, sweet mama, don't let it fall
Everybody have a jelly roll like mine, I lives in town
I, ain't got no brown, I, an' I want it now
My jelly, my roll, sweet mama, don't let it fall
You can snatch it, you can grab it, you can break it,
you can twist it, any way that I love to get it
I, had my right mind since I, I blowed this town
@bdpatton2
Love you great great grand pappy!
@pretzelgirl772
Charlie Patton was brilliant and we are so lucky that these recordings were not lost...so many artists were not caught on video and it's a damn shame.
@MrPisster
+Pretzel Girl I don't think you mean "video".
@pretzelgirl772
why?
@pretzelgirl772
don't catch your meaning...you see any Charlie patton videos floating around?
@poutinedavid8937
It's been a year so it's safe to say MrPisster is comfortable being an asshead.
@oldgrannywheels
@@poutinedavid8937 Pretzel Girl wrote this confusingly, which lead MrPisster to misunderstand it. It reads, "we are so lucky that these recordings were not lost (audio, were talkin about audio in this sentence), so many artists were not caught on video." Looks like you meant to say audio, not video. I guess it was a side thought, but not only does it not have to do with the first thought, but it's so obvious it doesn't make sense cramming in there awkwardly. I'm with MrPisster on this. Funny 5 others read it differently.
@aaronmccutcheon
This song is all about rhythm! Him stomping his feet and tapping on the guitar, whilst playing and singing...amazing!
@gabrielaagusts9854
legendary
@MegaRomeg
😁 ok.