One of 13 children, John learned guitar from Treme neighborhood characters like Roy Montrell, Papoose Nelson and George Davis. His recording career begins when his band "Deacon John and the Ivories", became the hard working hot house band circa 1960 at New Orleans' now shuttered, but legendary live music spot the Dew Drop Inn. After producer Allen Toussaint saw him, he was soon playing guitar on various sessions for the Minit and Alon labels amongst others. Moore eventually recorded as a featured artist for Rip Records in in 1962, waxing releasing "I Can't Wait" b/w "When I'm With You". With limited income from 45's, to support himself Moore really earned his chops and suppers on hot wild nights at chitlin circuit venues including The College Inn in Thibodaux, backing greats like Little Esther, Wilson Pickett, Marvin Gaye, Earl King,Chubby Checker, and Hank Ballard. He also made other solo records for labels like Wand and Bell.
He earned the nickname the "Creole Chameleon" from New Orleans music historian Jeff Hannusch for his ability to stay up with musical trends. " I liked rock ‘n’ roll. I was the only black guy at the Beatles concert at City Park, it was like a fly in a bowl of soup" Moore told Y'at Magazine in an interview. Whether kicking out Hendrix inspired psychedelic soul with his late 60's era Electric Soul Train band with Art & Cyrille Neville, Jimmy Cliff covers in the early 70's, urban contemporary funk & jazz in the 80's, or Jump Blues in the recent swing revival of the late 1990's and early 2000's, Deacon John Moore is an all around musician and consummate performer.
His 2003 DVD/CD concert film "Deacon John’s Jump Blues", shot on 35mm and HD is undoubtedly the peak of his 40 year run, and the ever humble John told interviewer Dan Gilbert before it's release, "Why me? I guess all the rest of the cats are dead, I outlived the competition!" The DVD features historical documentary interviews and concert footage of Moore alongside contemporaries like Allen Toussaint, Dr. John, Wardell Quezergue, The Zion Harmonizers and his hot jump blues band that includes such members as Herlin Riley on drums, Carl Blouin, Sr, on baritone; Amadee Castenell and Joseph Saulsbury on tenor; Julius Handy on alto; Jeffery Albert and Jerome Verges, Jr. on trombone; and Bernard Floyd and Brian Murray on trumpets.
Jumpin' In The Morning
Deacon John Moore Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Tell me how do you do?
Oh, now baby
Tell me how do you do?
Well, I wanna say baby
I really got news for you
Well, now baby
Oh, now baby
Tell me what is your name?
Well, I'm in love with you baby
Hope that you feel the same
Well, now baby
I really want you by my side
Oh, now baby
Swear I want you by my side
Well, you in love in the money
Keep your daddy satisfied
Well, you're finally mine
You're really on the ball
Oh, Lord by your by
You're really on the ball
Well, you know I start runnin'
Every time you've called
Oh, Lord, babe
Rock, everybody rock, rock, rock
Everybody jump, jump, jump
Everybody, wail, wail, wail
Everybody jump, jump, jump
Everybody, well are ya anybody
I said, wail, wail
(Wail, wail)
Oh, babe
(Oh, babe)
Oh, babe
(Oh, babe)
Oh, babe
(Oh, babe)
Oh, babe
(Oh, babe)
I believe in you when you say I do
Babe, talk about your baby
You ought to be mine
Well, you can talk about your baby
But you ought to be mine
Well, she feels like an angel
And it ought to be an angel o' mine
Well, in the mornin'
Early in the mornin'
Oh, Lord in the evenin'
Do it in the mornin'
Well, early in the mornin'
The Deacon John Moore's song Jumpin’ In The Morning is a classic example of the genre of Rhythm and Blues, which emerged in the US in the 1940s and became a popular style of music in the 1950s. The song is a call and response type, with the singer asking questions and the audience responding with jumping, wailing or rocking. The song is about a man who is deeply in love with a woman and wants her to be with him.
The song opens with the singer asking the woman how she is doing, and then introducing himself. He confesses his love for her, and hopes that she feels the same way. He then sings about wanting the woman to be with him, and promises to keep her happy. The chorus is a call for everyone to join in, jump and rock to the rhythm of the music.
The song has a lively beat, and is characterized by its fast-paced rhythm, catchy chorus, and repetitive lyrics. The song features a call and response style of singing, which is common in African American music, and is often used to create a feeling of community and unity.
Line by Line Meaning
Well, now baby
The singer greets his partner and starts a conversation
Tell me how do you do?
The singer is asking how his partner is feeling
Oh, now baby
The singer continues the conversation and expresses interest in his partner
Tell me what is your name?
The singer asks his partner's name
Well, I'm in love with you baby
The singer expresses his love for his partner
Hope that you feel the same
The singer wants his partner to reciprocate his love
Well, now baby
The singer repeats his previous statement to show his seriousness
I really want you by my side
The singer expresses his desire for his partner to be with him
Swear I want you by my side
The singer emphasizes his desire and promises his partner
Well, you in love in the money
The singer acknowledges that his partner loves money
Keep your daddy satisfied
The singer implies that he can provide financial security to his partner
Well, you're finally mine
The singer rejoices that his partner is now his
You're really on the ball
The singer praises his partner for being efficient
Well, you know I start runnin'
The singer is always ready to be with his partner when called
Every time you've called
The singer always answers his partner's call
Oh, Lord, babe
The singer exclaims in excitement and awe
Rock, everybody rock, rock, rock
The singer urges everyone to dance
Everybody jump, jump, jump
The singer wants everyone to celebrate with joy
Everybody, wail, wail, wail
The singer wants everyone to express their emotions by wailing
Everybody, well are ya anybody
The singer asks if anyone is feeling the same emotions as him
I said, wail, wail
The singer repeats his call for wailing
(Wail, wail)
The singer emphasizes the need for expressing emotions
Oh, babe
The singer addresses his partner
I believe in you when you say I do
The singer expresses his faith in his partner
Babe, talk about your baby
The singer acknowledges his partner's baby
You ought to be mine
The singer still wants his partner to be with him
Well, you can talk about your baby
The singer allows his partner to talk about her baby
But you ought to be mine
The singer still wants his partner to be with him
She feels like an angel
The singer praises his partner's qualities
And it ought to be an angel o' mine
The singer suggests that his partner is meant to be with him
Well, in the mornin'
The singer refers to a specific time of day
Early in the mornin'
The singer emphasizes the time of day again
Oh, Lord in the evenin'
The singer now refers to a different time of day
Do it in the mornin'
The singer suggests that certain activities should happen in the morning
Lyrics © Warner/Chappell Music, Inc.
Written by: RAY CHARLES
Lyrics Licensed & Provided by LyricFind