Sims was the cousin of another Texas blues musician, Lightnin' Hopkins, and he worked with several other prominent blues musicians, including Texas Alexander, T-Bone Walker, King Curtis and Albert Collins. Sims is regarded as one of the important figures in post-war Texas country blues.
Frankie Lee Sims was born on April 30, 1917 in New Orleans, Louisiana, to Henry Sims and Virginia Summuel. He claimed he was born on February 29, 1906, but 1906 was not a leap year and April 30, 1917 is generally accepted as his birth date. He was the nephew of Texas blues singer Texas Alexander, and the cousin of Texan guitarist Lightnin' Hopkins. Both Sims's parents were "accomplished guitarists". His family moved to Marshall, Texas in the late 1920s, and at the age of 12 he learnt to play guitar from Texas blues musician Little Hat Jones and ran away from home to work as a musician. In the late 1930s Sims had a duel career of a teacher in Palestine, Texas on weekdays and a guitarist at local dances and parties on weekends. When the US entered the Second World War at the end of 1941, Sims enlisted, becoming a Marine for three years. After the war Sims made Dallas his home where he pursued a full-time career in music.
In Dallas Sims encountered, and performed with, Texas blues guitarists T-Bone Walker and Smokey Hogg in local clubs. In 1948 Sims recorded two singles for Blue Bonnet Records, but his first success came in 1953 when he recorded his song, "Lucy Mae Blues" for Art Rupe's Specialty Records, which went on to become a regional hit. The Encyclopedia of the Blues called "Lucy Mae Blues" a "masterpiece of rhythm and good humor". Sims continued recording songs for Specialty through the mid-1950s, many of them not released at the time. In 1957 he moved to Johnny Vincent's Ace Records and recorded several songs, including "Walking with Frankie" and "She Likes to Boogie Real Low", which Allmusic called "mighty rockers". Sims also recorded with other blues musicians, including his cousin Hopkins, and appears on several of their records. In the early 1960s Hopkins "cashed in" on the folk-blues revival, but Sims faded into obscurity.
In 1969 blues historian Chris Strachwitz tracked Sims down to record him on his Arhoolie label, but Sims died soon after on May 10, 1970 in Dallas at the age of 53. The cause of death was pneumonia brought on by his poor health.[4] At the time of his death he was reported to have had a drinking problem and was under investigation regarding a "shooting incident". Soon after his death, Specialty Records released a compilation album of Sim's recordings with the label, Lucy Mae Blues. In 1985 Krazy Kat released Walkin' With Frankie, an album of unreleased songs he had recorded for the label in 1960.
Along with Lightnin' Hopkins and Lil' Son Jackson, Sims is regarded as "one of the great names in post-war Texas country blues". According to the Encyclopedia of the Blues, his was a "considerable" influence on other musicians in Dallas. T-Bone Walker acknowledged Sims's effect on his style of playing, and Hopkins got some of his ideas from him. Sims also guided several musicians at the start of their careers, including King Curtis and Albert Collins.
Sims's style of guitar playing was to produce rhythmical patterns over and over, but with a slight change in each repetition, giving his music an "irresistible dance beat". He produced a "twangy, ringing" sound on his electric guitar that was "irresistible on fast numbers and stung hard on the downbeat stuff".
Lucy Mae Blues
Frankie Lee Sims Lyrics
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Better not let my good gal catch you here
Ain't no tellin' what poor little Lucy Mae do
My Tuesday woman totes that pocket change, that Wednesday woman wants to do the same
Better not let my good gal catch you here
Ain't no tellin' what poor little Lucy Mae do
Better not let my good gal catch you here
Ain't no tellin' what poor little Lucy Mae do
My Saturday woman totes a Gatling gun, cut you if you stand, shoot you if you run
Better not let my good gal catch you here
Ain't no tellin' what poor little Lucy Mae do
She left one Christmas come back that afternoon, next time I see her, boy, it was the nineteen of June
Better not let my good gal catch you here
Ain't no tellin' what poor little Lucy Mae do
Goodbye, little woman, babe, you call that gone, you may leave Frankie, baby, don't think you won't stay long
Better not let my good gal catch you here
Ain't no tellin' what poor little Lucy Mae do
The lyrics of the song "Lucy Mae Blues" by Frankie Lee Sims depict a man who has multiple women in his life who fulfil different roles according to the day of the week, from bringing him the daily news to buying him shoes, to providing him pocket change. However, he is aware that his "good gal" is jealous and possessive and if she catches him with any of these other women, he fears for their safety. The lyrics suggest that his "good gal" Lucy Mae is not to be messed with, as she can be violent and unpredictable.
The song is a classic example of the blues, where the singer is expressing his troubles and worries through music. It is also an exploration of the theme of infidelity and jealousy, which were common topics in blues music. The lyrics suggest a man who cannot commit to one woman and is constantly seeking the company and support of others. At the same time, he is aware of the consequences of his actions and the danger he puts himself and others in.
Overall, the song "Lucy Mae Blues" by Frankie Lee Sims is a cautionary tale about the dangers of infidelity and the violent consequences that can result. It is a classic blues song that explores themes of love, jealousy, and betrayal.
Line by Line Meaning
My Sunday woman brings the daily news, that Monday woman brings me stockin' and shoes
I have multiple women who each come on different days to bring me different things.
Better not let my good gal catch you here
It would be bad if my main woman caught you around here with me.
Ain't no tellin' what poor little Lucy Mae do
My main woman might get jealous and do something bad to you like Lucy Mae did.
My Tuesday woman totes that pocket change, that Wednesday woman wants to do the same
One of my women brings me money, and the other wants to do the same.
My Thursday woman knocks upon my door, that Friday woman, boy, is gotta go
One woman comes over on Thursdays and the other has to leave on Fridays.
My Saturday woman totes a Gatling gun, cut you if you stand, shoot you if you run
One of my women is armed and dangerous, and will hurt you if she needs to.
She left one Christmas come back that afternoon, next time I see her, boy, it was the nineteen of June
My main woman once left and came back, but it felt like a short time had passed to me.
Goodbye, little woman, babe, you call that gone, you may leave Frankie, baby, don't think you won't stay long
If one of my women leaves, they may come back sooner than they think.
Contributed by Carson S. Suggest a correction in the comments below.