Lonnie Johnson's early recordings are the first guitar recordings that display a single-note soloing style with use of string bending and vibrato. While it cannot be proven that this contains the influence of earlier players who did not record, it is the origin of Blues and Rock solo guitar. Johnson's influence is obvious in Django Reinhardt, T-Bone Walker and virtually all electric blues guitar players.
[citation needed] Raised in a family of musicians, Johnson studied violin and guitar as a child, but concentrated on the latter throughout his professional career. A 1917 tour to England with a revue may have saved his life, for he returned to New Orleans in 1919 to find that most of his family had died in the 1918 influenza epidemic.
In the early 1920s, Johnson worked with the orchestras of Charlie Creath and Fate Marable on riverboats, but he made St. Louis his home in 1925. There he entered and won an Okeh Records blues contest that resulted in his making a series of memorable recordings for the label between 1925 and 1932, including guitar duets with Eddie Lang and vocal duets with Victoria Spivey. In the 1920s, Johnson also made guest appearances on records by Louis Armstrong and his Hot Five, the Duke Ellington orchestra, and The Chocolate Dandies, playing 12-string guitar solos in an extraordinary, pioneering single-string style that greatly influenced such future jazz guitarists as Charlie Christian and Django Reinhardt, and gave the instrument new meaning as a jazz voice.
Lonnie Johnson's career was a rollercoaster ride that sometimes took him away from music. In between great musical accomplishments, he found it necessary to take menial jobs that ranged from working in a steel foundry to mopping floors as a janitor. He was working at Philadelphia's Benjamin Franklin Hotel in 1959 when WHAT-FM disc jockey Chris Albertson happened upon him. Albertson succeeded in securing for Johnson a Chicago engagement at the Playboy Club, which launched yet another comeback. Johnson subsequently performed with Duke Ellington and his orchestra and with an all-star folk concert, both at Town Hall, New York City.
He also toured Europe and recorded several albums for the Prestige Bluesville label, some with Elmer Snowden, and one with his Okeh vocal partner, Victoria Spivey. To his great regret, Johnson was always tagged as a blues artist, and he found it difficult to be regarded as anything else. "I had done some singing by then," he explained when asked why he entered the Okeh contest, "but I still didn't take it as seriously as my guitar playing, and I guess I would have done anything to get recorded--it just happened to be a blues contest, so I sang the blues."
Johnson died in Toronto, Ontario, Canada, June 16, 1970 of complications resulting from a 1969 auto accident. He was posthumously inducted into the Louisiana Blues Hall of Fame in 1997.
One of Elvis Presley's earliest recordings was Johnson's blues ballad, "Tomorrow Night", which was also recorded by LaVern Baker
Bob Dylan wrote about the performing method he learned from Johnson in Chronicles, Vol. 1. Dylan thinks Robert Johnson had learned a lot from Lonnie.
What More Can a Man Do?
Lonnie Johnson Lyrics
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You called your other man to tell him, take my life.
So what more, can a man do?
I give up my job, laid down my money to you.
Listen here baby, you ain't treatin' me right.
You don't do nothin' but clown and fight.
You know I love you, I don't care what you do.
What more, can a man do?
Give up my job, laid down my money to you.
You go out tonight gal, no tellin' what I'll do.
I'm getting' tired of worryin' over you.
What more, can a man do?
I give up my job, laid down my money to you.
Now play it, let's hear it. [spoken words – Peetie Wheatstraw]
Now you know mama, I'm gettin' tired, gettin' tired, gettin' tired.
Here in St. Louis, all disguised.
Cried last night, and night before.
I believe it this time I won't have to cry no more.
What more, can a man do?
I give up my job, laid down my money to you.
So, bye-bye baby, I'm leavin' you now.
I no you don't mean no good no how.
You did everything a woman could do.
You know about that so I am through with you.
What more, can a man do?
I give up my job, laid down my money to you.
In Lonnie Johnson's song "What More Can a Man Do?" the lyrics convey themes of betrayal, frustration, and resignation in a romantic relationship. The opening lines, "Listen here baby, I ain't gonna be your dog all my life. You called your other man to tell him, take my life," suggest a sense of feeling disrespected and mistreated by the partner, who seems to have involved another man in their relationship. This betrayal and lack of trust is further emphasized as the singer questions, "So what more can a man do? I give up my job, laid down my money to you," highlighting the sacrifices and efforts made for the relationship.
As the song progresses, the lyrics express a growing disillusionment with the partner's behavior, as the singer confronts the lack of proper treatment and constant conflicts in the relationship. The lines, "Listen here baby, you ain't treatin' me right. You don't do nothin' but clown and fight," reflect the frustration and disappointment felt towards the partner's behavior. Despite expressing love, the singer admits to feeling weary of the ongoing struggles and clashes, signaling a desire for change and a sense of exhaustion from trying to make things work.
The lyrics also depict a sense of impending consequence and personal turmoil, as the singer hints at potential actions in response to the partner's actions. The line, "You go out tonight gal, no tellin' what I'll do. I'm getting' tired of worryin' over you," suggests a breaking point in the singer's patience and hints at possible repercussions of the partner's actions. This inner turmoil and conflict between emotions are further highlighted as the singer questions, "What more can a man do?" while reflecting on the sacrifices made for the relationship.
Ultimately, the song concludes with a sense of finality and resolve as the singer decides to walk away from the toxic relationship. The lines, "So, bye-bye baby, I'm leavin' you now. I know you don't mean no good no how," indicate a decision to break free from the cycle of hurt and disappointment caused by the partner. Despite acknowledging the efforts made by the partner, the singer recognizes the need to prioritize self-respect and emotional well-being, signaling a closure to the tumultuous relationship. The repeated refrain of "What more can a man do?" echoes the singer's internal conflict and the ultimate realization that they have done everything they could, but it is time to let go and move forward.
Line by Line Meaning
Listen here baby, I ain't gonna be your dog all my life.
I won't be your servant forever.
You called your other man to tell him, take my life.
You threatened my life by involving someone else.
So what more, can a man do?
What else can a man possibly do in this situation?
I give up my job, laid down my money to you.
I sacrificed my job and money for you.
Listen here baby, you ain't treatin' me right.
You're not treating me well.
You don't do nothin' but clown and fight.
You only joke around and argue.
You know I love you, I don't care what you do.
I love you despite your actions.
I'm gettin' tired of clownin' with you.
I'm tired of playing games with you.
You go out tonight gal, no tellin' what I'll do.
I might act unpredictably if you go out tonight.
I'm getting' tired of worryin' over you.
I'm tired of being concerned about you.
I give up my job, laid down my money to you.
I sacrificed my job and money for you.
Here in St. Louis, all disguised.
In St. Louis, everything is not as it seems.
Cried last night, and night before.
I shed tears last night and the night before.
I believe it this time I won't have to cry no more.
I hope this time I won't have to cry again.
So, bye-bye baby, I'm leavin' you now.
I'm saying goodbye and leaving you.
I no you don't mean no good no how.
I know you're not good for me.
You did everything a woman could do.
You did all you could as a woman.
You know about that so I am through with you.
You understand, so I'm done with you.
Lyrics © O/B/O APRA AMCOS
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