Coming to prominence in the 1920s as an inventive trumpet and cornet player, Armstrong was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance. With his instantly-recognizable gravelly voice, Armstrong was also an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes. He was also skilled at scat singing (vocalizing using sounds and syllables instead of actual lyrics).
Renowned for his charismatic stage presence and voice almost as much as for his trumpet-playing, Armstrong's influence extends well beyond jazz music, and by the end of his career in the 1960s, he was widely regarded as a profound influence on popular music in general. Armstrong was one of the first truly popular African-American entertainers to "cross over", whose skin-color was secondary to his music in an America that was severely racially divided. He rarely publicly politicized his race, often to the dismay of fellow African-Americans, but took a well-publicized stand for desegregation during the Little Rock Crisis. His artistry and personality allowed him socially acceptable access to the upper echelons of American society that were highly restricted for a black man.
Armstrong was born and brought up in New Orleans, a culturally diverse town with a unique musical mix of creole, ragtime, marching bands, and blues. Although from an early age he was able to play music professionally, he didn't travel far from New Orleans until 1922, when he went to Chicago to join his mentor, King Oliver. Oliver's band played primitive jazz, a hotter style of ragtime, with looser rhythms and more improvisation, and Armstrong's role was mostly backing. Slow to promote himself, he was eventually persuaded by his wife Lil Hardin to leave Oliver, and In 1924 he went to New York to join the Fletcher Henderson Orchestra. At the time, there were a few other artists using the rhythmic innovations of the New Orleans style, but none did it with the energy and brilliance of Armstrong, and he quickly became a sensation among New York musicians. Back in Chicago in 1925, he made his first recordings with his own group, Louis Armstrong and his Hot Five, and these became not only popular hits but also models for the first generation of jazz musicians, trumpeters or otherwise.
Other hits followed through the twenties and thirties, as well as troubles: crooked managers, lip injuries, mob entanglements, failed big-band ventures. As jazz styles changed, though, musical purists never lost any respect for him -- although they were sometimes irritated by his hammy onstage persona. Around the late forties, with the help of a good manager, Armstrong's business affairs finally stablilized, and he began to be seen as an elder statesman of American popular entertainment, appearing in Hollywood films, touring Asia and Europe, and dislodging The Beatles from the number-one position with Hello Dolly". Today many people may know him as a singer (a good one), but as Miles Davis said: “You can’t play nothing on modern trumpet that doesn’t come from him."
The 62-year-old Armstrong became the oldest act to top the US charts when "Hello Dolly" reached #1 in 1964. Four years later Satchmo also became the oldest artist to record a UK #1, when "What a Wonderful World" hit the top spot.
My sweet hunk o` trash
Louis Armstrong Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Ain't got that glamour touch
You're trifling lazy
Ain't worth a cigarette ash
Look out here mamma
Look out here
You carry me too fast
You're just my good for nothin'
My sweet hunk o' trash
(My, my how you sound)
You're very short on looks
(Yeah, yeah, yeah)
Dumb, when it comes to books
(Look out, baby, watch it, honey)
And you stay full of corn just like succotash
(What you want me to do in my idle moments)
You're just a good for nothin'
But my sweet hunk o' trash
(Let me get a word in there honey, you running your mouth)
You said I've worried you for years
I'm just a barfly moochin' beers
While you sweat over a hot stove slinging hash
(Work my fingers right down to the elbows)
Yes I may be good for nothin'
But I'm still your sweet hunk o' trash
(First to admit it baby)
You said I spread my love all around
And with the chicks all over town
But, how can I when you keep me broke?
So I can't spend no cash
Yes I may be good for nothin'
But I'm still your sweet hunk o' trash
Listen here pops
You know you lie about your youth
(I don't lie baby)
I'm just careless with the truth, that's all
(How careless can you be)
Oh, no
With all your chicks
You try to make a flash
(Now baby, it ain't like that, no)
But you're still my good for nothin'
My sweet hunk o' trash
Now when you stay out very late
It sure makes me mad to wait
(How come, baby)
'Cause, you come home too tired
To raise just one eyelash
(Watch it baby, watch it)
You're just good for nothin'
But you're my sweet hunk o' trash
(Yes indeed)
In Louis Armstrong's My Sweet Hunk O' Trash, the singer talks about his love for someone who is not exactly the traditional picture of a perfect partner. He notes that the person he loves lacks a certain charm or refinement, can be lazy, and may not be very book smart. However, the singer still cares deeply for this person, referring to them as his "sweet hunk o' trash." Throughout the song, the singer pushes back against criticisms of his love, arguing that even though his partner may not have many redeeming qualities, they are still worth loving.
Despite the fact that the lyrics of this song seem to imply that the singer is involved with someone who is not very good for them, there is a sense of tenderness and affection throughout the song. The lyrics suggest that the singer finds value in their partner's company, even if they may not be the most conventionally desirable person to be with. Overall, this song is a celebration of love that exists outside of societal norms or expectations, suggesting that sometimes the heart wants what it wants, regardless of what others may think.
Line by Line Meaning
You don't act up too much
You're not too wild
Ain't got that glamour touch
You're not flashy
You're trifling lazy
You're quite lazy
Ain't worth a cigarette ash
You're worthless
Look out here mamma
Watch out
Look out here
Watch out
You carry me too fast
You're moving too fast
Watch it, baby
Be careful
You're just my good for nothin'
You're good for nothing
My sweet hunk o' trash
My affectionate name for you
You're very short on looks
You're not attractive
Dumb, when it comes to books
You're not smart
And you stay full of corn just like succotash
You're just like usual
You're just a good for nothin'
You're good for nothing
But my sweet hunk o' trash
But I still love you
You said I've worried you for years
You're worried about me
I'm just a barfly moochin' beers
I'm just a regular at the bar
While you sweat over a hot stove slinging hash
While you're cooking
Yes I may be good for nothin'
I'm good for nothing
But I'm still your sweet hunk o' trash
But you still love me
You said I spread my love all around
You think I'm cheating on you
And with the chicks all over town
With other women
But, how can I when you keep me broke?
I can't cheat if I don't have any money
So I can't spend no cash
I can't spend any money
Listen here pops
Listen to me
You know you lie about your youth
You lie about your past
I'm just careless with the truth, that's all
I'm not lying on purpose
Oh, no
Oh, no
With all your chicks
With all your women
You try to make a flash
You try to impress
But you're still my good for nothin'
But I still love you
My sweet hunk o' trash
My affectionate name for you
Now when you stay out very late
When you come home late
It sure makes me mad to wait
It makes me angry to wait
'Cause, you come home too tired
Because you're exhausted
To raise just one eyelash
To pay attention to me
You're just good for nothin'
You're good for nothing
But you're my sweet hunk o' trash
But I still love you
Lyrics © Sony/ATV Music Publishing LLC
Written by: FLOURNOY E MILLER, JAMES P. JOHNSON
Lyrics Licensed & Provided by LyricFind
@gusvespa
you are correct.
bernie privin - trumpet
sid cooper, johnny mince - alto saxes
art drellinger, pat nizza - tenor saxes
billy kyle - piano
everett barksdale - guitar
joe benjamin - bass
jimmy crawford - drums
sy oliver - director/arranger
recorded on 30 september 1949 at decca’s new york studios,
50 west 57th street.
milt gabler producer.
it was released on 7 november, 1949
@62chucky
One of my favorite RARE duets. Two legendary, classic artist together....the BEST.
@willardhoward5141
"I don't lie. I'm just careless with the truth." What a line! And what a treat to hear these two giants together!
@rorycastillo8015
And come home FULL of CORN you kno he's drunk
@karenemerson4603
This song and their voices, Perfect.
From the first note to the last.
@thatoneguy3112
My favorite duet of all time.
@IgnatiusJReilly1
iconic, under-appreciated gem. almost hope it stays that way.
@michaeljamesleslie
"Cause you come too tired to raise just one eyelash" Fabulous
@feckyoo2
Beautiful. Loved this since the first time it. How careless can you be?
@jasonpatten9159
I LOVE hearing National treasure Louis Armstrong say "Fuck 'em baby" after Billie Holiday sings "When you stay out very late it makes me mad to wait"...
@angellee3441
One of my favorites it's so beautiful.