Between 1927 and 1934 various African-American musicians in the Memphis, Tenn., area grouped around singer, song writer, guitarist, and harmonica player Will Shade (also known as Son Brimmer). The personnel of this jug band varied from day to day, with Shade booking gigs and arranging recording sessions.
Among the recorded members were (at various times) Will Shade (vocals, guitar, harmonica), Charlie Burse (pronounced Bursey) (guitar, mandolin, and vocals), Charlie Nickerson (piano and vocals), Charlie Pierce (violin), Charlie Polk (jug), Tewee Blackman (vocals, guitar), “Hambone” Lewis (jug), Jab Jones (jug, piano, vocals ), Johnny Hodges/Hardge (piano), Ben Ramey (vocals and kazoo), Casey Bill Weldon (guitar and vocals), Memphis Minnie (guitar and vocals), Vol Stevens (vocals, violin, and mandolin), Milton Robie (violin), Otto Gilmore/Gilmer (drums and woodblocks), and Robert Burse (drums). Vocals were also provided by Hattie Hart, Memphis Minnie, Jennie Mae Clayton (Shade’s wife), and Minnie Wallace, with Charlie Burse often contributing beautiful harmony parts to Shade’s lead vocal lines. In the case of Memphis Minnie, the Memphis Blues Band accompanied her on two sides for Victor Records, recorded in 1930 when the band's career was "winding down".
The attributed names of the group led by Shade on various recording labels vary quite a bit, but recent scholarly consensus has led writers to compile all of these works under the over-arching rubric of the Memphis Jug Band. In addition to that name, alternative names found on record labels include the Picaninny Jug Band, Memphis Sanctified Singers, the Carolina Peanut Boys, the Dallas Jug Band, the Memphis Sheiks, the Jolly Jug Band and recordings credited to the individual performers Hattie Hart, Minnie Wallace, Casey Bill Weldon, Charlie Nickerson, Vol Stevens, Charlie Burse, “Poor Jab” Jones, and Will Shade, but actually performed with accompaniment by other Memphis Jug Band members.
Musically their large membership pool allowed the Memphis Jug Band the flexibility to play a mixture of ballads, dance tunes, knock-about novelty numbers, and blues. Some of their songs mention hoodoo magical beliefs, and some members also contributed to gospel recordings, either uncredited or as part of the Memphis Sanctified Singers.
The Memphis Jug Band has been described as having a remarkable sound due in part to the unusual instruments. Although most songs included a rhythm guitar and either a jug, a kazoo or a harmonica as a lead instrument or sometimes a mandolin or violin. The sound of the instruments ofen conveyed a "raspy, buzzing sound" that a Briish music scholar who did not know the band personally stated was close to the musical aesthetic of Africa, and in which, he said, the jug and kazoo represented the voices of animals or ancestral spirits. Shade never told scholars why he liked this sound, and since many of the performers were also part Native American, it is a good question as to which ancestors—if any—the kazoo was supposed to represent.
The Memphis Jug Band played wherever they could find engagements, and busked in local parks. They were popular among white as well as black audiences.
In total, they made more than eighty recordings, first for Victor Records, then—as the Picaninny Jug Band—for the Champion-Gennett label, and finally for OKeh Records. The Victor recordings were made in Memphis and Atlanta, Georgia between 1927 and 1930, the Champion-Gennetts in Richmond, Indiana in August 1932, while the final sessions on Okeh were held in Chicago in November 1934. By that time, their style of music was no longer in demand, and Shade was no longer able to keep the musicians assembled as a group, although many of the individuals carried on working around Memphis until the 1940s.
In 1963 Shade recorded one last time with another Memphian, 79-year-old Gus Cannon, former leader of Cannon’s Jug Stompers, another popular jug band. They recorded the album Walk Right In, on Stax Records, a result of The Rooftop Singers having made Cannon's "Walk Right In" into a number one single. Will Shade on jug and former Memphis Jug Band member Milton Roby on washboard perform a series of thirteen traditional songs, plus Cannon's great hit "Walk Right In," including "Narration," "Kill It," "Salty Dog," "Going Around," "The Mountain," "Ol' Hen", "Gonna Raise A Ruckus Tonight," "Ain't Gonna Rain No More," "Boll-Weevil," "Come On Down To My House," "Make Me a Pallet on Your Floor," "Get Up In The Morning Soon," and "Crawdad Hole." The album is almost an audio documentary tour through different corners of Cannon's life and career that, ideally, might've run to several volumes.
Beale Street Mess Around
Memphis Jug Band Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Woke up early this morning, blues all 'round my bed
And this blues a killer (?)
I sit right here thinking thousand miles away
I sit right here think a thousand miles away
I'm studying 'bout that brown-skin on my mind
I'm 'on' blow this town. Honey, it won't be long
I'm 'on' blow this town. Honey, it won't be long
And I'm going for the summer. Won't be back at all
And I'm going for the summer. Won't be back till fall
Times don't get no better, think I'll go back here no more
Woke up Sunday morning, child. Honey, it won't be long
And it's Monday morning. Honey, it won't be long
(Sing that thing, boy. Sing it!)
You gone look for me, I'll be a thousand miles away
If you take these blues, lay them on your shelf
If you take these blueses, lay them on your shelf
Yes, blues till morning, sing them to yourself
The Memphis Jug Band's song "Beale Street Mess Around" is a classic blues song that explores the singer's state of mind in the moment. The song begins with the singer waking up early in the morning, feeling a sense of despair due to the blues that's "all 'round" their bed, which they describe as being a "killer." As they sit and ruminate, they can't stop thinking about a "brown-skin" person that's been on their mind.
The singer then goes on to say that they're leaving town soon, and they won't ever come back. They describe their plans to leave during the summer and stay gone until the fall, emphasizing how unhappy they are with their current situation. They also seem to imply that the reasons for their unhappiness are rooted in the place they're leaving, rather than their own personal feelings.
Line by Line Meaning
Woke up early this morning, blues all 'round my bed
I woke up this morning and felt sadness and despair surrounding me, engulfing my thoughts and mood.
And this blues a killer (?)
These emotions are so intense and painful that they are impacting my well-being and potentially harmful.
I sit right here thinking thousand miles away
I am physically present here, but my mind is elsewhere, contemplating something or someone that is miles away.
I'm studying 'bout that brown-skin on my mind
I am consumed with thoughts and feelings about a person with brown skin, and I am reflecting on our relationship.
I'm 'on' blow this town. Honey, it won't be long
I plan on leaving this place soon as I feel overwhelmed by my emotions and need to escape to find some peace.
And I won't be dead, just won't blow back here no more
I am not planning on dying, but I have no intention of returning to this place.
And I'm going for the summer. Won't be back till fall
I will be away from this place during the summer, and I will not return until fall.
Times don't get no better, think I'll go back here no more
Things in this place are not improving, so I believe it is time to move on and never return.
Woke up Sunday morning, child. Honey, it won't be long
I woke up on Sunday morning and realized that it will not be long before I leave this place for good.
And it's Monday morning. Honey, it won't be long
It is now Monday morning, and my departure from this place is imminent.
(Sing that thing, boy. Sing it!)
Someone is encouraging me to continue singing this song and expressing my emotions through music.
You gone look for me, I'll be a thousand miles away
If you try to find me, I will be far away, physically and emotionally distant from this place.
If you take these blues, lay them on your shelf
If you take my feelings of sadness and despair, you can place them on a shelf, but they will still be present.
Yes, blues till morning, sing them to yourself
I will continue to feel these emotions until morning, and you should sing this song to yourself to understand what I am going through.
Contributed by Kaitlyn C. Suggest a correction in the comments below.