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.
Going Back To Memphis
Memphis Jug Band Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Because I'm sick and tired of all this ice and snow
When I get back to Memphis, you can bet I'll stay
When I get back to Memphis, you can bet I'll stay
And I ain't gonna leave until the judgment day
I love old Memphis, the place where I was born. (Sure do love it, boy)
Wear my box-back suit and drink my fine old corn
(Ah, if I just had railroad fare! It would be tight like that)
(That would give you the breaks)
(Don't want no breaks. I want a freight)
I wrote my gal a letter way down in Tennessee. (Ah, today)
I wrote my gal a letter way down in Tennessee
Told her I was up here hungry, hurry up and send for me
I'm gonna walk and walk till I walk out all my shoes. (You'll be walking some)
I'm gonna walk and walk till I walk out all of my shoes
Because I got what they call them leaving-here blues
Them leaving-here blues
The Memphis Jug Band's song "Going Back To Memphis" is a blues song that speaks of a protagonist's desire to leave his current locale, likely up north, and return to Memphis, his hometown. He's ready to leave "all this ice and snow" and head back to a place he loves more than anywhere else. He's not just visiting, he's planning on staying until the "judgment day." He's resolute in his plan to never leave Memphis again. He loves it there so much that he wants to wear his "box-back suit" and drink his "fine old corn" there, enjoying all the things that make Memphis special.
However, there's a problem - the singer is short on funds, so he can't take the train to get back home. He's willing to take a freight train if he has to, as he's determined to get back to Memphis. He writes to his gal back in Tennessee that he's hungry and needs her to send for him as soon as possible.
The singer is ready to walk back home if he has to and is willing to walk until he "walk[s] out all [his] shoes." He has the "leaving-here blues" and can't wait to return to Memphis, the place where he was born, lived, and feels most at home.
Line by Line Meaning
I'm leaving here, mama. Don't you want to go?
I'm tired of the cold weather and want to return to Memphis. Do you want to come with me?
When I get back to Memphis, you can bet I'll stay
I'm planning on staying in Memphis for good once I return.
And I ain't gonna leave until the judgment day
I'll never leave Memphis, not even when the end of the world comes.
I love old Memphis, the place where I was born. (Sure do love it, boy)
I have a deep connection and love for my hometown, Memphis.
Wear my box-back suit and drink my fine old corn
I plan on dressing up and enjoying the local traditions and culture of Memphis.
(Ah, if I just had railroad fare! It would be tight like that)
If only I had the money to travel, everything would be great.
(That would give you the breaks)
Someone interrupts the conversation to suggest that having money would give the singer an advantage.
(Don't want no breaks. I want a freight)
The singer doesn't care about advantages, but is willing to travel for free on a freight train.
I wrote my gal a letter way down in Tennessee. (Ah, today)
I sent a message to my girlfriend in Tennessee, telling her I'm hungry and need her to send for me
Told her I was up here hungry, hurry up and send for me
I asked her to send money or transportation so I can leave and meet her in Tennessee
I'm gonna walk and walk till I walk out all my shoes. (You'll be walking some)
I'm planning on walking a lot, maybe even until my shoes wear out.
Because I got what they call them leaving-here blues
I'm sad and restless about leaving this place, and that feeling is called 'leaving-here blues'
Contributed by Peyton C. Suggest a correction in the comments below.
cutworm
Thanks for this and all the other timeless gems
NaTaS
Is that a kazoo?
Go4Celerity
Yes