Over the resplendent guitar backing rides a big bass-baritone voice, warm and rich, with enormous emotional range. As the GLASGOW HERALD once cannily said,
“Mose Scarlett is back, with a voice of Robeson depth, Glencoe cragginess, and kitchen-range warmth…lending the authentic ring of the ancients with his own original stamp, and much spontaneous repartee…”
Mose’s eclectic repertoire includes Broadway classics like ‘I Can’t Get Started’, raunchy blues like ‘Fool’s Paradise’, and nearly forgotten gems like ‘The Moon Is A Silver Dollar’. A jocular tentshow ditty like ‘He’s In The Jailhouse Now’ will bump up against a mellow, jazzy ‘Sweet Lorraine’, and be followed by a raucous jaunt through ‘Somebody Stole My Gal’, or by the turn-of-the-century sentimental favourite, ‘Wait Till The Sun Shines, Nellie’. Although his pieces are performed only with voice and acoustic guitar, one might almost believe a big band or parlour orchestra was playing in the background. He at once breathes new life into old songs, and preserves the integrity and emotion of the originals for a whole new generation of admirers.
Once, when asked who his influences were, Mose replied “I’ve probably been influenced, one way or another, by everybody whose music I’ve liked or disliked”. In fact, the Scarlett guitar style was pretty much forged in isolation. “Basically,” he says, “I made up my own way of playing before I heard anyone trying to do similar things…but later on, various people helped me to refine it.”…people like his friend and mentor the late Lonnie Johnson, who played with Eddie Lang, Bessie Smith and Louis Armstrong…like modernist musician Bruce Cockburn, who produced Mose’s first album…like Doc and Merle Watson, whom he used to watch with rapt attention from 5 feet away…and like Jesse ‘Lonecat’ Fuller, one-man-band extraordinaire, the first artist Mose remembers buying a record of. Mose himself, conversely, should be credited with influencing many other musicians over his 40+ years in show business, a fact which has not gone unnoticed in several music journals and artistic autobiographies. Juno winner John Bottomley is a former guitar student of Mose’s, and many other musical friends, like Canada’s irrepressible Big Rude Jake and America’s inimitably eccentric Leon Redbone, allow that Mose had a big impact on their performing styles. He is widely respected among his peers, both for his talents and his wide generosity.
A Mose Scarlett performance is much more than mere instrumental and vocal display. Mose’s sets, at times, seem like finely executed pieces of theatre (albeit, sometimes, the theatre of the absurd). His patter includes entertaining and topical commentary on the foibles of the world (who else would think of introducing the ‘Sheik of Araby’ with a dissertation on oil prices?). In Mose’s vicinity the unexpected is never far off no one knows what is going to happen next (particularly his sidemen). He is deeply rooted in musical history to give but one example, he performs ‘Sweet Georgia Brown’ with the rarelyheard verse and extra lyrics (though without a basketball). A keen observer of the contemporary scene, he is a trenchant social critic and a droll raconteur with many stories to tell. His banter between songs is legendary, both for its sly hilarity and tangential digressions.
Though Mose is a fixture on the Canadian scene, performing throughout the country at festivals, clubs and theatres, he has also toured widely through the United States, as well as in England, Scotland, Germany, Australia and, most recently, Northern Ireland. Besides having performed solo or, more often these days, with various accompanists, he also appeared, for 20 years, in a well-loved trio with Ken Whiteley and the late musical legend, Jackie Washington, all three of whom were nominated for a 1993 ‘Roots and Traditional’ Juno award for their first recording together, entitled ‘Where Old Friends Meet’ (followed, since, by other trio recordings). At long last, in September of 2002, some 7 years after the debut of his very popular ‘The Fundamental Things’ recording, Mose came out with another of his own, entitled ‘Precious Seconds’. This latter CD (now into its second run) features Mose in duet with world-class guitarist friends: Jim Condie, Amos Garrett, the late Jeff Healey, Colin Linden, Tony Quarrington, Margaret Stowe, Ken Whiteley, and David Wilcox.
Mose Scarlett is a Borealis Records recording artist.
Lulu's Back in Town
Mose Scarlett Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Lulu's back in town
My, my, my, yes, yes, yes
Gotta get my old tuxedo pressed
Gotta sew a button on my vest
'Cause tonight I've gotta look my best
Lulu's back in town
Gotta get a half a buck somewhere
Gotta shine my shoes and slick my hair
Gotta get myself a boutonniere
Lulu's back in town
You can tell all my pets
All my Harlem coquettes
Mister Otis regrets
That he won't be aroun'
You can tell the mailman not to call
I ain't comin' home until the fall
And again I might not get back home at all
Lulu's back in town, yeah
Oh tell all my pets
All my Harlem coquettes
Mister Waller regrets
[Incomprehensible], no
Tell the mailman not to call
Ain't comin' home until the fall
And then again I might not get home at all
Lulu's back in town
Oh that woman's back at town
Oh my, my, my, my
The song “Lulu’s Back In Town” is an upbeat and joyful tune written by lyricist Al Dubin and composer Harry Warren in 1935. The song is about the return of Lulu, a woman who had left town, but now she’s back and everyone is excited to see her. The song portrays a lively and optimistic atmosphere, as the singer plans on getting ready for her arrival, shining his shoes, and getting himself a boutonniere. He also tells his pets and “Harlem coquettes” to expect Lulu’s return and that he won’t be home until the fall.
The song is a celebration of love and anticipation, and the singer’s excitement for Lulu’s return is evident in the lyrics. The chorus “My, my, my, yes, yes, yes” further adds to the joyful anticipation. The song also reflects the popular jazz and swing music of the era, with its energetic melody and upbeat rhythm.
Overall, the song “Lulu’s Back In Town” is a lighthearted and fun tune that reflects the spirit of the 1930s jazz era. It portrays the excitement and anticipation of seeing a loved one after a long time away from home.
Line by Line Meaning
Well look who's here
Oh, look who has returned
Lulu's back in town
Lulu is back in the city
My, my, my, yes, yes, yes
Expressing excitement about Lulu's return
Gotta get my old tuxedo pressed
I have to iron my old formal suit
Gotta sew a button on my vest
I need to fix the button that fell off my vest
'Cause tonight I've gotta look my best
I have to look my best tonight
Gotta get a half a buck somewhere
I need to find fifty cents somewhere
Gotta shine my shoes and slick my hair
I have to shine my shoes and comb my hair neatly
Gotta get myself a boutonniere
I need to buy a flower for my lapel
You can tell all my pets
Tell all my friends
All my Harlem coquettes
All the girls I know in Harlem
Mister Otis regrets
I regret that I won't be around
That he won't be aroun'
'Cause I won't be here
You can tell the mailman not to call
Tell the mailman not to deliver my mail
I ain't comin' home until the fall
I won't come home until autumn
And again I might not get back home at all
I might not even come back home
Lulu's back in town, yeah
Because Lulu is back in town
Oh tell all my pets
Oh, tell all my friends
All my Harlem coquettes
All the girls I know in Harlem
Mister Waller regrets
I regret that I cannot come
'Cause I got a gal who's always late
Because I have a girl who is always tardy
Any time we have a date
Every time we plan to meet
But I love her, yes, I love her
But I still love her
I'm gonna walk right up to her gate
And I will approach her doorstep
And see if I can get it straight
To see if we can resolve our issues
'Cause I want her, I'm gonna ask her
Because I want her, I will propose to her
"Is you is or is you ain't my baby?"
Are you still my lover or not?
You can tell the mailman not to call
Tell the mailman not to deliver my mail
Ain't comin' home until the fall
I won't come home until autumn
And then again I might not get home at all
I might not even come back home
Lulu's back in town
Because Lulu is back in town
Oh that woman's back at town
Oh, that woman (Lulu) is back in the city
Oh my, my, my, my
Expressing excitement about Lulu's return
Contributed by Mateo H. Suggest a correction in the comments below.