After college, Mahal moved to Los Angeles and formed the group Rising Sons with Ry Cooder in 1964. The group signed with Columbia Records and released one single and recorded another album which was not released by Columbia until 1992. Taj, frustrated with the mixed reaction to his music quit the group and went solo. Still with Columbia, he released a well received, self titled album in 1968, and based on its success released a second album, Natch'l Blues that same year. Two very different records - Giant Step, with his electric band, and solo De Ole Folks at Home - were released in 1969 together as a double album. This firmly established Taj as an American blues original. The double album The Real Thing, captured him live at this time, with a horn section.
He has received two Grammy awards in the category "Best Contemporary Blues Album", the first in 1997 for Señor Blues, and again in 2000 for Shoutin' in Key. He has performed on various film soundtracks including Sounder and Blues Brothers 2000, in which he also appeared.
The Phantom Blues Band was formed as a studio band to backup Taj Mahal on his CD, 'Dancin' the Blues'. Having spent many years as part of the Texas blues community, the members of the Phantom Blues Band backed and recorded with many Texas blues greats including Stevie Ray Vaughan, Freddie King, Jimmy Reed, Albert Collins and Chicago legends Buddy Guy and Otis Rush.
The Phantom Blues Band members are all in their own right successful session players, producers, arrangers, composers, songwriters and recording artists. The Phantom Blues Band are two time Grammy winners and 2001 W.C. Handy Award recipients as Band Of The Year with Taj Mahal.
Wikipedia: Taj Mahal
Website: The Phantom Blues Band[/urll]
Honky Tonk
Taj Mahal & The Phantom Blues Band Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Tryin' to give me, give me, give me their honky tonk blues
I met a gin-soaked bar-room queen in Memphis
She tried to take me upstairs for a ride
She had to heave me right across her shoulder
'Cause I just can't seem to drink you off my mind
But now they give me, give me, give me their honky tonk blues
I laid a divorce in New York City
Well, I had to put up (huh) some kind of fight
Well, that lady, then she covered me with roses
(Huh) Well, she blew my nose (whew) and then she blew my mind
But it's the honky tonk women
Tryin' to give me, give me, give me their honky tonk blues
It's the honky tonk women
Yeah, they give me, give me, give me their honky tonk blues
It's the honky tonk women
They give me, give me, give me their honky tonk blues
Yeah, they give me, give me, give me their honky tonk blues
They give me, give me, give me their honky tonk blues
In Taj Mahal's song Honky Tonk Woman, the singer is clearly talking about the women in the honky tonk bars. These women are offering their love and attention to the singer, but he is unable or unwilling to fully engage. The lyrics, "trying to give me, give me, give me their honky tonk blues" suggest that the women are offering something that falls short of what the singer needs or wants.
The song touches on some of the themes common in the blues genre - love, desire, temptation, and personal struggles. The second verse is particularly telling, as it describes the singer's encounter with a woman who was trying to take him upstairs for a ride. He describes her as a "gin-soaked bar-room queen" who ultimately had to carry him upstairs. This may suggest that the singer is struggling with addiction or some other personal demon that is preventing him from accepting the love and affection of these women.
Overall, this song is a classic example of the blues genre, with its raw, emotional lyrics and simple yet effective instrumentation. The driving beat and catchy melody make it a memorable tune that has stood the test of time.
Line by Line Meaning
These are honky tonk women
The women being referred to are those who frequent bars and nightclubs that play honky tonk music.
Tryin' to give me, give me, give me their honky tonk blues
The women are trying to seduce the singer (or anyone they can) with their honky tonk blues (their love and affection).
I met a gin-soaked bar-room queen in Memphis
The singer met a woman in a bar who had been drinking heavily, and was likely looking to hook up with someone.
She tried to take me upstairs for a ride
The woman wanted to have sex with the singer (or anyone she could entice).
She had to heave me right across her shoulder
The singer was too drunk or unwilling to go with the woman, so she had to carry him, possibly by force.
'Cause I just can't seem to drink you off my mind
The singer is still thinking about a woman he has been drinking over, or possibly missing someone he's lost to alcohol or addiction.
I laid a divorce in New York City
The singer got divorced in New York City, which could suggest he's been spending time there and meeting new women in bars.
Well, I had to put up (huh) some kind of fight
The divorce may not have been easy, and the singer might have had to fight for his rights or to get a fair settlement.
Well, that lady, then she covered me with roses
A woman who may have had feelings for the singer gave him roses as a gesture of love or sympathy.
(Huh) Well, she blew my nose (whew) and then she blew my mind
The woman did something unexpected, like clearing the singer's nose, that made him feel cared for, and in doing so, gained his affection or admiration.
But it's the honky tonk women
Once again, the singer is referencing the women he encounters in bars and nightclubs that play honky tonk music.
Yeah, they give me, give me, give me their honky tonk blues
These women are still trying to seduce him with their love and attention, despite his experiences with them.
They give me, give me, give me their honky tonk blues
The singer is emphasizing the persistence of these women, who continue to offer their love and affection in the form of honky tonk blues.
Lyrics © Sony/ATV Music Publishing LLC, Abkco Music Inc.
Written by: Keith Richards, Mick Jagger
Lyrics Licensed & Provided by LyricFind
@butchrillera3433
When Barry was in Ray Charles' orchestra, the original sax player on this, Clifford Scott, was in Rays orchestra too...
@porkpiehatt4307
Scotty was from San Antonio, and he came in one night when I was playing this---stood about 2 feet in front of me watching everything I did on sax.
@sabrinadooley6408
The best 👌
@cherylbianchi9616
Joe Sublett on sax....Larry Fulcher, bass, Tony Bruanagel, drums, Darrell Leonard, trumpet, Denny Freeman, guitar
@HotWheelsBurban
And Mike Finnegan on the B3....playing with his friend Mr.Freeman now, and the other musicians who have gone home that he played with
@cherylbianchi9616
@Carol Grisso don't know why i didn't include him...doh. still missing him terribly
@HotWheelsBurban
They were such a good, tight outfit, working/playing together so well. Larry Fulcher told me that he and Denny really enjoyed playing with those guys, and it was great to see Larry and Tony at the Twang Bang tribute show for Denny Freeman in July at Antone's. Larry figured he and Denny had traveled half a million miles together, on the road with Taj and on the Antone's tours in the 80s on the west coast.
@bamoverdrive9779
I reckon that’s mighty Denny Freeman on guitar
@starke2908
Why is that song always in "F"🤣
@alanlee752
The sax players can't play the turnaround in E but they can in F. Most bands play it in E