This story has no moral, this story has no end

Sep 10, 2024

With the lament Daddy and Home Jimmie takes on the role of prodigal son in a sincere, heart touching British folk style with just a bit of yodeling thrown in to give his imprint.

I am dreaming tonight of an old Southern town

And the best friend that I ever had

For I've grown so weary of roaming around

I'm going back home to my dad

Your hair has turned to silver

I know you're fading too

Daddy, dear ol' Daddy

I'm coming back to you

You made my boyhood happy

But still I longed to roam

I've had my way, but now I'll say

"I long for you and for home"

Dear ol' Daddy, you shared my sorrows and joy

You tried to bring me up right

I know you'll still be just one of the boys

So I'm starting back home tonight

Your hair has turned to silver

I know you're fading too

Daddy, dear ol' Daddy

I'm coming back to you

You made my boyhood happy

But still I longed to roam

I've had my way, but now I'll say

"I long for you and for home”

_______________________________

My Little Lady returns to the jaunty guitar and rounder rap style. Exuding charm and with terrific timing Jimmie turns the lyric comedic with a toe tapping melody. He does the “Oh, Haydee,” “Oh, Sadie” choruses as yodels blending his vocal signature with melisma vocal run style he hears from Bessie Smith and Armstrong.

I had a gal, oh, what a gal, her name was Haydee Brown

I'd take her out, to ride about, when the moon was shining down

We'd sit alone, when we got home, out in the old porch swing

Then the dear little miss, would give me a kiss, while sweetly to her I would sing:

Oh, Haydee, my little lady, I love no one but you

Oh, Haydee, my little lady, won't you love me, too?

We'll get married in June, and have a long honeymoon, then settle down for life

Oh, Haydee, my little lady, won't you be my wife?

I had a gal, oh, what a pal, she left me alone one day

I didn't mind, because I find, they most always do you that way

So, I went about to try n' find out, if another gal I couldn't find

In less than a day, I'd met Sadie Mae, now I hand her the same old line:

Oh, Sadie, my little lady, I love no one but you

Oh, Sadie, my little lady, won't you love me, too?

We'll get married in June, and have a long honeymoon, then settle down for life

Oh, Sadie, my little lady, won't you be my wife?

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After his first few hits Jimmie began to tour the U.S. extensively. Ralph Peer, mobile recording equipment in tow, would meet up with him in various cities to make new recordings. The early recordings, all at Victor’s Camden, New Jersey studio, featured just Jimmie on guitar. On the road he played with various bands and other musicians. The Waiting for a Train session in Atlanta finds him with a Jazz ensemble. It’s an impromptu arrangement. Jimmie heard a band he liked, the Westbrook Conservatory Entertainers, consisting of guitar, steel guitar, bass fiddle, cornet and clarinet while boozing at a local speakeasy. One thing lead to another and they ended up backing him on multiple sessions in Atlanta. This record, his second biggest hit with Blue Yodel No. 4 on the flip side, is a huge leap in musical sophistication. Jimmie blows a quite convincing loud train whistle sound to open, the horns come in, then the strings, then the vocal starts. With a languid pace he spins a hobo tale as the steel guitar plays as the lead instrument. The horns take over for the middle section between verses and the second verse reprises the vocal/ steel pairing. The overall effect strikingly foretells the future. What will be called Western Swing. It sounds like a Jazz song, read Pop song sort of, and a string band song, read hillbilly song, sort of. Because this band, of whom we know little, plays professionally. Not like a string band at a moonshine fueled barn dance. The vocal shows a more mature style, lovely, sincere, with a jaded pathos. He’s not just relying on personality and charm. Like a Jazz singer he has real command of his instrument, musical fluidity, suffusing the lyric with nuances of emotion.

All around the water tank

Waiting for a train

A thousand miles away from home

Sleeping in the rain

I walked up to a brakeman

To give him a line of talk

He says, "If you've got money

I'll see that you don't walk"

I haven't got a nickel

Not a penny can I shill

"Get off, get off, you railroad bum"

He slammed the boxcar door

Oh-de-lay-ee, ay-ee, oh-lay-ee

He put me off in Texas

A state I dearly love

The wide open spaces all around me

The moon and stars up above

Nobody seems to want me

Or lend me a helping hand

I'm on my way from Frisco

I'm going back to Dixieland

Though my pocketbook is empty

And my heart is full of pain

I'm a thousand miles away from home

Just waiting for a train

Oh-de-lay-ee, ay-ee, oh-lay-ee

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For Blue Yodel No. 4 (California Blues) the horns again take the lead in the instrumental breaks and the steel during the vocal sections. While the song sticks closely to the blue yodel format the presence of a full band brings sonic depth and keeps the formula from getting stale. Jimmie clearly relishes the call and response dynamics of playing with others.

I'm going to California where they sleep out every night…

I’m leaving you, mama 'cause you know you don't treat me right