We welcome a new artist,Betty Miranga, a female vocalist that sings primarily country and blues, As of yet, we don't know much about her as the recording came to us sooner than any info about her from our associate that recommended her. We did get a photo of her that our resident graphic artist rendered to the cover used for the recording. After listening to her we thought she must be a younger singer, as she sings in such a pure and clean high register. Now she's not an old timer by a long time, but it's a cinch after seeing her she's been around a few years. We did find out she won a singing contest in her hometown area about 20 years ago, and has been singing ever since. She usually plays gigs with other artists, and seldom plays in bars. Our associate says she emits sophistication, even as she sings about a train whistle reminding her of her lost love, in country style tradition. So we welcome her, and hope she does up some more material in her laid back country sophistication style. Her voice is unique!
We was happy, least for a while Had lovin’ like I never had One day he left me all alone God lawd, I sure do feel bad
Ever time I hear that whistle Number 45 crossing close I think how he ain’t comin’ back That man that I sure love the most
Johnny worked Number 45 The engine bound for the coal mine Was fair of hair, handsome of face He’s gone, all I do is pine
Ever time I hear that whistle Number 45 crossing close I think how he ain’t comin’ back That man that I sure love the most
Friends say some rail men do that Strike up a new love now and then Get a wild hair and change their crew
Ever time I hear that whistle Number 45 crossing close I think how he ain’t comin’ back That man that I sure love the most
Don’t know if I’ll again Johnny spoilt me for other men Got the grand feelin’ ever time Make me shout and holler AMEN!
Ever time I hear that whistle Number 45 crossing close I think how he ain’t comin’ back That man that I sure love the most
Big And Tall Records is proud to present a new female vocal artist - Queenie Mae Bradley! At 22 years old, she's the youngest artist we've ever recorded, but her voice sure doesn't reflect it! She's already got a positive adult timbre, and she can really sing! But that shouldn't come as a shock once you learn that her Grandmother is Mams Carter, and her Uncle is Amos Carter, of whom both are recording artists for our label! Uncle Amos tells us a little something about his talented niece:
You wouldn't know it by how she can belt out a song, but Queenie Mae is rather shy. But music has always brought here out of her shell. When she was a little girl, she'd start to dance and then sing when Mams would play anything at the piano that had a good, driving beat. She's a natural! When she was a teen and we had family get-togethers, many times we'd take turns singing or playing and instrument. She was never interested in playing an instrument, her instrument is her voice! When I and then Mams started recording at Delmar Gentry's studio, we kept after her to try it. Cut a record, be a keepsake if nothing else. We finally got her to go to the studio so Delmar could hear her, and she persuaded her to record a song. Queenie, Delmar, and myself worked on a song together for her, and came up with Stop, Look, And Listen Boogie! Delmar sent the recording to the folks at Big And Tall Records, and they called the next day and said they wanted to release it!
Yes, we did. We were, and still are, very impressed with Queenie's talent! That is the purpose of our record label, to find new and/or unknown talent and release recordings of them. By the way, Delmar called us to tell us about her, and towards the end of our conversation he told us he's imposing physically as well as artistically. Delmar himself is about 6 foot 4, and he estimated she's at least 6 foot 2! And he says she's no bean pole, she's got some meat on her bones, a very attractive young woman!
You cavort and drink with the boys Don't ya have no eye for women? Playin' cards, watchin' football Yer makin' a bad decision...
Spendin' all yer time watchin' sports You shore don't know what yer missin' Instead of hangin' with the guys My sweet lips ya'll could be kissin'!
Better stop, look, and listen You could use a good gal like me Get yer head out of yer ass Get it instead where it should be!
I see that yer out and about A mighty good share of the time Not arm and arm with a woman How about if you just take mine!
You attract me so totally Time for us to get together I'll treat ya real good, yes I will! No one ever treat ya better...
Better stop, look, and listen You need a good woman like me! Get yer head out of sports and drink Get it instead where it should be!
Yer a fine lookin' man, yes sir! I watched ya goin' to and fro Know you once had a woman But that was a long time ago
I can help you forget her, If that's the really big problem The few times you looked at me Yer face looked so sad and solemn...
Better stop, look, and listen You can have me baby for free! Pay attention to me, man! Ain't never had a gal like me!
Won't ever stop chasin' you! You might as well just give in Take a good long look, and you will! So c'mon, and let us begin!
I'll put the whammy on you good! Stare a hole right into yer soul Then you'll look over my way And you'll lose all yer control!
Better stop, look, and listen You'll have some regrets, you'll see! If ya don't pay no attention... Won't never ever let ya be!
Tugboat Jackson's output has been slim lately, as his attention has been taken up by helping his son manage the hardware store he bought from Tugboat. Tug has also been very busy on his local political scene, and with charity work. His songs usually have a social consciousness to them, and are but a reflection of the man himself!
The way of these times try to make I say that these times try to make Us against them, time and again But it’s not true, all a mistake
Same ol’ trick to conquer us all You bet, trick to conquer us all Bad folks are out, spread fear and doubt Be under the thumb, big and small
Busy fighting all the others We’ll fall into the same old crap Fingers point at friends and brothers It’s all just used to bait the trap
First the ones come from far away First immigrants from far away Put a mean frown, on skin that’s brown Deport the bastards, far away!
They’re the ones cause all our trouble Ones that cause all of our trouble It comes to pass, bet yer sweet ass Yer the next one, on the bubble
I’m tired of the same ol’ shit! Through all of our history Many end up and believe it Humans end up broken and split
Take heart, it sure will not last Nope, no way it will ever last No matter how long, by the time it’s gone Many freedoms will long be passed
Then we’ll start all over again Square one, ‘bout all over again Not much salvage, too much damage Sure seems to me to be a sin
Blacks and the browns, off color whites The slum poor, well as the needy Any one that’s weak for the fight Be re-conquered by the greedy.
Buzzy Carlyle's music, like many musicians, is autobiographical. Buzzy doesn't talk much about his personal life in conversation, and when he sings about it, it can be enigmatic. Gives little hints here and there, but not enough to piece too much together. In this new song he throws a little more out there. For instance, he's referenced his kids before, but only that he had some and doesn't know where they are. Here he confesses that he really didn't care about them, that his focus was on playing the blues, drinking, and drugs. The song has the first references to a wife, or two, or three. Hew admits to being so preoccupied (or high) at the time he doesn't remember.
His Doctor told us that he had some people visit him at the Senior Home he lives in now and offered to help him find any family members they could. Buzzy wasn't interested, told them they probably don't give a damn, don't even know who he is. Buzzy's tone is pretty consistent in that it's difficult to tell what he really feels about it. There are times when you can hear some regret in his voice about the life he's lived, but at other times he just relates how it was, and how he's changed. That is probably why his son gs and his style interests his hard core fans so much. And he can sure play the Delta Blues!
Been going through life half assed Said been livin' my life half assed Always a day late, dollar short Now most of my life done passed
Gimme a smoke, light up a toke Nothin' really mattered to me Tried to go far, playing guitar And singin' the blues ya see
Had some kids, didn't give a shit My kids, never did give a shit Had a wife or two or three Don't 'member too much of it
Gimme a swig, another gig The next gin mill down the road Take a swaller, hoot and holler All my fears I never showed
Played my soul out, I really did Sang and played my soul yes I did Went to the next crummy joint And kept myself off of the grid
Want to help me, find family But none of 'em will give a damn But all the same, I sure can't blame Them not want to know who I am
We've heard Mams Carter before on some of Amos Carter's songs, (who happens to be her son) and one other solo. This is the first time we've heard her sing the blues. And she's good! In a song of her own writing, The Blues Done Got Me So Bad, she accompanies herself on the piano as a string orchestra plays in the background. Her voice is perfect for the song, and displays her understanding of the blues style. Her voice conveys the sadness and anger that goes along with a breakup. Her son gave a little insight into the music:
This song is a follow up to her first solo song, Who Needs It? I know she really loved this guy, and it appeared the feeling was mutual. Outside of her kids and grandkids, Momma has been alone for a long time, so I understood when she started to date. This guy reeled her in, lied left and right and was good at it. Showed her a man that she wanted, but it was an act. So this song reflects Momma's heartache over loving someone that ended up no good for her, and the breakup.
We have it on Amos' authority that his Mother can play in a lot of different styles, so we hope she shows us more of her versatility in the future!
Had the blues all goddam day long Been grumpy, all irritated too I started to sing this song To try and feel not so blue
The blues... done got me so bad Sullen and glum, feel so damn bad I been without him, for so long Tryin' to cure my sadness...with this song
Rememberin' all the good times Then the bad memories kick in Now my unhappy mood still climbs I thought there's no way we could win
The blues... done got me so bad Sullen and glum, feel so damn bad I been without him, for so long Tryin' to cure my sadness...with this song
Yes, he was a son of a bitch He lied about so many things Tried to pull the ol' bait and switch But the pain of it...still stings!
The blues... done got me so bad And it makes me so goddam mad! He's not worth, pain and agony He wasn't no damned good... for me...
Hambone Riley continues to show us his range in singin' the blues. With this, his fourth recording, he goes out on his own as a songwriter. His first three recordings were songs written by his pal and fellow gig partner Forgotten Bob. Bob seemed to know instinctively what would help Hambone, a introverted musician, get out of his hell a little. Before he met Bob, Hambone played mainly in other group's gigs in a few numbers, and always had a wild look on his face, probably an honest reaction to his performance stress. Hambone's demeanor, according to those who've seen him in performance, seems to have calmed somewhat although he's still got an electric presence.
What seemed to have helped Hambone's stress of performing is the presence of not just Bob, but a saxophone player that he met through Bob. The sax player's a mystery, like much associated with Forgotten Bob, and the only name he have for him is Slobberin' Blowhard, hardly a complimentary moniker, but that follows the pattern for the musicians associated with Bob. What also follows the pattern is his ability on his instrument. The guy is a real talent, and on this latest Hambone song Gotta Believe Me Darlin', he plays a breathy, earthy sax. Hambone's got a real liking for Slobberin', and the two make a good combo.
Hambone shows a real talent for songwriting with this song, and his voice is more mellow to fit with the words and performance. What will be next for this surprising bluesman? Wecan't wait to see (and hear!)
Know ya overheard me talkin' And it made you feel sad and blue But ya gotta believe me darlin' It twern't anything 'bout you
Remember my sweet honey Never wanna see ya so blue Ever got a problem at all I'll hold you're hand and talk to you
I was givin' advice to my bro Who for sure got bended out double His woman went and stepped out on him He's hurtin’, really in trouble
Remember my sweet darlin' Never wanna see ya so blue Ever got a problem at all I'll hold you're hand and talk to you
Ya only heard part the phone call Can see why ya took it all wrong Advice I give weren't very pretty That's why I'm a singin' this song
Remember my sweet baby Never wanna see ya so blue Ever got a problem at all I'll hold you're hand and talk to you
Oh...you know that I will Because for sure...I love you still! Oh yeah! Never stop!
To people outside of Mexican culture, Dia de los Muertos, or The Day Of The Dead, may seem as a morbid way to remember those who have passed on. Indeed, we have heard that comment from some, with no understanding about the preponderance of skulls and death symbols seen on the day. But the only difference between the Mexican celebration and the way others honor their loved ones that have passed on, is a difference in culture. The feeling of loss, of still being spiritually united, is the commonality.
The day is celebrated, ironically, right around our culture's Halloween, in which the roots also deal with the dead and spirits, albeit in a much different way. In the Mexican celebration, the departed are remembered and their spirits are welcomed, while in the early history of Halloween, costumes are worn to prevent the spirits from recognizing us, and Jack O' Lanterns serve to try and scare them away! But if anything, the modern Halloween celebration has gotten more and more on the 'morbid' side, akin to the Mexican celebration.
Marigolds
The Day Of The Dead encompasses roots deep in the Indigenous People and Catholic religion of Mexico, and continues to be a day of stories of the ones who have passed, their favorite foods, visiting of cemetaries, and general remembrance and celebration. To link Life and Death together in a celebration makes sense, as both are things that all humans have in common. Un Grupo de Mexicali captures the spirit of the day in their song that mentions the Marigold, a flower native to Mexico, and a powerful symbol.
Las velas brillan en la noche oscura El viento susurra historias de ternura Calaveras blancas bailan en la luna
On the day of the dead sing out their names Through the flowers and fire Eternal flames They’re gone but here In our hearts they remain
Pan de muerto sobre la mesa Fotos antiguas llenan la pieza Risas y lágrimas en la tristeza
Marigolds glow Their scent will guide Bridges of love death cannot divide
On the day of the dead sing out their names Through the flowers and fire Eternal flames They’re gone but here In our hearts they remain
Cempasúchil y papel picado Cantan los vivos Lloran los callados Life and death dance in a sacred embrace
En el Día de Muertos, cantemos sus nombres Entre flores y fuego Llamas eternas Se han ido, pero aquí En nuestros corazones permanecen
