Original subtitles

Once I had a pretty little girl

I lose my baby,ain't that sad?

Once I had a pretty little girl

I lose my baby, ain't that sad?

Well, you know you can't Spend what you ain't got

You can't lose What you ain't never had

Well, you know you can't Spend what you ain't got

You can't lose What you ain't never had

I can't imagine my life or anyone else's...

without music.

It's like a light in the darkness that never goes out.

The Blues takes you back to the place where it first came to life.

There's an old African saying that the roots of a tree cast no shadow.

That's how deep the blues goes.

When you really listen to the music you understand...

this is the one thing they could never take away from Black people.

- Well, he Long John - He Long John

- He long gone - He Long John

- He long gone - He Long John

- He long gone - He Long John

- Brother John said - Brother John said

- In the Chapter 14 - In the Chapter 14

- lf a man live - lf a man live

- Let his sin be seen - Let his sin be seen

I won't be here long

Dark gonna catch me here

Dark gonna catch me here

You're listening to songs...

that were recorded for the Library of Congress in the 1930's.

John Lomax, who worked for the Library...

called himself a 'ballad hunter'

He and his son, Alan, drove all across America...

and made literally thousands of recordings.

They were doing one of the most important things anyone could do...

they were preserving the past before it disappeared forever.

Irene goodnight

Irene goodnight

Goodnight Irene

I'll get you in my dream

It was John Lomax who first recorded Lead Belly in 1933...

in a Louisiana prison.

After Lead Belly was released...

he went to Philadelphia with the Lomaxes and he gave a series of concerts.

Don't you see me coming

With both two hands on your man? See me coming

With your man alone

Northern audiences responded to Lead Belly...

and they loved the songs he performed.

As Lead Belly became famous around the world...

a different kind of musician was reworking the blues...

down in the Mississippi Delta...

in a way that would eventually reach an even wider audience.

When I learned to play the Blues...

I knew I was connecting with my ancestors and my history.

Every song tells another part of the story.

It was through playing the music I began to understand...

to know yourself you have to know the past...

to know where you're going you have to know where you've been.

Oh, Lordy Lord

Oh, Lordy Lord

It hurts me so bad

John Lee Hooker, that sound, that feeling...

my great-grandmother used to call it 'knocking at the back door music'...

other people call it the devil's music.

You listen to it and you feel the mud and the blood of the Mississippi Delta.

This journey begins in Mississippi because...

this is the land where the Blues was born.

Sam Carr's father was Robert Nighthawk, a blues legend...

and Sam played drums with Big Jack Johnson and Frank Frost...

in the Jelly Roll Kings.

- Come on. - My name is Corey Harris.

- Sam Carr. - Nice to meet you, Sam

- Same to you. - I'm a big admirer of your music.

Well, do it man, you just did catch me.

Alright, I'm glad I caught you.

I been sick about a year taking part of my music and...

everything and just kinda easily coming back this way.

I first started playing guitar... I met a dude who played harmonica...

and one day it came up: I know, let's call ourselves the Jelly Roll Kings...

and we were so proud: "That's a great name"...

and we thought we were the first ones to think...

of that then we went to the record store.

- So we changed it. - Somebody beat you to it.

Beat us to it by many years.

That's some of the best blues records ever made that you all was on.

Really.

So I understand your father was Robert Nighthawk.

- Yeah, yeah, he was. - Very famous musician.

What can you tell us about Mr. Nighthawk and his music?

I was around him all the time. I got to see a lot of old music...

old musicians, I can't think of their names now...

but they was good.

I listen to some of that old music now.

I and Frank started playing together in '55.

Frank Frost?

So we played all through the country, all overseas and everywhere else...

as we, you know, got known.

Yeah, so. We got the chance to go a lot of places I never'd go...

places I never would see, if I hadn't been playing music.

Yeah, well...

he just ain't... you know. As we die out...

the music died right along with us...

most of it.

You take...

a guy forty-five years old...

he can't play what we was playing back yonder.

Now, the instruments do the playing.

Then you had to play.

Every string for string, you had to play.

That's it, that's it.

Do it, till you do it, I want you do it with your eyes close, do it till when...

when you can feel comfortable that you can close your eyes and do it.

Oh, man, yeah...

let's give him a nice round of applause, y'all.

I celebrate my heritage and my culture with my blues festival.

From all walks of life...

- they come down to Freedom Creek. - Oh, man.

Yeah, you know.

Last one we had nearly everybody thought it was gonna be hot because it was June.

And man it was so cool and pleasant down here...

and had the wind kind of blowing through the trees and...

I just felt the spirit of old Howlin' Wolf and Muddy Waters...

John Lee Hooker, and all Son House and all them old Blues brothers...

Johnny Shines.

I just felt all of them down here, you know, as one.

The spirit I just felt them...

that spirit was...

was close at hand, believe me.

Now look it here.

That was too late

To stand up for their rights

Just because they was black They had to put up a hell of a fight

In Picken's County

In Picken's County

When a little sheriff Came out and rescued them

DA called out the town Said good sheriff will tear you down

And penetrate you down In Picken's County

Come out of cotton fields with no money...

or just a little food at home to eat, children crying...

at the edge of suicide.

So...

the good Lord and the Spirit had to send something down...

to the people...

to help ease the worried mind...

and this's where the music come in at what you're working...

at what you're trying to do, at what you're striving for...

to help give you a vision of a brighter day way up ahead...

to help you get your mind off of what you are in right now.

And they'd use a lot of these of songs...

which they were talkin' about their woman...

but they was telling you about the boss man.

Them old blues songs talking about their woman... my baby, she's so mean...

she just won't treat me right...

she take all my money, well, you talking about the boss man...

but that's the way that they have to get the message undercover.

So they couldn't just come out and say the boss man ain't treating me right.

- And his name is such and such. - Yeah.

- He lives at... - Right, right.

They finding you hanging from one of them trees in the morning.

Dead before day in the morning.

Lord, if you rise

And the blues just survival.

John Lee Hooker say: "It's a healer."

It was 1941 when Alan Lomax arrived in the Mississippi Delta...

with John Work and an integrated team from Fisk University.

The old way of life was disappearing fast.

Many of the jobs on the old plantations were being phased out...

and people were leaving in droves. Everything was changing.

So Alan Lomax figured the music had to be changing, too.

- Did you go on, girl? - Yes, ma'am

- Did you go on town? - Yes, ma'am

- Did you see my brown? - Yes, ma'am

- Which way did he go? - Choo, choo, all night long

Choo, choo, all night long

Hell is a place and not a state.

Can you here me, my brother Lomax?

Hell is a place...

and not a state.

Name: McKinley Morgansfield nickname: Muddy Waters...

Stovall's famous guitar picker.

How long have you lived out here on the Stovall plains?

17 year.

- Working in the same place? - Same place all the time.

Well, I just felt blue and the song veer into my mind and...

it come to me just like that song and I start to singing it and went on.

Do you know is that tune, the tune from any other blues that you know?

This song from the cotton field and the boy went and put the record out...

Robert Johnson, he put out "Walking Blues".

Did you know the tune before you heard it the record, though?

Yes, sir I knew the tune before I heard it on the record.

- Who'd you learn it from? - I learn it from Son House.

So how did you learn to play with this bottle?

Picked it up from Son House, I call it a slide.

Some people say the world Muddy Waters and Son House were born into is gone.

I drive down these roads, I visit these places...

and I hear the music...

as if it were in the air.

Blues is not a plaything like people think they are.

Like youngsters today, they take anything and make the Blues out of it...

just any little old jump something or other say...

this is the such and such a blues...

no it's not.

There ain't but one kind a blues...

and that consisted between...

male and female that's in love.

In love, male and female.

Now I been married five times...

with my jerky self. Five times...

and I had a good experience of what that mean.

Blues.

B-L-U-E-S. Blues.

This is a bit dark. This is Son House with his eyes closed...

and the sweat pouring off of him and he is just gone.

He's left this point in time. He's just gone somewhere else.

He went to 1928 and 1935...

he went to Lula, he went to Clarksdale, he went to Tunica...

he just went somewhere else.

How did you meet Son House? How'd your association with him begin?

I promoted a week of John Hurt shows in February of '64...

and that was successful. Then I brought in Booker White...

who was a great Mississippi bluesman...

and he came in and played in April of '64.

In talking to him he said he had seen Son House...

in Memphis, seen him in a movie theater.

We were just flipping out because he had vanished in '42...

after recording for Lomax.

So we went down to Memphis and saw Booker...

and Booker basically said...

"Well, maybe I was wrong, I guess I really didn't see Son House".

Some of my old favorite boys...

at least I love them all so far as that.

Charlie Patton, Willie Brown, and Robert Johnson...

well, they died one right after the other...

and you know, and we played together.

So out of them three...

these gone on back to the mother's dust from whence they came...

and then that scared me.

Lemon Jefferson he done gone too.

Then that scared me and I said: Well, maybe...

Lord, I'm next...

and I got scared and quit playing for 16 years...

until Mr. Dick Waterman found me...

and gave me nerve enough to try it again.

He had been retired from the railroad. So he said: "Okay"...

he'd come back to playing...

not because he had any great musical motivation or financial motivation.

He just wasn't doing anything so he said "Okay" he'd try it.

Son was interesting because Son descended from a preaching clan...

and that's one of his tunes. He was...

was: "Well, I be religion and I know all religious stuff...

but then all that corn liquor just taste so good...

and that girl's behind is just so good looking.

I believe I'm gonna go over here".

And then he'd get over there, and then he'd start feeling remorseful about it.

And then he'd have to go over there, you know...

and the whole thing was like...

that song... I used to sing that...

I'm gonna get me religion, I do believe...

I'm gonna join the Baptist church, you know...

I'm gonna get me religion I do believe...

I'm gonna join the Baptist church...

so I can be a Baptist preacher and I will not have to work.

In the 1960's, when I was starting out...

there was a folk revival going on...

and many of these bluesmen were invited to perform at concerts.

Me and many people from my generation had access...

to the artistry and wisdom of a wonderful older generation.

One of the things I did when I hung out with the older players...

Yes.

Was to talk to them about what life was like for them at that time.

Who were they as a much young crazy boys, talking about and thinking about.

So how did these cats like Son House come about...

like how did the music come out of this place, this area?

3,000 acres of cotton.

I mean, if you ran 3,000 acres of cotton...

seventy, eighty years ago, you had a lot of folks working there.

You know, I mean, that's a lot of land to be trying deal.

If that was something I was doing back in the day...

that's a lot of mules and men...

you know, that's a lot of mules and men...

that's a lot of people washing clothes...

that's a whole bunch of biscuits and cobbler.

That type of life, you know...

coupled with the way people live...

and the intensity of the times, you know...

the delta you know, produced a real strong hard-driving music.

Charley Patton's "Highwater Everywhere", he's really kicking the doors down.

And harmonically the instrument's in tune.

They must have kept the liquor away from him so he didn't get drunk.

He's really in tune good and he's singing so great, you know.

See, that song you get the feeling of where he is and where he can go...

and where he will go, and where the water's gonna go...

and what the word is from cross town and...

how far he's getting the word coming back to his ear...

because sometimes the Blues gotta talk about...

he's talking about somebody you don't ever meet.

I'm talking about my baby, never met her, you know...

and she's fine as she can be I still never met her.

Patton's thing, that's what I like about he does is that...

he includes you way up inside his mind...

as to what's going on and what's he's thinking and...

what it's like at that time.

What is this place? Where are we at right now?

We're at the epicenter of a musical revolution.

This is where McKinley Morgansfield, better known as Muddy Waters...

worked and played his music.

And this is where Alan Lomax made that great recording of...

"Down on Stovall's Farm" with Muddy.

Here we are, what 100 years later or whenever the this farm started...

and then it's within a hundred year span we're talking that Muddy was out here...

and went on to Chicago and eventually out to the rest of the world.

When Muddy Waters got his first record in the mail...

he put on a suit and tie and went to a photographer studio...

to have his picture taken.

He thought about leaving the plantation before...

but now he knew he could do it.

- What's up brother? - I ain't seen you in God knows when...

man how you doing?

It's been a long time since I seen you.

- You gonna play the blues, brother? - I gotta crawl tonight, I gotta do it.

You gonna play the blues tonight?

I got that whup. That's the whup over there, hey whup.

Check. One, two.

Alright, check one, two.

Check...

check, check, check, check, check.

Could fill a spoon full of coffee

Could fill a spoon full of tea

Just a little spoon Of your precious love

Is that enough for me

It been lied about

Some of them dies about it

Some of them dies

About it

That spoon, that spoon That spoonful

That spoon, that spoon That spoonful

Good God, about it Tell me about it

How about that?

Son House was more stable...

him and...

Charley Patton, Willie Brown...

they're more stable because these guys, I think they worked on a farm...

and played on a Saturday night for the get backs.

Where as me, I wanted to go somewhere I wanted to see some places.

See, there's a lot of things that I wanted to learn about...

I was curious about, you know.

Like, when I was a kid...

my parents used to tell me what they was taught...

about the white people.

My parents used to tell me if you go to Chicago, St Louis and New York...

you walk along, you see the little things with the holes in 'em...

you can look down through there.

Don't step on those things because those are student traps.

If you step on those things, you'll fall down in those traps...

and students jumps you and cut you up and see how you were made.

All this crap.

If you go to Canada...

the Canadians didn't have but one big eye in the center of their head.

Everywhere you went a big eye'd be following you around...

that's a scary feeling you know.

I don't know, maybe I'm just a hard believer.

I just didn't believe all that stuff.

About that traps, you know, being there. I jumped down on many traps...

I guess folks thought I was crazy, to see if it break in...

but I'd walk over one, I'd jump up and down...

see if it was gonna break in.

I gotta keep moving

Blues falling down like hail

Blues falling down like hail

That high haunting voice pitched on the razor's edge between joy and pain.

Dead at 27.

Twenty-nine songs and just two known photographs.

We'll never have more than just a few scattered memories and details...

about the life of Robert Johnson.

In the 65 years since he died...

his shadow's only grow longer as musician continue to...

sing his words and play his music.

That something that I associate with Robert Johnson.

He's one of the first guys I know to do that.

Whereas, you know, with Son House it's like when Son House does "Jinx Blues"...

you know, he's like banging on it.

You know, I think Son House was...

I don't know, to me, he sounds more country, more rural.

Robert Johnson is like between that and something uptown or more urbane.

Baby

Baby, don't you want to go?

Baby

Baby, don't you want to go?

Back to the land of California To my sweet home Chicago

One and one is two Two and two is four

Heavy loaded, baby And I got to go

Baby

Baby, don't you want to go?

Back to the land of California To my sweet home Chicago

Two and two is four Four and two is six

Keep on mocking, my friend And you'll get pity, you'll see

Baby

Baby, don't you want to go?

Back to the land of California To my sweet home Chicago

Where did you and Johnson travel together?

Well, through Missouri, Arkansas...

Tennessee...

Illinois, Michigan, Ohio...

on up into Canada, New York, places like that.

And you found an audience everywhere you went?

Yes, audience, a ready audience waiting on us.

You get the feeling that this was a guy who was in some kind of trouble...

or running from something, or afraid of something.

Well, I'll tell you what his life was like.

If we played somewhere tonight and probably got off at four o' clock...

and got into our hotel room and went to sleep...

and a train waking me up at 6:30h...

I say Robert I hear a train you wanna catch it?

Never say a word, get right up, start putting his clothes on.

Didn't make no difference what way it was going.

Going back the way we just come from, or where we was headed.

Just didn't make him any difference, just so...

he just didn't care.

Some folks tell me Old blues ain't bad

I got the worst of feeling I ever had

Some people tell me

Old blues ain't bad

I got the worst of feeling

That I ever had

One thing that's remarkable with, about Robert Johnson...

for me is that he was one of the first cats I can tell...

who was really like listening to records of cats outside of his region.

He definitely had traces in his playing that let you know he had big ears.

He was definitely listening.

We get most of our information from CD's records...

I mean, we talk to other musicians and we learn stuff from gigs...

but I think most of the development for most people...

now is listening to records and stuff.

And I think he was one of he first people to really do that, you know.

- He was more of a like a crooner. - Yeah.

He was really kinda, he had a kinda croon.

He did, he did.

But I was, I guess, about 19...

I got my hand on a Led Zeppelin eight track.

I was listening to this Led Zeppelin record probably for 2 years straight...

in the car, just like listening to it and this line 'you can squeeze my lemon'.

And I said uh-oh. Bee!

Profane! What's he talking about?

Mother, that came from this, it was on the Led Zeppelin.

Then it was like all of a sudden... "that came from Robert Johnson"...

something about his music that keeps awaking people up 'cause...

he was such a rebel...

and such a person that was himself, kind of like a James Dean.

To be like well-dressed.

To be able to just wander around and play. Always had ready money.

Had a car...

that's like, you know, that's a rebel, like you say, really breakin' loose.

You never seen that picture before, huh?

No, I never seen this one before.

Is that how he would dress up in those days? He looks...

awfully fancy.

Well, yes if you felt like it...

because...

I can tell you this. I'm glad my wife isn't here.

If a broad likes you well enough, she's going to put some clothes on you.

You know, just to have you around. Play the blues for her.

People are looking at blues like it's like the Shakespearean canon.

And I've even heard people do remakes of tunes...

and they'll duplicate all the vocal asides.

- Yeah, yeah. - That's not the point.

- You know, just like verbatim. - That's not the point.

- And the mistakes... - And the mistakes, too, yeah.

You gotta make it your own, because it's all about personal expression.

John Lee Hooker started making records in Detroit, in the late '40's.

Hooker's music was born in the Delta and it cut right to the bone.

For the tens of thousands who had left the plantations...

this down home music was nostalgic, but it was something else too...

something mysterious, haunting.

I know I'll never, I'll never

Come out of this blues alive

There was also a new audience for Hooker's sound...

who knew little if anything about where it came from.

Living

I ain't coming back

Living

I ain't coming back

Woke up this morning, baby

His music sounded old and new at the same time.

And you could dance to it. It was a different kind of groove.

In the hills of North Mississippi...

life was never as brutal as it was in the Delta.

Many black people owned and worked their own land.

On a picnic in the hill country...

along with the traditional fiddling and ballads...

Alan Lomax heard music which he believed to have truly ancient origins.

Traditions, stretching back to Africa...

had taken root here.

- What was that? - I don't know.

Don't know.

I heard the voice of Jesus sing

- Okay. - I

Heard

It

This cane get so dry sometime you gotta get some moisture in it.

That's right.

How long you been had this one? Is this an old one?

I been made this cane I reckon about three years, living on this cane.

- I made this cane. I sell cane. - Ok, I'm a buy one from you.

Yeah, put a little water in it, you can get it to sound off.

And it ain't got but two whistles to a cane.

That's high and low.

You make the cane do what you want it to do.

I'm gonna show you. I tell people that I back my tongue off when I talk.

You have to do that.

Glory, glory

Hallelujah

When I lay in my burial ground

Will be glory Hallelujah

When I lay in my burial ground

I'm going home to

Little baby Jesus

When I lay in my burial ground

I'm going home to

Little baby Jesus

When I lay in my burial ground

Anything wrong with it, I don't see!

I think it works. It's working all right.

It's working all right, yes sir.

I come up the hard way.

I had worked for three white... y'all don't know nothing about that.

I worked for three white quarters a day.

My payday on a Saturday was eight dollars. I'm living.

I picked cotton right across the bridge right down there for L.P. Buford...

for twelve, fourteen, fifteen cents a hundred, and I lived like that.

That's right.

Yes, but foodstuff now you can't make it like that now...

but everybody raised their own food, just like them out there on the pen...

every year I raised my hog, you have two to three hog...

and everybody done the thing a garden and green, milking' cows...

sorghum, glass on the table, plenty of food...

then had to buy some corn or coffee, something like that, to get you by.

Yeah, we raised our food, pretty darn far from that now...

so it's gone you can't bring it back...

it's gone, it's tightening down, getting' worse and worse.

When I first started blowing a cane momma said...

"Put that danged thing down.

I'm tired of you keep up a whole lot of noise all of the time.

If I catch you with it again I'm gonna whup you".

I put it down when she'd go off, I'd get my cane, I'd start again...

"y'all come off". I'd run and hide it again...

but I kept on. When I learned she said: "Son, you sure surprised me".

You got to make the cane do what it do.

Cane'll lay all day you lay down on the floor...

if you don't pick it up, it'll be right there.

But when you pick it up, put something in it.

And it's up here.

If you got it in your brains up, in your head, then try it, you can do it...

but if you don't you can't.

Then why do you think people so excited about your music?

- Why they so attracted to what you do? - Well, 'cause they like it.

You take that drum music...

is known for... Now I ain't heard nothing like it...

and I been a heap of places.

B.B. King, Albert King, all them guys play...

but when they've announced me to go on the stage...

and they realize I gonna come in there, all them stop.

- Yeah. - Drum music...

if you get together like it's supposed to be, it's hard to beat.

That's right, it's hard to beat.

What do you think, is your music like the blues, or?

Some of it is, some of it ain't.

Some people don't want the blues, they want to hear something else, so...

in the business, you gotta do that to satisfy them.

Right.

That's the way it is, you can't just pick what you want all the time...

- you got to change up. - Unfortunately.

That's right. That's the way that is.

So when I'm out there, I try to satisfy them.

The old boys say "when I get through I want some meat and bread".

You really then the last person left doing that then, right?

It's just you playing cane now, ain't nobody else.

That's right, yes.

Who else is gonna do it after?

My little daughter, she learn pretty good, but I don't know.

To tell you the truth, I don't know.

I been a heap a places, but I ain't seen it and I ain't heard it.

It may be some cane blowers but I ain't run up on them.

I sho' ain't.

It's a miracle that Otha's fife and drum...

ever made it all the way to North Mississippi.

Because before the Civil War...

slave drums were banned throughout the South...

and if you were caught with a drum you could be put to death.

This music was recorded by Arthur S. Alberts, in West Africa, in the 40's.

Roughly about the same time that Alan Lomax...

was recording in Mississippi.

When you listen to the fife and drum, the presence of Africa is unmistakable.

Something was kept alive in this music.

These rhythms were carefully preserved and passed down...

generation after generation...

through slavery, through Jim Crow, right up to the present.

It was an act of survival.

The rhythms are layered in Otha's fife and drum...

just like the rhythms of African drumming.

Interwoven polyrhythms.

Try keeping one rhythm with one hand...

and a different rhythm with the other.

Because drums were banned over here...

other instruments took on the role of percussion.

This is one of the key elements that connects Africa...

all the way to the blues.

You love is dead, hurry, hurry

Oh, hurry, gal You love is dead

You know I grabbed my suitcase

Many people have gone to Africa...

searching for musical links with the blues.

When you listen to these recordings now...

you feel that Africa was always just a heartbeat away.

I live in Virginia, man.

You know that's gonna turn your head, you hear that over here.

Brother, brother! Come over here, please.

Come over here, please.

Mali, West Africa.

I travel here from time to time and play with the musicians.

This is where everything began.

I'll never forget the first time I came to West Africa.

The faces looked just like the faces I knew from back home.

Everything felt familiar and completely new at the same time.

This is a land of kings.

The country may be poor but the culture is rich.

The griot or the jali...

are a special caste of musical storytellers.

Music and history are intertwined here right at the heart of the culture.

What are the words saying?

- Yes, it's the Northern climate. - Yes, this is it.

Yes, yes.

The people who live here

The people who live here

Alan Lomax traveled all over the world...

and he found and recorded music... everywhere he went.

It was always there, close to the heart of every culture.

He came to realize that music was as essential as human speech...

and just as precious.

Your cousin She Kamallah told me once...

that when a jali dies, he said it's like a whole library is burned up.

Exactly.

And when he told me that, it's like...

- I understood a lot from that phrase. - It is true.

You know, I mean, myself I think about...

all the struggles my ancestors went through so that I could live.

I think we all do, you know...

but I think about, you know, my ancestors...

they were in the bottom of a ship for three or for months...

coming from Africa, chained together.

You know, I mean, and myself...

I'm a strong man, but I'm not that strong.

I'm sure many people went crazy and died.

So it's really a miracle that we made it that far.

That's right.

Is that them over there?

Ok. Ok.

- Welcome to Niafunk? - Thank you, sir.

- This... - Thank you, sir.

My people is here.

Niafunk?is very nice.

- It's good. - It's very good.

- Welcome. - Yeah, welcome.

Nice seeing you. Nice seeing you.

Ok, his second wife.

At the beginning of this movie...

Corey said...

to know yourself you have to know the past...

and I believe that once you lose the past, you lose yourself.

Toward the end of his life Alan Lomax wrote these words...

" When the whole world is bored with automated...

mass distributed video music...

our descendants will despise us...

for having thrown away the best of our culture".

All the roots.

Science.

Is there any seed inside?

One summer day You went away

You're gonna left me You're gonna stay

- Thank you very much. - Thank you, sir.

Well I wish I was a catfish

Swimming in the old deep blue sea

I have all you good-Iooking women

Fishing after me

Showing up after me

Showing up after me

When there's two Two trains running

They ain't never going my way

While one run for the midnight

The other one runs for day

Just for a day

Just for a day

Just for a day

Is it true?

My babe, don't dance Don't dance, my babe

Don't, don't dance My babe

Don't, don't dance, my babe Don't, don't mess

My babe, don't dance Don't you hear my babe

My babe, I know she had

Yes, I know she'll love you My babe

Yes, I know she loves me Don't you love me

My babe, sing and dance My babe

Thank you.

Alright.

Well, now it getting' late on into The evening' and I feel like

Like blowing' my home

When I woke up this morning' all I

I had was gone Now it getting'

Late on into the evening' Man now

I feel like, like blowing' my home

Well now, woke up this morning'

All I had was gone

Well, brooks run into the ocean The ocean run in

Into the sea

If I don't find my baby Somebody gonna

Sure bury me

Brooks run into the ocean, man That ole

Ocean run into the sea

Well now If I don't find my baby

Somebody sure gonna bury me

Tell me who's that writing'

John the Revelator Tell me who's that writing'

John the Revelator Tell me who's that writing'

John the Revelator wrote The book of the seven seals

Who's that writing', John the Revelator Tell me who's that writing'

John the Revelator Who's that writing'

John the Revelator wrote The book of the seven seals

Now God walked down In the cool of the day

And called Adam by his name

But he refused to answer

Because he was naked and ashamed

Who's that writing', John the Revelator Who's that writing'

John the Revelator Who's that writing'

John the Revelator wrote The book of the seven seals

You know Christ had 12 apostles

And three he laid away

Said "Watch for me one hour

'Til I go yonder and pray"

Tell me who's that writing' John the Revelator

Tell me who's that writing' John the Revelator, who's that writing'

John the Revelator Wrote the book of the seven seals

Who's that writing' John the Revelator

Tell me who's that writing' John the Revelator

Who's that writing' John the Revelator

Wrote the book of the seven seals

Christ came on Easter morning'

Mary Margaret was there to see

Go tell my disciples

To meet me in Galilee

Tell me who's that writing' John the Revelator

Tell me who's that writing' John the Revelator

Tell me who's that writing' John the Revelator

Wrote a book of the seven seals

Who's that writing' John the Revelator

Who's that writing' John the Revelator

Tell me who's that writing' John the Revelator

Wrote the book of the seven seals