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  • blechtram 12:51 pm am December 4, 2019 Permalink | Antworten
    Tags: Bob Ledbetter, , , , Goodnight, Irene, Lead Belly, , , , , , Ry Cooder, The Weavers, Tom Waits   

    Lead Belly’s "Irene" and its lyrical variants of the chorus: Kissing, getting, guessing and seeing. 

    Ramsey, Frederic Jr.: Liner notes for Leadbelly’s Early Recordings, Legacy Volume 3 (Folkways FA 2024, 1951).

    Let’s talk about Lead Belly and his song «Irene, Goodnight», alternatively called «Goodnight, Irene». I’ll just refer to it as «Irene» here.

    The question that interests us here is simple: What exactly does Lead Belly sing in the chorus’s last line? Is it: «I get you in my dreams»? «I guess you’re in my dreams»? «I kiss you in my dreams»?

    It is really hard to make out in some takes and online ressources don’t seem to have a great consensus. There are different recordings with different plausible outcomes, we’ll take a look at that and some prominent cover versions below.

    For those with little time, the «too long, didn’t read»-summary is this: Lead Belly mostly used «I get you in my dreams» for the early recordings (up until 1943), other times most likely an «I kiss(ed) you in my dreams». For later records (from 1944), he opted for something like «I guessed you in my dreams», which can be seen as a cleaned-up version of «I get» or «I kissed». Cover versions mostly use «I’ll see you in my dreams» (from the Weavers’s hit version) or, more in line with Lead Belly, «I get you in my dreams». For the fun details, read below.

    As for the song: This is nowadays a classic of folk americana, a weird waltz that doesn’t quite fit into Lead Belly’s repertoire of blues, field hollers or folk songs, but does fit very well into his habit of soaking up whatever good song he could find and modify to make it his own. There is a cute family story about its origins – he supposedly made it up on the spot as a lullaby for his little baby niece. But this story is debunked – first, by his own uncle, Bob Ledbetter, who is known to have it sung before Lead Belly (and who says he learned it from his brother Terrell – you can hear this statement and Bob’s 1940 version on Document Records DOCD-5579), and secondly by Wolfe/Lornell who trace the song back even further to a 19th century popular song – but there is no written record. Wolfe/Lornell note:

    There is evidence, nonetheless, that the chorus, at least, was circulating among other folksingers besides the Ledbetters. In November 1936 […], a Library of Congress field recording unit came upon Gilbert Fike in Little Rock, Arkansas. Fike was originally from Louisiana and sang a song called «The Girls Won’t Do to Trust,» [sic] which used a set of unusual misogynistic verses to set up a familiar chorus:

    The girls will chew tobacco, but she will raise a fuss
    The girls will dring good whiskey, boys, but they
    Won’t do to trust

    Irene, goodnight, Irene,
    Irene, goodnight, my life,
    I’ll kiss you in my dreams.

    While it is possible that Fike had heard Huddie sing a version of the song […], it is probable that both Fike and Leadbelly heard the song as it circualted among rural singers in Texas and Louisiana.

    (Wolfe/Lornell 1992, 53)

    Well, the story goes on (there’s even earlier textual evidence), but so far this is pretty standard fair as far as the creation and development of folk songs go (for this, see also Ek 2014, and for a short summary online, see Lornell 2003). Let’s turn to the lyrics. What does Lead Belly do in his dream? «Get» Irene? «Kiss» Irene? «Guess»? The problem is that – especially on the early field recordings – it is really hard to make out what Lead Belly sings – and even in later versions, he uses a dialectal phrasing that sounds a lot like «giss» (hard g), like a mixture of «get» and «kiss». I think this is where the «guess» version comes from, which, spoiler, will turn out to be the least plausible one in my view.

    Before we turn to the audio analysis, let’s get some clear textual evidence. As noted above, Wolfe/Lornell transcribe the songs origins as using the line «I kiss you in my dreams», and if you listen to Bob Ledbetter’s 1940-version, there is no doubt about it. This in itself stakes a strong claim for «kiss» instead of «get» or «guess» as an initial variant. Also, in the liner notes of the Folkways-LP Leadbelly’s Early Recordings, Legacy Volume 3 (Folkways FA 2024, 1951), Frederic Ramsey makes quite astute poetic observations about Lead Belly’s lyrical craft:

    There is one quality of Leadbelly’s song that is only partially touched on in the Lomax book, how ever, but if we piece together bits of the Lomax story and combine them with the text and mood of Leadbelly’s songs, it can be sensed. There is in certain of the songs a mood of sleeplessness; in others, of dream, and trance. […] Where no escape is provided through sleep or dream, it is through alcolhol as in Roberta. The sleeplessness complements the dream, for it is a waking dream. It is a state where real and unreal are mixed, seen and unseen come together.

    Ramsey 1951.

    Ramsey then goes on to quote several other songs that reference this escape or wish fulfillment through (day dreams) and, on the occasion, transcribes the bit from «Irene» as:

    «Irene, good night, Irene good night,
    Good night Irene, good night Irene,
    I kiss you in my dreams …» (Irene, FP 4)

    Ramsey 1951.

    Since Ramsey mentions Folkways FP 4 as the source, it is clear that he refers to the versions «SC-261» or «SC-261-1» from 1943, both on FP 4 (cf. my bio-discography of Lead Belly for such session-details). Now, Ramsey isn’t just anybody – he met and recorded Lead Belly in his late sessions. But apart from this supposed authority on the subject matter, I find his lyrical assembly of quotes about dreamy wish fulfillment persuasive: This again makes a stronger claim that Lead Belly dream-wishes that he «gets» or «kisses» Irene, rather than the line not fitting in this logic: «I guess you’re in my dreams».

    But Wolfe/Lornell go on to say this:

    The first time he recorded the song on disc, in 1933, he sang only two verses and two choruses, including the slightly ominous refrain «I’ll get you in my dreams». A year later he recorded it with four verses and four refrains.

    Wolfe/Lornell 1992, 56.

    I agree with their assessment that it sounds most like «get» in the 1933-chorus (version 120-A-1) which is the only complete chorus from that year that includes the line. Very generally, it coud be heard as «kiss» with a mumbled «s» in the end. But «get» is what they decide on, so let’s take that as corroborating evidence.

    Now, if we turn to what is audible on Lead Belly’s own recordings, there is little doubt about one thing: On several occasions, he clearly sings «I get you in my dreams». If you compare my harmonisation below, you see that I think there is no doubt about him singing this line on the versions 124-A-2 (1934) – starting with the second chorus, as the first is unclear to me –, 124-B-1 (1934) and SC-261-1 (1943). As opposed to SC-261-1, version SC-261 (1943) gives you this weird «get/kiss»-mixture, so that must have been the one Ramsey refers to in his transcription above.

    If we now take a close listen to his other versions, we most of the time end up with a word that sound like «giss» or even «gass». At one point I though this might be a dialectal version of «catch» (as in «I catss you in my dreams»), and it also occured to me that it could simply be a dialectal «I gets you» – because Lead Belly pretty systematically uses this conjugation on all other verbs in the song, «I lives», «I loves», «I haves», but I don’t know enough about the nature of Lead Belly’s idiom to know if this is even remotely plausible from a linguistic perspective. American dialectologists, please let me know if «I gets» was a plausible form.

    Anyway, if you are primed by textual knowledge about the «kiss»-version, most of these can pretty reliably sound like «kiss». The version where I’m really struggling to hear a difference between «kiss you» and «guess you’re» is version 44-A (1935).

    Two last points on the «I guess you’re in my dreams»-variant: First, I must say I can hear «guess(ed)» on some occasions, but I have to force myself to hear «you’re in my dreams», it is usually a clear «you in my dreams» to me. Also, in later versions (from 1944 onwards), it becomes a more clearly pronounced «I guessed you’re in my dreams». The past tense makes even less poetic sense to me – it seems like a bowlderized versions of «kissed» to me.

    This is also why I don’t quote more of Lead Belly’s numerous later Irene-versions because even though he clearly gravitated to what sounds like «I guess you in my dreams», the problems fundamentally remain the same: Even with better and clearer recording (and Lead Belly having adapted his singing for white audiences), it is hard to know whether we’re dealing with a dialectal «kiss», «gets» or «guess» (compare especially version 413-3A, 1944). But more importantly: Folk lyrics change. At this point of Lead Belly’s career, we’re dealing with lyrical adaptation by Lead Belly for the audiences he played for. In the version FC 7533 (1945), I hear a clear «I guessed you in my dreams», but at that point he had also changed the lyrics of «take morphine and die» to «run away and fly». As in the Weavers’ version (see below), «getting» and «kissing» maybe wasn’t deemed suitable for mainstream (and children) audiences, so «guessing» might have become a valid option from 1944 onwards.

    Taken all of this together, I’d say we end up with the following for the versions up until 1943:

    1. There is clear textual evidence for «I kiss you in my dreams», clear auditive evidence for it in Bob Ledbetter’s version and plausible auditive evidence in Lead Belly’s versions
    2. There is clear auditive evidence for the variant «I get you in my dreams». Some of Lead Belly’s versions leave no doubt.
    3. There is clear «poetic» evidence for both these variants, that is to say: they simply make sense, even in a larger thematic context of Lead Belly’s lyrical motifs
    4. There is some auditive, little poetic and no textual evidence for «I guess(ed) you(’re) in my dreams»

    As corroborated evidence goes, I’d say Lead Belly sings a dialectal «I kiss» on some, and «I get» on other versions. Having said that, none of this disproves the «I guess you’re in my dreams»-version which remains plausible, why not? But it remains the least supported version by corroboration. As a last resort, I’d propose a dialectal «I gets», until an expert tells me that this form didn’t exist in the idioms spoken then.

    Cover versions

    The story could but doesn’t have to end here. How did prominent cover versions handle this textual unclarity? To spoil the harmonisation of lyrics I made below: There is a strong preference to use the completely different line «I’ll see you in my dreams» – this is easily explained as this stems from the cleaned-up version by the Weavers which was a 1950-hit that made the song as famous as it is nowadays in the first place. No kissing or «getting» in this mainstream folk context (cf. Ek 2014)! Even Mississippi John Hurt uses this line in his 1966-version – he announces it as «Lead Belly’s song» in the spoken intro, says that he «learned it off the record» and then continues to sing a song that structurally uses the lyrics from the Weavers’, not Lead Belly’s, version. So hilariously and wonderfully for folk authenticity and pop history, Mississippi John Hurt most likely learned this song from the Weavers’ hit record. Eric Clapton’s 2013 also shares this approach of using the song in the form it first entered the mass audience’s mind: as the Weavers-version.

    Then, more reconstructionist artists like Ry Cooder (1976) and Tom Waits (2006) both opt for lyrical structures the pretty much exactly resemble one of Lead Belly’s version. Ry Cooder clearly goes with «I’ll get you in my dreams» in the chorus, while Tom Waits, in typical fashion, sort of recreates Lead Belly’s «kiss/get» mixture as «giss». Waits gives no lyrics in the liner notes for this song.

    As an example of continued oral folk permutation, Dr. John’s version from 1992 just uses general musical and lyrical elements of the earlier version to come up with something very different. He turns the music into a big-bandish boogie and the song is not about yearning, scrounging, suicide and loss (with a dream as escape), but about desire, sex and partying, balling down the river while screaming «I wanna get you into my dream!» Of course, Dr. John pays his dues as a reconstructionist as well, at one point introducing a female choir which sings the exact lyrics of the Weavers’ chorus.

    Well, that was fun, wasn’t it. For what I’ve exactly heard, uncertainties included, compare below harmonisation of the different versions I mentioned. Sources are below.

     Lead Belly 120-A-1Lead Belly 120-A-6Lead Belly 120-A-7Lead Belly 124-A-2 (1934)Lead Belly 124-B-1 (1934)Lead Belly 44-A (1935)Lead Belly 44-B-1 (1935)Irene SC-261-1 (1943)Irene (SC-261) (1943)Bob Ledbetter (1940)Weavers (1950)Mississippi John Hurt (1966)Ry Cooder (1976)Dr. John (1992)Tom Waits (2006)Eric Clapton (2013)
    INTRO / CHORUSIrene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I’ll get/kiss (?) you in my dreams
    ø Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I’ll get/kiss (?) you in my dreams
     Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I kiss you in my dreams + Spoken Intro
     Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I get you in my dreams
    øIrene goodnight, Irene goodnight
    Irene goodnight, goodnight Irene
    I kiss you in my dreams
    Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I’ll see you in my dreams
    Spoken Intro + Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I will see you in my dream
    øøIrene goodnight, Irene, Irene goodnight
    Goodnight Irene, goodnight Irene
    I kiss you in my dreams
    ø
    VERSE 1One day, one day, one day
    Irene was a-walkin’ along
    Last word that I heard her say
    «I want you to sing one song»
    I asked your mother for you
    She told me that you was too young
    I wish dear Lord that I’d never seen your face
    I’m sorry  you ever was born
     Quit ramblin‘ and quit gamblin‘
    Quit staying out late at night
    Come home to your wife and your family
    Sit down by the fireside bright
     I asked your mother for you
    She told me you was too young
    I wish dear Lord that I’d never seen your face
    I’m sorry you ever was born
     Sometimes I lives in the country
    Sometimes I live in town
    Sometimes I have the great notion
    Jumpin‘ in, into the river and drown
    I asked your mother for you
    She told me that you was too young
    I wish dear Lord,that  I’d never seen your face
    I’m sorry you ever was born
    Last Saturday night I’ve got married
    Me and my wife settled down
    Me and my wife is parted now
    I’m goin‘ take a stroll uptown
    Last Saturday night I got married
    Me and my wife settled down
    Now me and my wife are parted
    I’m gonna take another stroll down town
    Sometimes I live in the country
    Sometimes I lives in town
    Sometime I take great notion
    Jump in the river and drown
    I asked your mother for you
    She told me that you was too young
    I wish dear Lord never have seen your face
    And I’m sorry that you ever been born
    Last night as I laid in my bed a-sleepin’
    Last night as I laid down across my bed
    Last night I had myself a nightmare
    I had a dream, I had a dream
    My little Irene was dead
    Last Saturday night I got married
    Me and my wife settled down
    Now me and my wife are parted
    I’m gonna take me a little stroll uptown
    Last Saturday night I got married
    Me and my wife settled down
    Now me and my wife are parted
    Gonna take another stroll down town
    CHORUS Irene goodnight, Irene goodnight
    (scrambled)
    (possible continuation of 120-A-6, scrambled)… in my dreamsIrene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I’ll get you in my dreams
     Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I kiss you / guess you’re (?) in my dreams + Spoken Interlude
     Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I get you in my dreams
    Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I kiss (?) you in my dreams
    Irene goodnight, Irene goodnight
    Irene goodnight, goodnight Irene
    I kiss you in my dreams
    Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I’ll see you in my dreams
    Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I will see you in my dream
    Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I’ll get you in my dreams
    I had to say now:
    Goodnight Irene, goodnight
    Goodnight Irene, goodnight
    Goodnight Irene, goodnight Irene
    I wanna get you, I wanna get you
    Wanna get you into my dream
    Irene goodnight, Irene, Irene goodnight
    Goodnight Irene, goodnight Irene
    I kiss you in my dreams
    Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I’ll see you in my dreams
    VERSE 2  Stop ramblin‘ and stop gamblin‘
    Quit staying out late at night
    Come home to your wife and your family
    Sit down by the fireside bright
    Last Friday night, I got married
    Me and my wife settled down
    Now me and my wife have parted
    Gonna take me a stroll uptown
     Sometimes I lives in the country
    Sometimes I lives in town
    Sometimes I have the great notion
    Jumpin‘ into the river and drown
     Stop ramblin‘ and stop gamblin‘
    quit stayin‘ out late at night
    Go home to your wife and your family
    Sit down by the fireside bright
    Sometimes I lives in the country
    Sometimes I lives in town
    Sometimes I haves the great notion
    Jumpin‘ in, into the river and drown
    Quit ramblin‘, quit gamblin‘
    Quit staying out late at home(– at night!)
    Come home to your wife and  family
    Sit down by the fire[?]side bright
    Sometimes I live in the country
    Sometimes I live in town
    Sometimes I take a great notion
    To jump into the river and drown
    Stop ramblin‘, stop gamblin‘
    stop stayin‘ out late at night
    Go home to your wife and family
    And stay by the fireside bright
    Sometimes I live in the country
    Sometimes I lives in town
    Sometimes I have a great notion
    To jump into the river and drown
    Last Saturday night we got married
    Last Saturday night we sho’ got down
    Last Saturday night we went sailin’ down the river
    We swung that little boat
    And we almost drowned
    Sometimes I live in the country
    Sometimes I live in town
    Sometimes I take a great notion
    To jump in the river and drown
    Stop ramblin‘, stop your gamblin‘
    stop stayin‘ out late at night
    Come home to your wife and your family
    And sit by the fire so bright
    CHORUS  Irene goodnight, Irene (scrambled fade-out)Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I’ll get you in my dreams
     Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I kiss you / guess you’re (?) in my dreams + Spoken Interlude
     Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I get you in my dreams (Fade out)
    Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I kiss (?) you in my dreams
    Irene goodnight, Irene goodnight
    Irene goodnight, goodnight Irene
    I kiss you in my dreams
    Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I’ll see you in my dreams
    Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I will see you in my dream
    Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I’ll get you in my dreams (+ instrumental chorus)
    I had to say now:
    Goodnight Irene, goodnight
    Goodnight Irene, goodnight
    Goodnight Irene, goodnight Irene
    I wanna get you, I wanna get you
    Get you into my dreams
    Irene goodnight, Irene, Irene goodnight
    Goodnight Irene, goodnight Irene
    I kiss you in my dreams
    Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I’ll see you in my dreams
    VERSE 3   I asked your mother for you
    She told me that you was too young
    I wish dear Lord that I’d never seen your face
     I’m sorry you ever was born
     You cause me to weep and you cause me to moan
    You cause me to leave my home
    The last words I heard her said
    „I want you to sing this song“
      Stop ramblin‘ and stop gamblin‘
    quit stayin‘ out late at night
    Go home to your wife and your family
    Sit down by the fireside bright
     Stop ramblin‘, stop your gamblin‘
    stop stayin‘ out late at night
    Go home to your wife and your family
    Stay there by your fireside bright
    øI loves Irene, God knows I do
    Loves her till the sea runs dry
    If Irene turns her back on me
    I’m gonna take morphine and die
    øI loves Irene, God knows I do
    Loves her till the sea runs dry
    If she ever loves another
    I’m gonna take morphine and die
    I loves Irene, God knows I do
    Loves her till the rivers run dry
    If Irene should ever turn her back on me
    Gonna take morphine and die
    CHORUS   Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I’ll get you in my dreams
     Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I kiss you / guess you’re (?) in my dreams + Spoken Interlude
      Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I kiss (?) you in my dreams
     Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I’ll see you in my dreams (Repeat + Fade-Out)
    Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I will see you in my dream
    ø(Female choir:) Irene goodnight, Irene goodnight
    Goodnigt Irene, goodnight Irene
    I will see you in my dream
    Irene goodnight, Irene, Irene goodnight
    Goodnight Irene, goodnight Irene
    I kiss you in my dreams
    Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I’ll see you in my dreams
    VERSE 4   One day, one day, one day
    Irene was a-walkin‘ along
    Last words that I heard her say
    „I want you to sing this song“
     Last Friday night, I got married
    Me and my wife settled down
    Now me and my wife have parted
    Gonna take me a stroll uptown
      I loves Irene, God knows I do
    Love her ‚til the sea run dry
    If Irene turns her back on me
    I’m gonna take morphine and die
       Stop ramblin‘ and stop gamblin‘
    Quit stayin‘ out late at night
    Come home into your wife and your family
    Sit down by the fireside bright
    Sometime I wanna drink
    Sometime I wanna gamble
    Sometime I wanna stay out all night long
    Lord, but when I’m lovin’ my little Irene
    I wanna love the girl
    Love her on and on and on and on…
    Stop your ramblin‘, stop your gamblin‘
    Stop stayin‘ out late at night
    Go home to your wife and your family
    Sit down by the firelight
    ø
    CHORUS    ø (possible continuation of 124-A-2)Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I kiss you / guess you’re (?) in my dreams
          Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I’ll get you in my dreams
    Yeah yeah
    Goodnight Irene, goodnight
    Goodnight Irene, goodnight
    Goodnight Irene, goodnight Irene
    I wanna get you, I wanna get you
    Get you into my dream
    (Everybody!) Irene goodnight, Irene, Irene goodnight
    Goodnight Irene, goodnight Irene
    I kiss you in my dreams (Repetition + Fade-Out)
    Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I’ll see you in my dreams
    VERSE 5    …And she caused me to moan
    She caused me to leave my home
    Last words that I heared her say
    „I’m sorry you ever was known“
     ø         
    CHORUS    Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I’ll get you in my dreams
     (possible continuation / re-start of 44-A) Spoken Intro         
    VERSE 7    I love Irene, God knows I do
    Love her ‚til the sea runs dry
    If Irene turns her back on me
    I’m gonna take morphine and die
     I love Irene, God knows I do
    Love her ‚til the sea run dry
    If Irene turn her back on me
    I’m gonna take morphine and die
             
    CHORUS    Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I’ll get you in my dreams
     Irene goodnight, Irene goodnight
    Goodnight Irene, goodnight Irene
    I get you in my dreams + Spoken Interlude
             
           ø         
           Spoken Interlude + Hummed Chorus Ending         

    Sources:

    • Ek, Kirstin: «A Precipice Between Deadly Perils»: American Folk Music and the Mass Media, 1933–1959. Dissertation University of Virginia 2014.
    • Lornell, Christopher «Kip»: «Goodnight, Irene»–Leadbelly (1933). Added to the National Registry: 2003. Essay by Christopher Lornell (guest post). Library of Congress. URL: http://www.loc.gov/static/programs/national-recording-preservation-board/documents/GoodnightIrene.pdf
    • Wolfe, Charles and Kip Lornell: The Life & Legend of Leadbelly. New York: Harper Collins 1992.
    • Ramsey, Frederic Jr.: Liner notes for Leadbelly’s Early Recordings, Legacy Volume 3 (Folkways FA 2024, 1951).
     
  • blechtram 4:20 pm am November 21, 2019 Permalink | Antworten
    Tags: , ,   

    Arbeitsalltag 

    In der heutigen Ausgabe von „Arbeitsalltag“ sammle ich bekloppte Bewerbungssätze, die ich beim Wiederlesen in meinen Bewerbungen gefunden habe. Warum, ist unklar – „Ob in Liebe oder Zorn“, da muss ich es mit Frank Zander halten.

    Chronologisch von älter bis jünger:

    «Der Einsatz neuester Methoden in hermeneutischen Kontexten ist mir geläufig.»

    «Aus diesem Kontext bin ich mir auch über die Wichtigkeit einer stringenten Aussen- und Markenkommunikation im Klaren.»

    «Das Projekt ist inhaltlicher Natur […].»

    «Ob die Zahl so stimmte, weiss ich nicht.»

    «Der beste Fisch, den ich je gegessen habe, war ein atum de cebolada, Thunfisch an Zwiebeln.»

    «Dies war nur machbar, da mir diese Arbeit Freude bereitet.»

    «Die Universität war dafür lange ein gutes Umfeld […].»

    «Die Stelle entspricht in allen Aspekten optimal dem, was ich suche.»

    «Was einem nicht zufliegt, muss man sich erhinken.»

    «Ich habe Dissertationen, Master-Arbeiten, Finanzierungsanträge, Marketingmaterial und Romane Korrektur gelesen.»

    «Darauf folgte eine [Tätigkeit], mit der ich mein Arsenal an sprachlichen Mitteln und stilistischen Finessen weiter ausbauen konnte.»

    «Hinzu kommen langjährige Erfahrungen in institutionellen Zusammenhängen.»

    «Wichtiger als die konkreten Tätigkeitsfelder scheinen mir aber die gefragten Fähigkeiten, die ich als [Funktion der Stelle] einbringe.»

    «Zum Thema Playlist-Verwaltung und Enthusiasmus: Meine iTunes-Mediathek ist gegenwärtig nach 221 Musikgenres und -subgenres organisiert.»

    «Einerseits habe ich keine jahrelange Berufserfahrung als Werbetexter, andererseits natürlich schon.»

    «Aber da gehen die Vorlieben der Fachrichtungen ja schon weit auseinander.»

    «Ich kenne den Unterschied zwischen grau-blau und graublau […].»

    «die Stelle als [Funktion] bei [Firma] interessiert mich, schon allein, weil ich seit meinem letzten Umzug ebenfalls auf Umzugsfirmen angewiesen bin.»

    «Auf meinem Schreibtisch liegt gerade das Buch Jazz in der Schweiz von Bruno Spoerri.»

    «Aber ich nehme an, dafür gibt es bereits eine stabile Konvention in der Redaktion.»

    «Bücher lesen ist schön, Bücher machen schöner. Das gilt natürlich auch für E-Bücher.»

    «Wie vermittelt man den Sinn von Übungen so, dass diese nicht als Blindflug wahrgenommen werden?»

    «Sowohl dort wie auch an der Universität habe ich auch vor grossen, relativ anonymen Gruppen gesprochen und Inhalte vermittelt.»

    «Gegenwartsliteratur findet glücklicherweise nicht unter Ausschluss der Öffentlichkeit statt.»

     
  • blechtram 11:04 pm am October 14, 2019 Permalink | Antworten
    Tags: , , , , Schlägels   

    Die Schlägels 

    Diskographie

    Mach mir bitte ’ne Freude (1963)

    Ich hab sie da drüben stehen sehen
    Trübsal
    Anna (geh zu ihm)
    Ketten
    Jungs
    Frag mich wieso
    Mach mir bitte ’ne Freude
    Na hopp, sei mein Schatz
    P.S. Ich liebe dich
    Baby, du bist es
    Soll ich dir ein Geheimnis verraten?
    Ein Hauch von Honig
    Es gibt einen Ort
    Zappeln und schreien

    Mit den Schlägels (1963)

    Dauert nicht mehr lang
    Ich muss nur
    Nerv nicht
    Kleines Mädel
    Dann kamst du
    Bitte, Herr Briefträger
    Stück mal’n rück, Beethoven!
    Halt mich fest
    Du hast mich in der Tasche
    Ich will dein Kerl sein
    Die ist von Grund auf böse
    Kein zweites Mal
    Knete

    Eine Nacht aus hartem Tag (1964)

    Eine Nacht aus hartem Tag
    Hätte ich besser wissen sollen
    Wenn ich mich
    Ich find’s schon toll, nur mit dir zu tanzen
    Und ich liebe sie
    Sag mir warum
    Kann mir keine Liebe kaufen
    Rund um die Uhr
    Dann heul ich halt
    Was wir heute gesagt haben
    Wenn ich nach Hause komme
    Das kannst du nicht machen
    Ich komme wieder

    Schlägels im Ausverkauf (1964)

    Keine Antwort
    Ich bin eine Null
    Meine Flamme trägt schwarz
    Sexmusik
    Ich wende mich nach der Sonne
    Herr Mondlicht
    Südwindstadt / Hejo!
    Acht Tage die Woche
    Worte der Liebe
    Honigmaus, hör auf
    Jedes kleinste Ding
    Ich will hier nicht die Spassbremse sein
    Was du da machst
    Alle wollen meine Honigmaus sein

    Hilfe! (1965)

    Hilfe!
    Letzte Nacht
    Du musst deine Verliebtheit überspielen
    Ich brauche dich
    Ein anderes Mädel
    Du wirst dieses Mädel verlieren
    Fahrschein
    Sei einfach du selbst
    Es ist nur Liebe
    Du magst mich zu sehr
    Sag mir, was du siehst
    Ich hab grad ein Gesicht gesehen
    Gestern
    Irre Fräulein Ira

    Gummi-Seele (1965)

    Sei mein Chauffeur
    Norwegisch Holz (Diese Maus ist raus)
    Du willst dich nicht mit mir treffen
    Nirgendmann
    Denk dir’s selbst
    Das Wort
    Michaela
    Was geht?
    Mädel
    Ich durchschau dich
    In meinem Leben
    Wart mal!
    Wenn ich wen bräuchte
    Renn um dein Leben

    Drehpistole (1966)

    Steuerinspektor
    Eleanor Bergkammdorf
    Ich schlafe doch nur
    Unbedingt, dass du
    Hier, dort und überall
    Gelbes Unterseeboot
    Hat sie gesagt, hat sie gesagt
    Guter Tag Sonnenschein
    Und dein Vogel kann zwitschern
    Für niemanden
    Doktor Robert
    Ich möchte dir erzählen
    Muss dich in mein Leben kriegen
    Morgen weiss nicht

    Oberfeldwebel Pfeffers Tanzorchester der einsamen Herzen (1967)

    Oberfeldwebel Pfeffers Tanzorchester der einsamen Herzen
    Mit ein wenig Unterstützung meiner Freunde
    Lucia im Himmel mit Diamanten
    Wird besser
    Ein Loch stopfen
    Sie verlässt Heim und Herd
    Zugunsten von Herrn Drachen gibt’s
    Selbst in dir, ausser dir selbst
    Wenn ich vierundsechzig bin
    Schöne Rita
    Guten Morgen Guten Morgen
    Oberfeldwebel Pfeffers Tanzorchester der einsamen Herzen (Zugabe)
    Ein Tag im Leben

    Magische Mysteriösitätentour (1967)

    Magische Mysteriösitätentour
    Der Narr auf dem Hügel
    Fliegen
    Blauhäherweg
    Deine Mutter sollte das wissen
    Ich bin das Walross („Nein, bist du nicht!“ sagte die kleine Nicole)
    Hallo, und tschüss
    Erdbeerfelder für immer
    Pfennigschneise
    Schatz, du bist Krösus
    Alles, was du brauchst, ist Liebe

    Die Schlägels (1969)

    Zurück in der UdSSR
    Liebe Umsicht
    Glasszwiebel
    Hoppe Hoppe Reiter
    Wilde Honigmaus
    Die Fortsetzungsgeschichte von Plattenbau-Didi
    Während meine Gitarre sanft wimmert
    Glück ist eine warme Knarre
    Martha mein Liebling
    Ich bin so müde
    Amsel
    Schweinchen
    Wolfi Waschbär
    Lass mich nicht links liegen
    Wieso machen wir’s nicht mitten auf der Strasse?
    Ich werde es tun
    Julia
    Geburtstag
    Dein Blues, wa?
    Mutter Naturs Sohn
    Alle haben etwas zu verstecken ausser mir und mein Affe
    Maharishi
    Rutschbahn
    Lang, lang, lang
    Umsturz Eins
    Honigmaus
    Savoyer Trüffelpraline
    Weine, Baby, weine
    Umsturz Neun
    Gute Nacht

    Gelbes Unterseeboot (1969)

    Gelbes Unterseeboot
    Nur ein nördliches Lied
    Jetzt alle zusammen
    Hey Bulldogge
    Es ist alles zu viel
    Alles, was du brauchst, ist Liebe
    Pfefferland
    See der Zeit
    See der Löcher
    See der Monster
    Marsch der Miesepeter
    Pfefferland geschrottet
    Gelbes Unterseeboot in Pfefferland

    Everest (1969)

    Gleichzeitig kommen
    Ein gewisses Etwas
    Alfreds Silberhammer
    Oh! Liebling
    Tintenfischs Garten
    Ich will dich (sie ist so krass)
    Hier kommt die Sonne
    Weil
    Du gibst mir nie dein Geld
    Sonnenkönig
    Fieser Herr Senf
    Polyethylen Paula
    Sie kam durchs Badezimmerfenster
    Goldener Schlummer
    Die Bürde schultern
    Das Ende
    Ihre Majestät

    Lass es werden (1970)

    Wir beide
    Ponies pudeln
    Durchs Universum hindurch
    Ich Mir Meins
    Lass dich gehen!
    Lass es werden
    Cornelia Kramer
    Ich hab so’n Gefühl
    Der nach dem Neun-nach-Neuner
    Die lange und gewundene Strasse
    Schmoll dir nach
    Zurück

    Dies ist die komplette (offizielle) Diskographie der bekannten Band Die Schlägels (Friedrich, August, Wilhelm und Ringo).

     
  • blechtram 3:52 pm am July 18, 2019 Permalink | Antworten
    Tags: , , Radio   

    Arbeitsalltag 

    Schlechte Ideen für den Namen einer Radiosendung, die ich gerade konzipiere:

    Geräuschkulisse

    Textuelle Hörigkeit

    Kontext Ton-Text

    Textwut

    Bücherblues

    Ton, Text, Tüdelü

    Alles Mist, aber „Textuelle Hörigkeit“ ist hiermit von mir getrademarkt, das verwende ich irgendwann nochmal in einem Bierzeltzusammenhang.

     
  • blechtram 8:46 pm am June 2, 2019 Permalink | Antworten
    Tags: , , , ,   

    A list of historically important jazz discographies 

    According to:

    Epperson, Bruce D.: More Important Than the Music. A History of Jazz Discography. Chicago: The University of Chicago Press 2013.

    Where do you look up information about jazz, blues, gospel and all that ja…ngling music, I mean besides just googling yourself to death in a pool of abundant, half-reliable information? Where do you go where the information, however correct it might be, doesn’t feel sticky? In discographies? Which ones? Epperson’s book on the topic, More Important Than the Music (2013), is fascinating. Sure, from one perspective, it gives you an abundance of facts, of nerdy information about nerds and their nerdy obsessions, it painstakingly records who published which list of jazz records at what time under what circumstances. That is the purely fact-driven aspect. On the other hand, it introduces you to a world of people whipped by their desires, bound together in love and hatred for the topic and for each other, stuck in decade-long feuds about plagiarism, money, mutual criticism and appraisal, a world full of projects only making it from the letters A to K because of over-ambition, corporate enemies or new technology. A world full of hope and despair, of half-arbitrary decisions about race, genre, cut-off dates, band formats and sound formats, driven by personal interest of the respective researcher. A world of necessary, but neither academically nor financially rewarded research, with no sustainable way to make it profitable. I don’t know if Epperson realises just how hilarious his chosen quote to end the book is, where Howard Rye says:

    The single biggest factor in jazz discography is that neither Brian Rust nor Jørgen Jepsen gave a damn about the needs of those who wouldn’t buy their books!

    (Rye in Epperson 2013, 212).

    Talk about an exclamation point to end a book about, well, lists. This is not how a tragedy ends (or a comedy, or a romance) – this is how you end a farce, a book with farcical subject matter, intentionally or not. As I said somewhere else: A discography is but a list made by an idiot, full of sound and fury, signifying nothing. (Including myself, of course, although the only ‚discographies‘ I create consist of second-hand information and aim at cutting the corners of availability).

    Below is a list of the jazz discographies that Epperson discusses more than just in passing and around which he constructs entire chapters or paragraphs. Epperson’s book is an eloquent, informative and fluid (and at times hilarious) read from a historical/narrative perspective, but it doesn’t have registers telling you which discographies or names are discussed on what pages, and which chapters and paragraphs deal with which time spans exactly etc. (actually, in the text, the chapter titles do indicate time spans, but they don’t do this where it would be most useful: in the „contents“ overview). So I assembled a list according to Epperson’s chronology with some of the crucial quotes for each discography. The list only treats general jazz (and blues) discographies, meaning there are no specialized discographies: no label discographies, no single-artist bio-discographies, no solographies (yes, those exist), no national discographies and so forth.

    Since discographies tend to have shifting titles, different editors/authors, changing time spans and volatile edition histories, I somewhat lump the titles and publication years for the discographies together. The gist of each work’s identity will be researchable with this, if you want to dig into it. Or just read the book.

    Chapter 2.2:

    Schleman, Hilton: Rhythm on Record (1936)

    The lack of session-level information has led many discographers to relegate Rhythm on Record to protodiscography, leaving the honors of „first discography“ to Delaunay’s Hot Discography, which appeared three months later.However, within the limited goals he set for himself, Schleman was largely successful, an discographers were still using his book some sixty-five years later.

    (Epperson 2013, 29)

    Chapter 2.3:

    Delaunay, Charles: Hot Discography (1936)

    „Charles Delaunay is the undoubted father of discography as we know it today,“ adds Sheatsley. „It was he who first saw and utilized the importance of master numbers.“

    (Epperson 2013, 38)

    Chapter 3.1:

    Blackstone, Orin: Index to Jazz (1945–1950)

    Therefore he stuck to an alphabetical-by-artist structure from start to finish, unlike Delaunay’s affinities of style arrangement.

    (Epperson 2013, 51)

    Chapter 3.2:

    Delaunay, Charles: New Hot Discography (1948)

    Recognizably a Delaunay product, it retained the affinities of style approach for musicians recorded before 1930 but abandoned it for later artists, who were grouped in straight alphabetical order in a long section of their own.

    (Epperson 2013, 56)

    One other prescient feature of New Hot Discography bears mentioning in some detail. Each issue (usually, but not always, a 78 rpm, two-sided single) was assigned a „discode“, a Delaunay-assigned serial number comprising a number, letter, and number.

    (Epperson 2013, 59)

    Chapter 3.4:

    Carey, David, Albert McCarthy (and Ralph Venable): The Directory of Recorded Jazz and Swing Music [The Jazz Directory] (1949–1955)

    McCarthy, Albert and Dave Carey: The Directory of Recorded Jazz and Swing Music Inlcuding Gospel and Blues Records [The Jazz Directory]. (1955–1957)

    The discographic format wasn’t radically different from that of the contemporaneous Blackstone or Delaunay works, but it was crisper and clearer, mostly because, once and for all, it subordinated matrix numbers to recording sessions arranged in a chronological format.

    (Epperson 2013, 69)

    Chapter 3.5:

    Delaunay, Charles and Kurt Mohr: Hot discographie encyclopédique (1951–1952)

    The format of Hot discographie encyclopédique (HDE) was a complete break with any of Delaunay’s previous works and bore a strong resemblance to Carey and McCarthy’s series, so it instantly became known as the „French Jazz Directory„. Delaunay admitted that the times had changed and „such a work as this must be objective, not selective.“

    (Epperson 2013, 76)

    Chapter 4.1:

    Rust, Brian: Jazz Records, A–Z (1961)

    Although this session-based layout was not radically different from that in The Jazz Directory, the refinements he did develop ended up making Jazz Records, A–Z so superior to anything that came before that it was eventually called the Rust format.

    (Epperson 2013, 85)

    Where did you go for availability, not history? […] Even Malcolm Shaw, who edited the latest (2002) edition of Rust’s Jazz Records, A–Z, admits that „JR [Jazz Records] as it stands is probably due for a total reconsideration of the concept“.

    (Epperson 2013, 4)

    Chapter 4.2:

    Jepsen, Jørgen Grunnet: Jazz Records, 1942–196X (1963–1970)

    Survival demanded a relatively straightforward editorial policy. „This is not a complete listing of all jazz records,“ cautioned Jepsen. „This is only an attempt to list all the records known to the editor and his collaborators.“

    (Epperson 2013, 89)

    Chapter 4.3:

    Godrich, John and Robert Dixon: Blues and Gospel Records, 1902–1942 (1964, 1969)

    Dixon, Robert and John Godrich: Blues and Gospel Records, 1902–1943 (1982)

    – and Howard Rye: Blues and Gospel Records, 1890–1943 (1997)

    The decision to include all existing material without differentiating whether it was commercial or archival (and whether or not it was relevant to record collectors) proved to be the single most important metric by which Blues and Gospel Records came to be evaluated over the years.

    (Epperson 2013, 94)

    Chapter 4.5:

    Leadbitter, Mike and Neil Slaven: Blues Records, 1943–1966: An Encyclopedic Discography to More Than Two Decades of Recorded Blues (1968)

    –: Blues Records, 1943–1970: A Selective Discography. Vol. 1, A–K. (1987)

    –: Blues Records, 1943–1970: A Selective Discography. Vol. 2, L–Z. (1994).

    The few who did review the 1987 revision generally considered it a significant improvement over its 1968 predecessor. Everyone agreed that its new subtitle A Selective Discography, was a far more realistic description that the first edition’s unfortunate Encyclopedic Discography label.

    (Epperson 2013, 101)

    Chapter 5.1:

    Bruyninckx, Walter: 50 Years of Recorded Jazz. 1917–1967. (ca. 1968–1971)

    –: 60 Years of Recorded Jazz. 1917–1977 (ca. 1977–1980)

    –: 70/75 Years of Recorded Jazz. (late 1980s to early 1990s)

    – and Domi Truffandier: 85 Years of Recorded Jazz. (CD-ROM 2003)

    „Despite his continued plagiarism,“ recalled librarian Matthew Snyder, „by the late 1980’s [sic] the general opinion on Bruyninckx appeared to be that the improved quality of his work, combined with his extensive coverage, had produced the best available jazz discography.“

    (Epperson 2013, 113)

    Chapter 5.2:

    Raben, Erik: Jazz Records, 1942–80: A Discography. (1989–2007, A–G. Unfinished)

    Everyone agreed that its musicians index, included at the end of each volume and not as an appendix at the end of the series, was much needed and badly overdue […].

    (Epperson 2013, 117)

    Chapter 5.3:

    Lord, Tom: The Jazz Discography. (1992–2002)

    „It is possible that Lord’s project has already taken over the market for Raben’s volumes, and that Raben’s project will die. This possibility, in combination with the frustrations of using Bruyninckx’s paperbacks and his inept marketing of 70 Years, may mean that that, in jazz discography’s own little version of a hostile corporate takeover, Lord’s project has already emerged the victor.“ [Kernfeld/Rye]

    (Epperson 2013, 125)

    Lord was a businessman, a marketer who was peddling a product – the others were either professional academics or amateur scholars undertaking research. […] „Lord is more of a collator than a researcher,“ observed Edward Berger […].

    (Epperson 2013, 126)

    (note that this Tom Lord has no relation to the Tom Lord who made 1976’s Clarence Williams-discography)

    The notable Websites and Online Articlesthat Epperson lists in his bibliography are:

    http://www.jazzdiscography.com

    http://allmusic.com/

    http://jazzstudiesonline.org

    http://www.jazzarcheology.com

    http://www.jazz.com

    http://www.redsaunders.com

    http://victor.library.ucsb.edu

     
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