Show 67 - Back-biting Man

"They call me a back biter, I’ll bite any man in the back." There’s nothing unusual about cheating songs in the blues. Stepping put on your man or woman could be considered one of the cornerstones of the genre. Today we’ll take a look at a specific subset of those songs: men who stole their friend’s woman. It’s interesting to hear men sing about being that backbiting friend, because the stereotypical depiction of women as the ones who are out to steal and backbite when it come to romance. But here are a few where men pronounce themselves the backbiting woman stealers. We’ll start with Ramblin’ Thomas from 1928, Back Gnawin' Blues:

I ain’t never loved but three womens in my life
I ain’t never loved but three womens in my life
My mother and my sister and my partner's wife

My mama told me when I was about twelve years old
My mama told me when I was about twelve years old
"Son, you're nothing but a back-biter. May God bless your soul."

They call me back-biter. I am a back-biter. I'll bite any man in the back.

Gonna tell all of you women something, baby, you might not like
And I'm gonna tell all of you women something, baby, you might not like
I want to know if I can bite your man in the back 

You might risk me, brother, but I will never risk you
Well, you might risk me, brother, but I will never risk you
If you allow me a chance, I will gnaw your backbone half in two 

Sylvester Weaver was one of the earliest musicians to record in the country blues format. In 1927, he sang about being a back biter in Can't Be Trusted Blues:

I don't love nobody, that's my policy
I don't love nobody, that's my policy
I'll tell the world that nobody can get along with me

I can't be trusted, can't be satisfied
I can't be trusted, can't be satisfied
The men all know it and pin their women to their side

I will sure back-bite you, gnaw you to the bone
I will sure back-bite you, gnaw you to the bone
I don't mean maybe, I can't let women alone

Pull down your windows and lock up all your doors
Pull down your windows, lock up all your doors
Got ways like the devil, papa's creeping on all fours 

In Stole Rider Blues, Blind Willie McTell sang about stealing a girl from his friend as well as indulging in the more typical description of women as the back biting friends.

I'm going to grab me a train ride the lonesome rail
Going to grab me a train ride the lonesome rail
Nigger stole my baby, she's in the lonesome jail

He took my mama carried her to the town of Rome
He took my mama carried her to the town of Rome
Now she's screaming and crying papa let your mama come back home

I stole my good gal from my bosom friend
I stole my good gal from my bosom friend
That fool got lucky, he stole her back again

Now the woman I love got a mouth chock full of good gold
Now the woman I love got a mouth chock full of good gold
Every time she hug and kiss me it make my blood run cold

When you see two women running hand in hand
When you see two women running hand in hand
Bet you my last dollar one done stole the other’s man

I'm leaving town, please don't spread the news
I'm leaving town, please don't spread the news
That why I've got these old stole rider blues 

Robert Johnson's classic Come on In My Kitchen centers around the idea of having stolen your best friend's woman and some of the bad things that seems to come with it.

You better come on in my kitchen, It's going to be raining outdoors
The woman I love, took from my best friend
Some joker got lucky, stole her back again

You better come on in my kitchen, it's going to be raining outdoors

Why she’s gone, I know she won’t be coming back
I’ve taken the last nickel out of her nation sack
You better come on in my kitchen, it's going to be raining outdoors

Mama, can't you hear that wind howl?
Oh how the wind do howl

When a woman gets in trouble, everybody throws her down
Looking for her good friend, none can be found
You better come on in my kitchen, it's going to be raining outdoors

Bad times coming, it’s gonna be slow
You can’t make the winter babe, just dry long so
You better come on in my kitchen, cause it's going to be raining outdoors 

Johnson borrowed the "stole from my best friend" line from either Johnnie Temple's song Evil Devil Blues or Skip James' original version of the same song titled Devil Got My Woman. Both songs end with the line and it feels like something of a conclusion about why difficult times are here.

Johnnie Temple - Evil Devil Blues:

I'd rather be dead and in my horrible tomb
To hear my woman, some man done taken my room, taken my room
I'd rather be the devil, to be that woman's man, that woman’s man

The woman I love, the woman I love, the woman I love, she don't pay me no mind, me no mind
Going to pack my things going further down the line, down the line

I lay down last night, I laid down last night, and I tried to take my rest
My mind got to rambling like the wild geese from the west, from the west

The devil is evil, changed my baby's mind
You be my woman, be my woman, be my woman, I tell you what I will do, I will do
I'll cut your kindling, I will build your fire
I'll tote your water, from the boggy bayou

The woman I love, I stole her from my best friend, my best friend
Lord he got lucky and stole her back again, stole her back again 

Skip James - Devil Got My Woman:

I'd rather be the devil to be that woman's man
I'd rather be the devil to be that woman's man
Oh nothing but the devil changed my baby's mind
Oh nothing but the devil changed my baby's mind

I laid down last night, I laid down last night, I laid down last night, tried to take my rest
My mind got to rambling like the wild geese from the west

The woman I love, woman that I love, the woman I love, took her from my best friend
But he got lucky, stole her back again
And he got lucky, stole her back again

Songs:
Back Gnawing Blues - Ramblin' Thomas
Can't Be Trusted Blues - Sylvester Weaver
Stole Rider Blues - Blind Willie McTell
Come On In My Kitchen - Robert Johnson
Evil Devil Blues - Johnnie Temple
Devil Got My Woman - Skip James

Show 53 - More Cars

Cars had become one of the centers of American life by the 1920s and plenty of blues musicians we’re singing about them. It’s interesting that Blind Lemon Jefferson sang in several songs about driving cars, something he could never do as a blind man. Booger Rooger Blues starts out about driving and ends up talking about the problems cars cause with women.

I drive to the station, woman, I bid you adieu (I swear it ain’t no use?)
I drive to the station, then I bid you adieu
Tell me, you always got a fatmouth following you

My baby's quit me, man, she done throwed me down
I said my baby's quit me, she done throwed me down
I wouldn't hate it so bad, but that talk is all over town

She's a long tall woman, she got relatives in Arkansas
Long tall woman, she got relatives in Arkansas
She ain't so good looking, but, lord, them dimples is all in her jaw

I cried all night and all that night before
I say, I cried all night and all that night before
Well, it's the best to get single and you won't have to cry no more

I got ten little puppies, I got twelve little shaggy hounds
I got ten little puppies and twelve little shaggy hounds
Well, it's gonna take them twenty-two dogs to run my good gal down

I got a girl in Oak Cliff and Highland Park, Oak Lawn, Lakewoods, ma'am, too
I got a girl in Oak Cliff, Highland Park, Oak Lawn, Lakewoods, ma'am, too
I'm gonna live in Magnolia Station and watch them Mill City women going through

Some joker learned my baby how to shift gears on a Cadillac Eight
Some joker learned my baby how to shift gears on a Cadillac Eight
Sugar, ever since that happened, I can't keep my business straight

Will Batts’ Cadillac Baby starts with the same verse that Lemon ended with:

Somebody learned my baby how to shift gears on a Cadillac Eight
Somebody learned my baby how to shift gears on a Cadillac Eight
Ever since that day, I can’t keep my baby straight
I was ?, I’m gonna let you have your way
Cause baby doll,

I said late one evening, I looked through your keyhole door
Woman you know you done me wrong, I ain’t coming back here no more
I turned right around, these are the words I said
Nobody don’t have to tell me because I heard the spring cry on your bed

In 1931, Memphis Minnie sang about her house burning down, but the only thing she’s worried about is losing her car. Garage Fire Blues:

My house on fire, where's that fire wagon now?
My house on fire, where's that fire wagon now?
Ain't but the one thing I don't want my garage to burn down 

I got a Hudson Super Six, I got me an old model Cadillac Eight
I got a Hudson Super Six, I got me an old model Cadillac Eight
I woke up this morning, my Cadillac standing at my back gate 

Hop on boys, I got the best chauffeur in town
Hop on boys, I got the best chauffeur in town
He saved my Hudson Super Six, my Cadillac didn't burn down 

Oh Lord Lord, wonder where is my chauffeur now
Oh Lord Lord, wonder where is my chauffeur now
Got my Cadillac Eight, done Cadillaced out of town 

I tell the whole round world I ain't going to walk no more
I tell the whole round world I ain't going to walk no more
I got a Cadillac Eight take me to where I want to go

In 1941, Memphis Minnie was still singing about that chauffeur with some classic double entendre lyrics. Me and My Chauffeur Blues:

Want to see my chauffeur, want to see my chauffeur
I want him to drive me, I want him to drive me downtown
Yes he drives so easy, I can't turn him down

But I don't want him, but I don't want him to be riding these girls, to be riding these girls around
So I'm gonna steal me a pistol, shoot my chauffeur down

Well I must buy him, well I must buy him a brand new V8, a brand new V8 Ford
Then he won't need no passengers, I will be his load

Going to let my chauffeur, going to let my chauffeur
Drive me around the, drive me around the world
Then he can be my little boy, yes, I'll be his girl

Robert Johnson sang some of the most poetic lyrics sexualizing the car as a woman. Terraplane Blues:

And I feel so lonesome, you hear me when I moan
When I feel so lonesome, you hear me when I moan
Who’s been driving my Terraplane, for you since I been gone?

I'd said I flash your lights, mama, your horn won't even blow
(spoken: Somebody's been running my batteries down on this machine)
I even flash my lights, mama, this horn won't even blow
Got a short in this connection, oh well, babe, it's way down below

I'm going to hoist your hood, mama, I'm bound to check your oil
I'm going hoist your hood, mama, mmm, I'm bound to check your oil
I’ve got a woman that I'm loving, way down in Arkansas 

Now, you know the coils ain't even buzziing, little generator won't get the spark
Motor's in a bad condition, you gotta have these batteries charged
But I'm crying, please, please don't do me wrong
Who been driving my Terraplane now, for you since I been gone?

Mr. highway man, please don't block the road
Please, please don't block the road
'Cause she's reaching a cold one hundred and I'm booked and I got to go
You, you hear me weep and moan
Who been driving my Terraplane now, for you since I been gone?

I'm going to get down in this connection, keep on tangling with your wires
I'm going to get deep down in this connection, oh well, keep on tangling with these wires
And when I mash down on your little starter, then your spark plug will give me fire

Willie ‘61’ Blackwell also explored the car as a woman metaphor in 1941 with Noiseless Motor Blues:

They say you has a noiseless motor and a substantial steering gear
They say you has a noiseless motor, baby, and substantial steering gear
If you ever need a chauffeur, please let me be your engineer 

If you has good rubber and your emergency brake’s okay
If you has good rubber, baby, and your emergency brake’s okay
And if you ever need a chauffeur, baby, please let me shift your gears 

I stepped on the starter and the motor turned over slow
I stepped on the starter and your motor turned over slow 

Well, well, it's the carbon-proof motor, boy, there's a short in some place I know
You said you would be my engine and wanted me for your engineer
You said you would be my engine and wanted me for your engineer

Ramblin’ Thomas explained how not having a car made it tough to hold onto your woman in Hard to Rule Woman Blues:

I've got a girl, I wish I could keep her home at night
I've got a girl, I wish I could keep her home at night
She's always going off on automobile rides 

She sleeps late every morning, I can't hardly get her woke
She sleeps late every morning, I can't hardly get her woke
She will wake up in one second, when she hears a car horn blow 

Some of these days, I'm going to be like Mr. Henry Ford
Said, some of these days, I'm going to be like Mr. Henry Ford
Going to have a car and a woman running on every road 

If you ain't got a car, man, a woman is hard to rule
If you ain't got a car, man, a woman is hard to rule
That's why, I got them automobile blues

Songs:
Booger Rooger Blues - Blind Lemon Jefferson
Cadillac Baby - Will Batts
Garage Fire Blues - Memphis Minnie
Me and My Chauffeur Blues - Memphis Minnie
Terraplane Blues - Robert Johnson
Noiseless Motor Blues - Willie '61' Blackwell
Hard to Rule Woman Blues - Ramblin' Thomas

Show 36 - Nicknames

It's amazing how many of the great musicians are known by nicknames. Often, the real names are obscure and even the biggest fans know only a nickname. And there are some great ones in prewar blues: Bumble Bee Slim, Leadbelly, Little Son Joe, Salty Dog Sam, Funny Paper Smith. The list of great nicknames is endless. Many sang songs that define and tell the stories behind those nicknames.
A guy named James Arnold reworked a song that Scrapper Blackwell had recorded a few years earlier. Soon he was known as Kokomo and the name James Arnold all but vanished. The song is Old Original Kokomo Blues from 1934.

Now one and one is two mama, two and two is four
Mess around here pretty mama, you know we got to go
Crying oh baby don't you want to go
Back to eleven light city, to sweet old Kokomo
Now four and one is five mama, five and one is six
You mess around here pretty mama, you going to get me tricked
Crying oh baby don't you want to go
Back to eleven light city, to sweet old Kokomo
Now six and one is seven mama, seven and one is eight
You mess around here pretty mama, you going to make me late
Crying oh baby don't you want to go
Back to eleven light city, to sweet old Kokomo
Says I told you mama when you first fell across my bed
You been drinking your bad whiskey and talking all out your head
Crying oh baby don't you want to go
Back to eleven light city, to sweet old Kokomo
I don't drink because I'm dry mama, don't drink because I'm blue
The reason I drink pretty mama, I can't get along with you
Crying oh baby don't you want to go
Back to eleven light city, to sweet old Kokomo

Now eight and one is nine mama, nine and one is ten
You mess around here pretty mama, I'm going to take you in
Crying oh baby don't you want to go
Back to eleven light city, to sweet old Kokomo
Now ten and one is eleven mama, eleven and one is twelve
You mess around here pretty mama, you going to catch you a lot of hell
Crying oh baby don't you want to go
Back to eleven light city, to sweet old Kokomo

Kokomo Arnold presumably referred to the town the Kokomo, Indiana. Two years later, Robert Johnson would rip the song off, change the city to Sweet Home Chicago and inspire countless covers. But the name Kokomo would be forever attached to Arnold.
Songs about playing cards are frequently heard in this genre. But Texas musician Babe Karo Lemon Turner took it to another level when he took the name of the prettiest card in the deck: the Black Ace. He tells the story in his 1937 recording Black Ace.

I am the Black Ace, I'm the boss card in your hand
I am the Black Ace, I'm the boss card in your hand
And I'll play for you mama if you please let me be your man

Sometimes a black ace never comes inside
Sometimes a black ace never comes inside
But I'll play for you mama, if you please, will treat me right

Says I'll lay in the deck mama, I'll lay forth and tight
But I'll play for you mama if you treat me right
If you don't want me mama, I said please leave me alone

Cause I'll play for you mama when the king is gone
(That means when your husband's gone)
I'll be your winner in any game you play
I'll be your winner in any game you play
And if you don't want me mama, please just let me stay

Yes you know you don't want me mama, you won't even say
That's alright mama, you gonna need my help someday
I sad please, mama, please, don't drive me away
Cause I'll be at the trailer, Mama if you please let me stay

Another Texas musicians got his nickname becuase he was a man that didn't want to stay in any one place for long. He was born Willard Thomas and recorded under the name Ramblin' Thomas. The story of how he earned his name is in the 1928 song, Ramblin' Man.

I feel like rambling, rambling stays on my mind
I feel like rambling, rambling stays on my mind
And I ain't satisfied unless I'm rambling all the time

Now you will wake up in the morning and find me gone
And you will wake up in the morning and find me gone
Because I'm a rambling man and I can't stay at one place long

It's one day and one night is long as I stay in one place
It's one day and one night is long as I stay in one place
But I've been in Chicago one week because I like these Chicago ways

I'm going to leave here walking, chance is that I may ride
And I'm going to leave here walking, chance is that I may ride
Because I'm going to ramble until the day that I die

One nickname is not enough for some people. JT Smith, another Texas musician, was one of them. He was known as Funny Paper or some blues researchers believe Funny Papa. If it was Funny Paper, it probably refers to newspaper comic strips, maybe even specifically to the comic Snuffy Smith. But either Papa or Paper, Smith had yet another nickname, and he had it a couple decades before a more famous bluesman. It's one of the great animal-related nicknames, the Howling Wolf. In 1930, he recorded a song in about it: Howling Wolf Blues

Well here I am got the blues about Little Old Victoria, the Howling Wolf
I guess I'll drop a few lines

I am that wolf that everybody been trying to find out where in the world I prowl
I am that wolf that everybody been trying to find out where in the world I prowl
Nobody ever gets a chance to see me, but they all hear me when I howl

Now I howl to my baby with her mother standing by her side
I howl to my baby with her mother standing by her side
And that's the reason I'm howling, I'm trying to be satisfied

I even prowled for you baby when you was down and couldn't stand up on your feet
I even prowled for you baby when you was down and couldn't stand up on your feet
Now you walk by the lone wolf and act like you don't want to see

What made you quit me, I love you as I did three years ago
What made you quit me, baby, I love you as I did three years ago
Take me back and I'll quit prowling and I won't ever howl no more

Now the preacher told me that God will forgive a black man most anything he do
Now the preacher told me that God will forgive a black man most anything he do
I ain't black but I'm dark‑complexioned, look like he ought to forgive me too

Look like God don't treat me like I'm a human kind
Seem like God don't treat me like I'm a human kind
Seem like he wants me to be a prowler and a howling wolf all the time

Howling Wolf Blues‑No. 2

Baby here I am down on my bended knees
Ask you to take me back and forgive me do that for me if you please
Now when you hear me howling mama, I mean howling at your door
when you hear me howling mama, howling at your door
Come on and give me what I want mama then you won't hear me howl no more

Ever since you quit me mama, I ain't wanted nobody
else Ever since you quit me mama, I ain't wanted nobody else
For I'd rather be with nobody than I'd rather be howling by myself

Now I done howled and howled until I wore my tonsils sore
Now I done howled and howled until I made my tonsils sore
And when I howl this time mama, I never will howl no more

Now here I am in Chicago, doing the best I can
Here I am in Chicago, doing the best I can
If I hear from my baby, I'll act the fool and go howling back south again

Mama listen at me howl
Mama listen at me howl
Watch the roads dark as night mama and you liable to see me prowl

The man born Harold Bunch was another popular musician with a few nicknames. Best known as Peetie Wheatstraw, he's also The Devil's Son-in-Law and the High Sheriff from Hell. I mentioned Robert Johnson borrowing from Kokomo Arnold, he also took a lot from Peetie Wheatstraw including an association with the devil. The troublemaking character of Peetie Wheatstraw became part of American folklore and culture, showing up in Ralph Ellison novels and Rudy Ray Moore films. It's not clear if Bunch got the name from an already existing folk hero, or if he created a new one. Either way he was a hugely popular musician when he recorded the story in Peetie Wheatstraw Stomp in 1937.

Women all raving about Peetie Wheatstraw in this land
Women all raving about Peetie Wheatstraw in this land
He got some of these women now going from hand to hand

Don't tell all the girls what that Peetie Wheatstraw can do
Woohoo... that Peetie Wheatstraw can do
That will cause suspicion now you know they will try him too

If you want to see the women that may clown
If you want to see the women may clown
Just let that Peetie Wheatstraw come into your town

I am Peetie Wheatstraw, the high sheriff from hell
I am Peetie Wheatstraw, the high sheriff from hell
The way I strut my stuff, well now you never can tell

Peetie Wheatstraw Stomp No. 2:

Everybody hollering here come that Peetie Wheatstraw
Everybody hollering here come that Peetie Wheatstraw
Now he's better known by the devil's son‑in‑law
Everybody wondering what that Peetie Wheatstraw do
Woohoo what that Peetie Wheatstraw do
Because every time you hear him, he coming out with something new

He makes some happy, some he make cry
Whoo makes some happy, some he make cry
Well now he made one old lady go hang herself and die

This is Peetie Wheatstraw I'm always in the line
This is Peetie Wheatstraw then again I'm always on the line
Save up your nickels and dimes, you can come up and see me sometime

Nicknames were the sole identification of the artist on many blues records in the prewar period. They were more important than real names for the record buying public and people within smaller communities interacting on peronal levels. For many people, nicknames are an essential part of their identity. They told you something about the man, whether he was connected to the devil and trouble, eager to ramble, or maybe just the fact that he were slim. The songs here are a tiny sample representing artists telling stories of their nicknames. Dozens more can be found in prewar blues. Nicknaming is an important part of American black culture and the legacy of blues nicknaming can certainly still be seen in hip-hop music where virtually no one records under their given name.
Songs:
Old Original Kokomo Blues - Kokomo Arnold
Black Ace - Black Ace
Ramblin' Thomas - Ramblin' Man
Funny Paper Smith - Howling Wolf Blues Part 1
Funny Paper Smith - Howling Wolf Blues Part 2
Peetie Wheatstraw - Peetie Wheatstraw Stomp Part 1
Peetie Wheatstraw - Peetie Wheatstraw Stomp Part 2