1921 Ragtime Song "Strut Miss Lizzie" (with YouTube Examples, Lyrics, & Lyric Explanations)

Edited by Azizi Powell

This pancocojams post presents the original lyrics for the 1920 Ragtime song "Strut Miss Lizzie" that was composed by African Americans Henry Cramer and Turner Layton. This post also showcases a 1921 recording of that song. Explanations of some of the terms that are found in the original 1921 lyrics are also included in this post.

In addition, this pancocojams post presents the lyrics to the Broadway Empire (TV Series) version of "Strut Miss Lizzie" and showcases a YouTube sound file of that version. 

The content of this post is presented for cultural, linguistics, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to African American composer Henry Creamer and Turner Layton for their musical legacies. Thanks to all those who are quoted in this post and thanks to those who are featured in these YouTube examples. Thanks also to the publishers of these examples on YouTube.  
-snip-
Click http://pancocojams.blogspot.com/2015/04/strut-miss-lizzie-information-lyrics.html for a 2015 pancocojams post that includes some of the content that is found in this post.

Click https://en.wikipedia.org/wiki/Henry_Creamer for information about Henry Creamer.

Click https://en.wikipedia.org/wiki/Turner_Layton for information about Turner Layton.

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ORIGINAL LYRICS - STRUT MISS LIZZIE

[Verse 1]

At the barber's ball in the barber's hall
All the dusky belles were there
Such a glancin', prancin', struttin' and a-dancin'
They were doing for fair
All the belles and beaus prancin' on their toes
Tried to do the cake walk swell
When a midnight blonde came prancing on
They were heard to yell

[Chorus]

Won't you strut Miss Lizzie, get busy
I want to see you walk
For the folks all state the way you syncopate
Is the whole town talk
When you move so pretty, it's a pity
The other girlies frown
But the men you meet
Like the way you shake your feet
Oh you knock 'em dizzy
Strut Miss Lizzie Brown

[Verse 2]
They were steppin' sweet, they were steppin' neat
They were steppin' super fine
To the singing, swinging, fancy pigeon winging
They were falling in line
Every dame and dude struck an attitude
For to win that cake they tried
But when Lizzie Brown came prancing 'round
Everybody cried

[Chorus]
Won't you strut Miss Lizzie, get busy
I want to see you walk
For the folks all state the way you syncopate
Is the whole town talk
When you move so pretty, it's a pity
The other girlies frown
But the men you meet
Like the way you shake your feet
Oh you knock 'em dizzy
Strut Miss Lizzie Brown

[Bridge]
Go down the street by the school
Pat your feet you steppin' fool
Strut your stuff, use your "Kerch" 
Trot your tootsies by the church
Through the alley, dodge the cans
Shake Miss Sally's pots and pans
Cool your dogs, we're coming through
Get set for Lenox Avenue

[Chorus]
Won't you strut Miss Lizzie, get busy
I want to see you walk
For the folks all state the way you syncopate
Is the whole town talk
When you move so pretty, it's a pity
The other girlies frown
But the men you meet
Like the way you shake your feet
Oh you knock 'em dizzy
Strut Miss Lizzie Brown

- online source:  https://genius.com/Lulu-whidby-strut-miss-lizzie-lyrics
Written By Turner Layton & Henry Creamer 
Accompanied By  Henderson’s Orchestra
Release Date: 1921

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SHOWCASE SOUND FILE- Mary Stafford & Her Jazz Band

https://www.youtube.com/watch?v=6wwWChj0QfE&ab_channel=lindyhoppers

lindyhoppers, May 24, 2012 

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BROADWALK EMPIRE LYRICS FOR "STRUT MISS LIZZIE"

Won't you strut Miss Lizzie,
Get busy!
I wanna see you walk;
Oh, the folks all see the way you syncopate,
Hear the whole town talk!

When you move so preety,*
It's a pity
The other girlies frown,
But the men you meet
Like the way you shake your feet;
Oh, you knock'em dizzy,
Strut Miss Lizzie Brown!

Go down the street, by the school,
Pack your feet you struttin' fool!
Strut your stuff by the kirk,**
Trot your tootsies by the church!

Through the alley, dodge the cans,
Shake Miss Ellie's pots and pans.
Cool your dog, we're comin' through,
Except for Lennox Avenue!
-online source:  http://www.songlyrics.com/david-johansen/strut-miss-lizzie-lyrics/
Artist: David Johansen
Album: Boardwalk Empire, Volume 2: Music From the HBO Original Series
-snip-
*"Preety" is a typo for the word "pretty"

**I think this line is supposed to be "Strut your stuff, use your "Kerch" (as found in the original song lyrics). "Kerch" is probably a shortened form of "handkerchief". My guess is that that line meant "wave your handkerchief". 

"Kirk" is the Scottish word for "church". If that line is correct, the line that follows it "Trot your tootsies by the church" basically means the same thing. 

****
YOUTUBE EXAMPLE- Strut Miss Lizzie

https://www.youtube.com/watch?v=b3eh3of-UyA&ab_channel=DavidJohansen-Topic

David Johansen – Topic, July 25, 2018

Strut Miss Lizzie · David Johansen · Vince Giordano & The Nighthawks

Boardwalk Empire Volume 2: Music From The HBO Original Series

℗ 2013 Home Box Office, Inc.

Released on: 2013-01-01

Composer  Lyricist: Henry Creamer

Composer  Lyricist: Turner Layton

****
SOME EXPLANATIONS FOR TERMS IN THE ORIGINAL LYRICS 
These explanations are given in alphabetical order and numbered for referencing purposes only.

 Additions and corrections are welcome.

1. dodge the cans = move out of the way of the trash cans

**
2. "dusky belles" = beautiful Black women 

**
3. "kerch" is probably a shortened form of "handkerchief". My guess is that that line meant "wave your handkerchief". 

**
4."knock 'em dizzy" - make them lightheaded and excited with admiration

**
5. "midnight blond" - perhaps a light skinned Black woman, formerly referred to as "high yellow" or "yellow" * or an attractive Black woman who isn't light skinned and doesn't have (dyed) blond hair.

I'm guessing at this definition as I have never read or heard this referent outside of this song (except for a commenter who shared information about it after reading the 2015 pancocojams blog post on this subject. That comment and my response is quoted below.  

*The terms "high yellow" and "yellow" haven't been used in the United States since at least the mid 1950s.

**
6."pigeon wing" - a plantation dance step associated with the Juba dance Click https://en.wikipedia.org/wiki/Juba_dance for information about the Juba dance

**
7. "stepping sweet (neat, and fine") = dancing very well

**
8. "struck an attitude" - similar or the same as "strike a pose"; [dancers] put on a particular facial expression and held their body in a way that conveyed poise, self-confidence, pride, insolence etc.

**
9. "strut" 
https://www.merriam-webster.com/dictionary/strut
"intransitive verb
2a: to walk with a proud gait

2b: to walk with a pompous and affected air

[...]

noun

2. a pompous step or walk

3. arrogant behavior : SWAGGER"

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From https://www.collinsdictionary.com/us/dictionary/english/strut
"Someone who struts walks in a proud way, with their head held high and their chest out, as if they are very important."

**
9. "to strut your stuff"
"Your stuff" here means your body; your whole self (which also includes your spirit/attitude) 

**
10. "syncopate" - dance moving to the music's rhythm and beat

**
11.  "They were doing for fair" = probably a common African American saying at that time for "They were pretty good" [in this context] at dancing. Note that this is my guess. I've never heard this phrase or read it outside of this song.

**
12. "Tried to do the cake walk swell" = tried to do the cake walk very well - The cakewalk is a 19th century African American originated dance in which couples strut in imitation of formal European dances. The couple who is judged to be the best calk walkers wins a cake as their prize.  

Click http://pancocojams.blogspot.com/2012/02/cakewalk-grand-march-usa-canada.html for a 2012 pancocojams post entitled "The Cakewalk & The Grand March - The USA & Canada"

**

13. "win the cake" = the best dance couple is awarded a prize of a cake which is why that strut is called "the cake walk".

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Visitor comments are welcome.

"Strut Miss Lizzie" (information, lyrics, & sound files)

Edited by Azizi Powell

Latest revision -April 25, 2023

This pancocojams post provides lyrics and two sound files of the 1920* Ragtime song "Strut Miss Lizzie".

Information about the composer and lyricist of this song are also included in this post, along with information about the vocalist for the first rendition of that song that is presented in this post.

This post also includes definitions for the words "strut", "swagger", and "prance".
[Added 4/7/2015] My explanations of certain other words and phrases in this song are also included in this post.

The content of this post is presented for cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to Henry Creamer and Turner Layton for their musicial legacy. Thanks also to all the vocalists and musicians who are featured in these examples. And thanks to the publishers of these examples on YouTube and all those who are quoted in this post.
-snip-
* https://secondhandsongs.com/work/141064/all provides this information along with a list of other recordings of "Strut Miss Lizzie":
"Original Dixieland Jazz Band

First recording [of "Strut Miss Lizzie" was] by Original Dixieland Jazz Band (December 30, 1920)"
-snip-
This post serves as a companion to the following pancocojams post: http://pancocojams.blogspot.com/2013/04/soulful-struts-definition-examples-of.html "Soulful Struts (Definition & Examples Of Strutting)"

The African American playground singing game "Strut Miss Lucy" (also known as "Strut Miss Suzie" and "This a Way Valerie") was undoubtedly inspired by the Ragtime song "Strut Miss Lizzie". Click http://pancocojams.blogspot.com/2015/04/this-way-valerie-strut-miss-lucy-strut.html for a pancocojams post on those playground games.

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INFORMATION ABOUT THE LYRICIST & THE COMPOSER OF "STRUT MISS LUCY"
From http://en.wikipedia.org/wiki/Henry_Creamer
"Henry Creamer (June 21, 1879 – October 14, 1930) was an African American popular song lyricist. He was born in Richmond, Virginia and died in New York. He co-wrote many popular songs in the years from 1900 to 1929, often collaborating with Turner Layton, with whom he also appeared in vaudeville.

Henry Creamer was a singer, dancer, songwriter and stage producer/director.[1][2] He first performed on the vaudeville circuit in the U.S. and in Europe as a duo with pianist Turner Layton, with whom he also co-wrote songs...

Also in 1926, Creamer and James P. Johnson wrote Alabama Stomp. In 1930 they achieved another hit with If I Could Be with You which was recorded by Ruth Etting. The song also became the theme song for McKinney’s Cotton Pickers and was also a hit for Louis Armstrong (Okeh 41448).[6]
Creamer was a co-founder with James Reese Europe of the Clef Club, an important early African American musicians and entertainers organization in New York City."...

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From http://en.wikipedia.org/wiki/Turner_Layton
"Turner Layton (July 2, 1894 – February 6, 1978), born John Turner Layton, Jr., was an African American songwriter, singer and pianist. Born in Washington, D.C., in 1894, he was the son of John Turner Layton, "a bass singer, music educator and hymn composer."[1] After receiving a musical education from his father, he attended the Howard University Dental School, later coming to New York City in the early 1900s, where he met future songwriting partner, lyricist Henry Creamer. He is best known for his many compositions with Creamer, the best known of which is the standard "After You've Gone", which was written in 1918 and first popularized by Sophie Tucker. The two contributed music and lyrics to many Broadway shows, including the Ziegfeld Follies of 1917, 1921 and 1922, Three Showers (1920), Some Party (1922) and Creamer's own Strut Miss Lizzie (1922).[1]"...

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LYRICS - STRUT MISS LIZZIE
(Henry Creamer, Turner Layton)

At the barber's ball in the barber's hall
All the dusky belles were there
Such a glancing, prancing, strutting and dancing
They were doing for fair
All the belles and beaus prancing on their toes
Tried to do the cake walk swell
When a midnight blonde came prancing on
They were heard to yell

Won't you strut miss Lizzie
Get busy, I want to see you walk
For the folks all state the way you syncopate
Is the whole town talk
When you move so pretty it's a pity
The other girlies frown, but the men you meet
Like the way you shake your feet
Oh you knock 'em dizzy
Strut miss Lizzie Brown

They were stepping sweet they were stepping neat
They were stepping super fine
To the singing, swinging, fancy pigeon winging
They were falling in line
Every dame and dude struck at attitude
For to win that cake they tried
But when Lizzie Brown came prancing round
Everybody cried

Won't you strut miss Lizzie
Get busy, I want to see you walk
For the folks all state the way you syncopate
Is the whole town talk
When you move so pretty it's a pity
The other girlies frown, but the men you meet
Like the way you shake your feet
Oh you knock 'em dizzy
Strut miss Lizzie Brown

(I'll bet you've got the cutest little strut in town)

Source: http://www.lyricsvault.net/php/artist.php?s=44430#axzz3WYaNc1hB
-snip-
These are the lyrics that are found on the sheet music for this song that is displayed on the "In Harmony: Sheet Music from Indiana [University] website.

Additional lyrics for an adapted form of that song that was recorded by Irving Mills & his Hotsy Totsy Gang from June of 1930 are the chorus as given above nd these words:
Go down the street, by the school,
Pack your feet you struttin' fool!
Strut your stuff by the kirk.
Trot your tootsies by the church!

Through the alley, dodge the cans,
Shake Miss Ellie's pots and pans.
Cool your dog, we're comin' through,
Except for Lennox Avenue!

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WHAT "STRUT" MEANS
From http://dictionary.reference.com/browse/strut+one's+stuff
..."Strut implies swelling pride or pompousness; to strut is to walk with a stiff, pompous, seemingly affected or self-conscious gait: A turkey struts about the barnyard."

From https://www.macmillandictionary.com/us/dictionary/american/strut_1

to walk in an especially confident and proud way

strut around: Phyllis struts around like she owns the place.

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WHAT "SWAGGER" MEANS
From http://dictionary.reference.com/browse/Swagger
"to walk or strut with a defiant or insolent air."

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WHAT "PRANCE" MEANS
From http://www.thefreedictionary.com/prance
"3. To step in a lively and showy manner"...

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MY EXPLANATIONS OF CERTAIN OTHER WORDS & PHRASES IN THIS SONG [Added April 7, 2015]
"ball" = dance

hall = building

"dusky belles" = Black beautiful ladies [beautiful women of any African descent]

"They were doing for fair" = probably a common African American saying for "They were pretty good" [in this context] at dancing. [Note that this is my guess. I've never heard this phrase or read it outside of this song.]

"Tried to do the cake walk swell" = tried to do the cake walk very well - The cakewalk is a 19th century African American originated dance in which couples strut in imitation of formal European dances. The couple who is judged to be the best calk walkers wins a cake as their prize.

"When a midnight blonde" - a light skinned black beauty (formerly known as "yellow", and/or "high yellow". [Note that this is my guess. I've never heard "midnight blonde" used before and never read that phrase outside of this song. Also note that "yellow" and "high yellow" haven't been used as referents for African Americans since at least the 1950s.]

"syncopate" - dance to the music's rhythm and beat

"knock 'em dizzy" - make them lightheaded and excited with admiration

"struck an attitude" -held their body and had facial expressions that conveyed poise, self-confidence, pridefulness, insolence, and more.

"strut your stuff" = strut your body

"by the kirk" = by the church

Trot your tootsies by the church! = basically means the same thing as "strut your stuff by the church, except "tootsies" mean "toes" [feet]

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FEATURED EXAMPLES
Example #1: STRUT MISS LIZZIE - MARY STAFFORD & HER JAZZ BAND



lindyhoppers Published on May 24, 2012

STRUT MISS LIZZIE
Composed by Harry Creamer & J. Turner Layton
-snip-
[The text about Mary Stafford in the beginning of this sound file is from http://en.wikipedia.org/wiki/Mary_Stafford_(singer)
"Mary Stafford (ca. 1895 – ca. 1938) was an American cabaret singer in the classic blues style. In January, 1921, she became the first African American woman to record for Columbia Records. She toured widely throughout the mid-Atlantic in the 1920s and into the 1930s. She performed at the Lafayette Theater in New York City, where she appeared in Rocking Chair Revue in 1931 and in Dear Old Southland in 1932.[1] After 1932 she worked outside the music industry in Atlantic City, New Jersey, where she is thought to have died ca. 1938.[1]"

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Example #2: Victor Credenza Victrola, plays Hot Jazz from 1930, "Strut Miss Lizzie" The Hotsy Totsy Gang"

.

Bruce Victrolaman Young, Uploaded on Jan 19, 2009

Here is Irving Mills & his Hotsy Totsy Gang from June of 1930. The Composition is "Strut Miss Lizzie" by Cramer & Layton. This is considered one of the greatest "White" jazz bands of this era, and at times included such notables as Bix on Cornet, Hoagy on piano, Celeste and Vocals, Jimmy & Tommy Dorsey, Benny Goodman, Joe Venuti on Jazz Violin, and Miff Mole among others. The Record is 10" Brunswick #4983....

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Blind Willie McTell - "Georgia Rag" (sound file & lyrics)

Edited by Azizi Powell

This post showcases a 1931 sound file of "Georgia Rag" by Blind Willie McTell. My transcription of the lyrics to this song are also included in this post along with my comments about the meaning of some of those lyrics.

The Addendum to this post provides some information about Rags [music].

The content of this post is presented for cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to Blind Willie McTell for his musical legacy. Thanks also to the publisher of this video.

RELATED LINK
Click http://pancocojams.blogspot.com/2014/10/blind-blake-wabash-rag-sound-file-lyrics.html for a pancocojams post on Blind Blake's 1927 record "Wabash Rag". That song served as the prototype for Blind Willie McTell's "Georgia Rag".

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SHOWCASE SOUND FILE: Georgia Rag (Blind Willie McTell, October 1931) Ragtime Guitar Legend



RagtimeDorianHenry, Uploaded on May 22, 2009

"Georgia Rag " (October 1931)
-snip-
From http://en.wikipedia.org/wiki/Blind_Willie_McTell
"Blind Willie McTell (born William Samuel McTier; May 5, 1898 – August 19, 1959) was a Piedmont and ragtime blues singer and guitarist."...

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LYRICS: GEORGIA RAG
(Blind Willie McTell)

Down in Atlanta on Harris Street
That's where the boys and gals do meet
Doin' that rag, that Georgia Rag

Out in the alley, in the street
Every little kid that you meet
Doin that rag, that wuh* Georgia Rag
[Spoken] Sing that Georgia Rag, boy.

[instrumental]

[Sung] Buzz around like a bee
Shake it like a ship on the sea
That wild Rag, that crazy Rag
Better known as the Georgia Rag

Came all the way from Paris, France.
Come in to Atlanta to get a chance.
Doin' that rag, that Georgia Rag

[Spoken words something like "Put it a little bit on it”]

[Instrumental]

{Sung] That Georgia Rag
Grab me mama and hold me tight
Let's mess around the rest of the night
Doin' that rag. That Georgia Rag
[Spoken] Sing that Georgia Rag!

[Sung] I sure like that Georgia Rag
I’m wild about that Georgia Rag
I mean that Georgie Rag, Georgie Rag

Buzz around like a bee
Shake it like a ship on the sea
That wild Rag, that crazy Rag
Better known as the Georgia Rag
[Spoken: I wouldn’t. That makes me feel good right in there]

[Instrumental]

[Sung] Rustle your head way up high
Grab your daddy and make him cry
Doin that Rag, that rag
That Georgia Rag.

I’m wild about that Georgia Rag
I mean that Georgie Rag, Georgie Rag

Why don’t you buzz around like a bee
Shake it like a ship on the sea
That wild Rag, that crazy Rag
Better known as the Georgia Rag

Spoken: Ah pull it now.

[instrumental]

Sung: Ah you shake it like a ship on the sea
And buzz around like a bee.
Ah, that wild Rag, that crazy Rag
Better known as the Georgia Rag

People come from miles around
Come to darktown to break it down
Doin' that rag, that Georgia Rag
Out in darktown night and day
Trying to dance them Blues away

[Spoken] Alright now boy, sang ‘em?

[instrumental]

That wild Rag, that crazy Rag
Better known as that Georgia Rag

Ah, I went back to Newport News
Singin these doggone Atlanta Blues
Doin that Rag, that Georgia Rag

[Spoken] – Alright now, play ‘em.

[instrumental]

[Sung] Why don’t you buzz around like a bee
Shake it like a ship on the sea
That wild Rag, that crazy Rag
Better known as the Georgia Rag
-snip-
Transcription by Azizi Powell. Additions and corrections are welcome.

Explanations for certain words & phrases.

"Mama" = a female who is man's lover

"Daddy = a man who is a female's lover

"break 'em down" (break them down) = dance really good
I think that the word "them" in "break 'em down" refers to the dance moves.

When you break something down, you take something apart in order to know how it works. As a result of that action, you should understand it better than before. I think that in the same way, if you break down a dance, you know how to do it better than ever.
I think that the word "them" in "break 'em down" refers to the dance moves.

"that wild Rag, that crazy Rag" = uptempo music that people dance to frenetically, or at least in ways that are the opposite of sedate.

"Shake it like a ship on the sea" = "it" refers to your butt and/or your hips

"Rustle your head way up high = "shake your head while you hold it up high (don't look down)

"Newport News" = a city located in the state of Virginia

"Darktown" - a referent for a section of Chicago where Black people lived. In my opinion, in the context of the Jazz song "Darktown Strutters' Ball", the word "darktown" isn't racist, but a similar word "darkie" is. That said, some use of the word "darktown" is racist.

Nowadays it would be socially unacceptable to refer to any section of a town as "darktown", not to mention that it's illegal to prohibit people from living where they want to because of their race, ethnicity, religion etc. That said, for various reasons including economic and choice, most major cities in the United States still have neighborhoods in which all or the majority of the residents are Black.

The use of "darktown" almost certainly came from the hit 1917 Jazz song "Darktown Strutters' Ball", which was written by Black composer Shelton Brooks. A post about that song will be published ASAP. Read additional comments about that word in this pancocojams post on Darktown Strutters' Ball" http://pancocojams.blogspot.com/2014/10/what-words-darktown-and-strutters.html

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ADDENDUM: INFORMATION ABOUT "RAGS" (RAGTIME MUSIC)
From http://en.wikipedia.org/wiki/Ragtime
"Ragtime (alternatively spelled rag-time or rag time)[1] is a musical genre that enjoyed its peak popularity between 1895 and 1918.[2] Its main characteristic trait is its syncopated, or "ragged," rhythm...

Ragtime originated in African American music in the late 19th century, descending from the jigs and march music played by African American bands.[13] By the start of the 20th century, it became widely popular throughout North America and was listened and danced to, performed, and written by people of many different subcultures. A distinctly American musical style, ragtime may be considered a synthesis of African syncopation and European classical music, especially the marches made popular by John Philip Sousa.

Some early piano rags are entitled marches, and "jig" and "rag" were used interchangeably in the mid-1890s.[13] Ragtime was also preceded by its close relative the cakewalk. In 1895, black entertainer Ernest Hogan published two of the earliest sheet music rags...

The emergence of mature ragtime is usually dated to 1897, the year in which several important early rags were published. In 1899, Scott Joplin's "Maple Leaf Rag" was published and became a great hit and demonstrated more depth and sophistication than earlier ragtime. Ragtime was one of the main influences on the early development of jazz (along with the blues). Some artists, such as Jelly Roll Morton, were present and performed both ragtime and jazz styles during the period the two genres overlapped. He also incorporated the Spanish Tinge in his performances, which gave a habanera or tango rhythm to his music.[17] Jazz largely surpassed ragtime in mainstream popularity in the early 1920s, although ragtime compositions continue to be written up to the present, and periodic revivals of popular interest in ragtime occurred in the 1950s and the 1970s."
-snip-
Note that Blind Blake's "The Wabash Rag" (and Blind Willie McTell's "Georgia Rag" which copied that song) focus on the dance that is done to the Rag music, and not the music itself.
Blind Willie McTell's song describes the type of dancing that was done to his song more than Blind Blake does.

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Blind Blake - The Wabash Rag (sound file & lyrics)

Edited by Azizi Powell

This post showcases a sound file of Blind Blake (Arthur Blake)'s 1927 recording "The Wabash Rag". My transcription of the lyrics to this song are also included in this post along with my comments about the meaning of some of those lyrics.

The Addendum to this post provides some information about Rags [music].

The content of this post is presented for cultural, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

Thanks to Blind Blake for his musical legacy. Thanks also to the publisher of this video:

RELATED LINK
Click http://pancocojams.blogspot.com/2014/10/blind-willie-mctell-georgia-rag-sound.html for a pancocojams post on the Blind Willie McTell's record "Georgia Rag". Blind Blake's "Wabash Rag" served as the prototype for "Georgia Rag".

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SHOWCASE SOUND FILE: Wabash Rag (Blind Blake, November 1927) [Remastered]



RagtimeDorianHenry, Uploaded on May 14, 2009

* Wabash Rag
* Blind Arthur Blake (Guitar / Vocal)
* November 1927
-snip-
From http://en.wikipedia.org/wiki/Blind_Blake
"Arthur "Blind" Blake (1896 – December 1, 1934) was an American blues and ragtime singer and guitarist. He is known for his series of recordings for Paramount Records between 1926 and 1932 and the mystery surrounding his life."...
-snip-
This isn't the same artist as the Calypso performer Blake Alphonso Higgs who was also known as "Blind Blake".

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LYRICS: THE WABASH RAG
(Arthur Blake,aka "Blind Blake")

Instrumental

Down south on Wabash Street
Everybody you chance to meet
Doin' that Rag, that Wabash Rag.

They're doin' it night and day.
See if it will drive your Blues away.
Doin' that Rag, that Wabash Rag.

Every little kid that you meet
In the alley in the street
Doin' that Rag, that Wabash Rag

Stand up stand up stand up
Stand up standup stand up
Stand up stand up stand up
Stand up standup stand up
Doin' that Rag, that Wabash Rag

[instrumental]

Grab me, mama. Hold me tight.
Let's mess around the rest of the night
Doin' that Rag, that Wabash Rag

Throw your hands way up high
Grab me mama. Make me cry.
Doin that Rag, That Wabash Rag

Stand up, stand up stand up
Stand up, stand up stand up
Stand up, stand up stand up
Stand up.

Stand up, stand up stand up
Stand up, stand up stand up
Doin that Rag, that Washbash Rag

People come from miles around
Get on Wabash, break ‘em down
Doin' that Rag, that Wabash Rag

Anybody stand up.
Last time for standing.

[instrumental]

Doin that Rag, that Wabash Rag.
-snip-
Transcription by Azizi Powell. Additions and corrections are welcome.
-snip-
Explanations of certain words or phrases:
"mama" = female who is man's lover

"stand up" = get up (stand up) and dance
Last time for standing = Last chance to dance

"break 'em down (break them down) = dance really good
I think that the word "them" in "break 'em down" refers to the dance moves.

When you break something down, you take something apart in order to know how it works. As a result of that action, you should understand it better than before. I think that in the same way, if you break down a dance, you know how to do it better than ever.
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In the United State it's socially incorrect now for performers' stage namee to refer to a physical condition, except perhaps for height (for instance Hip Hop artists whose stage names include the word "Lil" (Little).

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ADDENDUM: INFORMATION ABOUT "RAGS" (RAGTIME MUSIC)
From http://en.wikipedia.org/wiki/Ragtime
"Ragtime (alternatively spelled rag-time or rag time)[1] is a musical genre that enjoyed its peak popularity between 1895 and 1918.[2] Its main characteristic trait is its syncopated, or "ragged," rhythm...

Ragtime originated in African American music in the late 19th century, descending from the jigs and march music played by African American bands.[13] By the start of the 20th century, it became widely popular throughout North America and was listened and danced to, performed, and written by people of many different subcultures. A distinctly American musical style, ragtime may be considered a synthesis of African syncopation and European classical music, especially the marches made popular by John Philip Sousa.

Some early piano rags are entitled marches, and "jig" and "rag" were used interchangeably in the mid-1890s.[13] Ragtime was also preceded by its close relative the cakewalk. In 1895, black entertainer Ernest Hogan published two of the earliest sheet music rags...

The emergence of mature ragtime is usually dated to 1897, the year in which several important early rags were published. In 1899, Scott Joplin's "Maple Leaf Rag" was published and became a great hit and demonstrated more depth and sophistication than earlier ragtime. Ragtime was one of the main influences on the early development of jazz (along with the blues). Some artists, such as Jelly Roll Morton, were present and performed both ragtime and jazz styles during the period the two genres overlapped. He also incorporated the Spanish Tinge in his performances, which gave a habanera or tango rhythm to his music.[17] Jazz largely surpassed ragtime in mainstream popularity in the early 1920s, although ragtime compositions continue to be written up to the present, and periodic revivals of popular interest in ragtime occurred in the 1950s and the 1970s."
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Note that Blind Blake's "The Wabash Rag" (and Blind Willie McTell's "Georgia Rag" which copied that song) focus on the dance that is done to the Rag music, and not the music itself.

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Black (Race) Markers In Irving Berlin's "Alexander's Ragtime Band"

Edited by Azizi Powell

This post presents comments about Black* (race) markers in Irving Berlin's 1911 composition "Alexander's Ragtime Band". In the context of this post, by "Black (race) markers" or "code for Black people" I mean songs by White lyricists or other non-Black lyricists which by their title, lyrics, and/or grammar signal that the songs are about Black Americans. Those Black (race) markers include Black vernacular, references to aspects of Black life & culture, use of what is (or what was) considered to be Black grammar, and/or the use of what are (or were) considered to be "Black" names (personal names which are/were associated with Black people).

In and of itself, the use of a particular genre of music that is (or was) considered to be a genre of "Black music" -in this case Irving Berlin's "Alexander's Ragtime Band" - is another way in which that composer, and others, used/use Black (race) code or markers for their [and in their] compositions.

*"Black" here refers to African Americans.

The content of this post is presented for folkloric, historical, sociological, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

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LYRICS: ALEXANDER'S RAGTIME BAND"
(Irving Berlin)

Come on and hear, come on and hear,
It's the best band in the land.
They can play a bugle call like you never heard before,
So natural that you wanna go to war,
That's just the bestest band what am,
Honey lamb.
Come on along, come on along,
Let me take you by the hand
Up to the man, up to the man
Who's the leader of the band.
And if you care to hear the "Swanee River"
Played in ragtime,
Come on and hear, come on and hear,
Alexander's Ragtime Band.

Verse Two:
Oh ma honey, oh ma honey,
There's a fiddle with notes that screeches
Like a chicken, like a chicken,
And the clarinet is a colored pet;
Come and listen, come and listen
To a classical band what's peaches
Come now, somehow,
Better hurry along!

Source: http://www.benandbrad.com/alexander.html

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COMMENTS ABOUT THE USE OF BLACK MARKERS IN "ALEXANDER'S RAGTIME BAND"
From http://www.benandbrad.com/alexander.html "Alexander's Ragtime Band" at One Hundred by Benjamin Sears & Bradford Conner
"March 18, 2011 will be the one hundredth anniversary of Irving Berlin's hit song "Alexander's Ragtime Band." The song's immediate and enduring popularity are now legendary...

Piano rags and the songs called ragtime feature a rhythmic pattern of an accented weak beat, along with a regular short-long-short pattern of notes. Both had their roots in the cakewalk popular in the late nineteenth century. Generally, in the early twentieth century the term "ragtime" covered a wide range of "songs and pieces for instrumental ensembles, particularly marching or concert bands."

One simple definition of "ragtime" was music that "has to do with the Negro."10 Music having "to do with the Negro" is another aspect of how "Alexander's Ragtime Band" was perceived by contemporaries. One genre of popular song in the early twentieth century was the "coon song," a term fortunately now lost.11 Songs dealing with various ethnicities – in particular Irish, Asians, Jews, Negroes, all usually in a derogatory fashion – were common currency in that era. "Alexander's Ragtime Band" has been considered by many to be a coon song, and arguments have been made that 1911 audiences perceived it as such.

"Alexander, Don't You Love Your Baby No More?"

Lawrence Bergreen gives a short history of the name "Alexander" as an ethnic marker (as opposed to the villainous connection made by Woollcott). "The idea behind the song derived from a long line of 'Alexander' songs instigated by Harry Von Tilzer in 1902, and he, in turn, had borrowed the Alexander character from a popular turn-of-the-century minstrel act, Montgomery and Stone. The two white entertainers, who performed in blackface, were sure to get a laugh whenever they started calling each other 'Alexander,' a name their audiences considered too grand for a black man."12
…By Bergreen's definition, audiences in 1911 automatically understood that "Alexander's Ragtime Band" was a coon song by simple virtue of the name Alexander in the title. Berlin had already used that name as a racial marker, in keeping with that cultural norm, when he wrote "Alexander and His Clarinet" in May, 1910, a song clearly about a black protagonist. As Bergreen explains it, "When Berlin and Snyder sat down to write a raunchy 'coon' number entitled 'Alexander and His Clarinet,' they were describing, with the help of numerous double entendres, yet another highly sexed 'coon”"...
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I consider that entire article to be a very interesting read. Were it not for the limitations imposed by this blog format & the fair market guidelines (which I hope that I've not exceeded), I would have quoted more of that article. Note, for example, that Irving Berlin & other composers - presumably with Berlin's permission, capitolized on the tremendous popularity of "Alexander's Ragtime Band" and composed a number of other "Alexander" songs. Two examples of those songs are "When Alexander Takes His Ragtime Band to France" and "Alexander’s Band Is Back In Dixieland".
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From http://en.wikipedia.org/wiki/Alexander's_Ragtime_Band
"The opening lines establish the African-American context:
Oh ma honey . . . ain't you goin' to the leaderman, the ragged meter man
and:
If you care to hear the Swanee River played in ragtime

The new style included new ways of playing traditional instruments as well:
There's a fiddle with notes that screeches

Like a chicken

And the clarinet is a colored pet"

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A LIST OF & MY COMMENTS ABOUT BLACK MARKERS "ALEXANDER'S RAGTIME BAND"
1. The use of the genre name "Ragtime" [Read comments in the Ben & Brad article whose link is above.]

2. The purposeful use of the name "Alexander"
From the Ben & Brad article quoted above "The two white entertainers, who performed in blackface, were sure to get a laugh whenever they started calling each other 'Alexander,' a name their audiences considered too grand for a black man."

Prior to reading that article by Benjamin Sears & Bradford Conner, I wasn't aware that the name "Alexander" was once considered to be a Black marker. That quote connects the name "Alexander" to the "Zip Coon" trope. The minstrel characteer "Zip Coon" is a Black dandy who was considered laughable because he unsuccessfully tried to imitate "his betters" (meaning White middle class & upper class men) by putting on citified airs. Click http://pancocojams.blogspot.com/2011/10/deconstructing-caricature-of-zip-coon.html for a pancocojams post about Zip Coon.

3. The use of the colloquial "wanna" instead of "want to" in the line "So natural that you wanna go to war"

4 & 5. The use of African American Vernacular English grammar & African American Vernacular English phrasing in the line "That's just the bestest band what am, Honey lamb.

6. The use of the phrase "ma [my] honey

7. The repetition of "ma honey" and other phrases...
It's not just the use of certain phrases, but also the repetition of those phrases in "Alexander's Ragtime Band" which mark those phrases as referring to and being spoken by Black people. The repeated words in that song are "Oh ma honey, oh ma honey", "Come on and hear, come on and hear", "Come on along", "come on along", "Up to the man, up to the man", "Like a chicken, like a chicken" and "Come and listen, come and listen".

Besides being a rhythmic device, it seems to me that the use of repeateed phrases served to reinforce the belittling perceptions that many White folks of that time had about Black people - that they (we) were so simple minded that we needed to repeat what we said.

8. The reference to the song "Swanee River"
This song envokes Southern culture, and Southern culture envokes Black folks. The addition that "Swanee River" was "Played in ragtime", reinforces that Black marker.

9. Using "country" terms and comparisons: "There's a fiddle with notes that screeches Like a chicken, like a chicken,

10. Referring to "the clarinet" as a "colored pet" [Note that "Colored people" was a referent for Black Americans. A "colored pet" can be an oblique way of saying a favorite musical instrument of Colored people.]

11. The use of African American Vernacular English grammar in the line "To a classical band what's peaches". [meaning "that preaches"; that has as much intensity as a Black sermon.]

12. The use of the internal rhyme "Come now, somehow"

13. The use of the colloquial phrase "Better hurry along!"
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The reference to the bugle call being "so natural" may also be a Black marker in that some White folks considered/consider Black artistic expertise to be the result of natural talent alone and not talent plus skill that comes from wood shedding (diligent practicing).

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FEATURED VIDEO: Alice Faye sings Alexander's Ragtime Band



joehb123, Uploaded on Jan 13, 2012
Check out the shoes she is wearing !!!!!!

Movie by Fox is Alexander's Ragtime Band
and music is by Irving Berlin.

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RELATED LINKS
http://www.ebay.com/itm/Alexanders-Back-From-Dixie-RAG-1917-Black-Americana-/370370978022 "Alexander's Back From Dixie"
This link leads to a drawing of Black drum major marching in front of a large Black brass band which is parading down an American street.

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http://www.mudcat.org/thread.cfm?threadid=151811&messages=72 "Folklore: Pickaninny in closet"
Hat tip to MorwenEdhelwen1 for providing a link in one of her comments in that discussion thread to the above mentioned article by Benjamin Sears & Bradford Conner about Irving Berlin's "Alexander's Ragtime Band".

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Thanks to the composer of this featured song. Thanks also to those who are quoted in this post, thanks to those performers who appeared in the video and thanks to the publisher of the featured video.

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Visitor comments are welcome.

Mills Brothers - Tiger Rag (Hold That Tiger) with lyrics

Edited by Azizi Powell

This post showcases two sound files and one film clip of The Mills Brothers performing "Tiger Rag" ("Hold That Tiger"). Information about this song and the song's lyrics are also included in this post.

The content of this post is presented for historical, entertainment, and aesthetic purposes.

All copyrights remain with their owners.

INFORMATION ABOUT "THE TIGER RAG" ("HOLD THAT TIGER")
From http://en.wikipedia.org/wiki/Tiger_Rag
"Tiger Rag" is a jazz standard, originally recorded and copyrighted by the Original Dixieland Jass Band in 1917. It is one of the most recorded jazz compositions of all time. In 2003, the 1918 ODJB recording of "Tiger Rag" was placed on the U.S. Library of Congress National Recording Registry…
Their second recording of the tune on 25 March 1918 for Victor Records, 18472-B, backed with "Skeleton Jangle" as the A side, on the other hand, was a smash national hit and established the tune as a jazz standard.[2] The song was copyrighted, published, and credited to bandmembers Nick LaRocca, Eddie Edwards, Henry Ragas, Tony Sbarbaro, and Larry Shields in 1917.[3] Harry DaCosta later wrote lyrics to the instrumental when it became a million- seller and a no. 1 national hit for The Mills Brothers in 1931…
While the exact details are unclear, it seems that at least something similar to "Tiger Rag" or various strains of it was played in New Orleans before the Original Dixieland Jass Band recorded it. How close these were to the Band's recording is a matter of speculation. The Band's record seems to have helped solidify a standard version or head arrangement of the number, although one strain in the Band's recordings (just before the famous "hold that tiger" chorus) is almost invariably left out of later recordings and performances of the number."
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The word "rag" in the title "Tiger Rag" refers to the "Ragtime" genre of music. Here's information about Ragtime from that music's Wikipedia page:
"Ragtime (alternatively spelled rag-time)[1] is an original musical genre which enjoyed its peak popularity between 1897 and 1918.[2] Its main characteristic trait is its syncopated, or "ragged," rhythm.[2] It began as dance music in the red-light districts of African American communities in St. Louis and New Orleans years before being published as popular sheet music for piano/"..."
Click http://en.wikipedia.org/wiki/Ragtime for more information about this type of music.

FEATURED EXAMPLES
Example #1 The Mills Brothers Tiger Rag 1931



Discofelsi, Uploaded on Jul 19, 2009

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Example #2: The Mills Brothers - Tiger Rag



SyberkaPL,Uploaded on Oct 9, 2009

Young Mills Brothers in movie The Big Broadcast from 1932 with their famous song.
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This film clip is the same rendition is the same as Example #1. I included Example #1 mostly for its photograph of the singers.

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Example #3: The Mills Brothers Tiger Rag 1970's

millsbrothers, Uploaded on May 31, 2010
This is a late in the game recording but I am very fond of it!!!
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Here's a comment from this video's viewer comment thread:
http://www.youtube.com/watch?v=OwsBhZHBr_s
blues2boogie, 2010
"The Mills Brothers started the harmonic group really. I wish there were more recordings of John, DEonald, Herbert, and my favorit Harry. My grandparents introduced me to them back in the 1960s. I only wish I could have seen them perform live. The Mills Brothers are the best harmonic group ever."
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This performance only featured three Mills Brothers as John was no longer living at the time of that recording.

LYRICS: TIGER RAG
Hold that tiger, hold that tiger
Hold that tiger, hold that tiger
Hold that tiger, hold that tiger
Hold that tiger

Where's that tiger? Where's that tiger?
Here's that tiger
Where's that tiger? Here's that tiger
Where's that tiger? There's that tiger

Hold that tiger, hold that tiger
Hold that tiger, hold that tiger
Hold that tiger, hold that tiger
Hold that tiger

Where's that tiger? Where's that tiger?
Here's that tiger
Where's that tiger? Here's that tiger
Where's that tiger

http://www.elyrics.net/read/m/mills-brothers-lyrics/tiger-rag-lyrics.html

ACKNOWLEDGEMENT AND THANKS
Thanks to composers of this song and thanks to The Mills Brothers for their music legacy. Thanks to those who provided information and comments about The Mills Brothers and thanks to the uploaders of these sound files and video.

Also, thank you for visiting pancocojams.

Viewer comments are welcome.