52 weeks of blues

James T. “Funny Papa” Smith is a virtually unknown early Texan blues guitarist. Very little is known about his life or music.
He was born sometime between 1885 and 1890 somewhere in East Texas. He was well travelled, working at the Lincoln Theatre in New York, before returning to Texas by 1920. It is unknown when and where he picked up the guitar, but it is likely he started in Texas at an early age – his style is reminiscent of Blind Lemon Jefferson. In the 1920s he was a regular performer in Texas and across the border in Oklahoma, performing at dances and picnics, often with another Texan bluesman Thomas Shaw. It is reputed that he performed wearing a top hat with “Funny Papa” written on it.
In 1930 he attracted the interest of Vocation Records and was taken to Chicago where he recorded 20 tracks in 1930 and 1931. Four of these tracks were titled “Howlin Wolf”, a name under which he performed (and a name borrowed by Chester Burnett some years later). His first 78 was erroneously issued under “Funny Paper Smith”, a misspelling of his nick name. Not long after making these recordings, Smith shot and killed a man in a gambling house and served time in a Texas prison for manslaughter.
Following his release in 1935 he recorded again for Vocation in Fort Worth, cutting 29 solo tracks (including “Howling Wolf numbers 5 & 6”) that were never released and 3 tracks playing guitar behind the singing of Bernice Edwards, where he was credited as Howling Smith. Little is known of Smith’s life after those sessions – the only thing we know is that in 1939 he toured with Texas Alexander.
Smith is considered to have died, in Texas, in 1940.

This song is a master class of acoustic blues in A. It’s actually in the key of B flat, either tuned up a half step or with a capo on the first, but it’s played using the open A chord shape, so I’ll treat it like a blues in A. It’s a standard 12 bar with no unusual bar or beat numbers.
It’s a masterpiece due to the incredible number of ideas going on. Every progression is similar but never the same, and the variations all have amazing sounds. The recording is rare – the 78 the audio was taken from seems to be the only one in existence – with a lot of scratches and is very quiet. It’s hard to hear exactly what is going on so treat this as an interpretation rather than a note perfect tab. It’s a duet with the female vocals credited to “Magnolia Harris”, who is probably Victoria Spivy. There is a part 2 on Spotify which continues the story.
The singers take turn, with Magnolia taking the first verse, and Papa’s guitar is easier to hear in her verses. He plays a great momentum building riff when she sings which really sounds captured that “piano on a guitar” sound of the early Texan bluesmen. When Papa sings, he plays a similar riff but not quite the same, and this gives each singer a unique voice.
The D section (after the first verse) moves into an unusual position – think a C chord barred on the 2nd fret – to get access to both the root and major 3rd, again reminiscent of a piano. The E lick is fairly standard the whole way through, and he settles into a nice turn around with a slightly different rhythm to the rest of the song after the first verse.
All up this song contains more ideas than other artist’s entire careers. It’s played with touch and real subtlety, and with greatcontrol over the volume of each note, and you can only imagine what other masterpieces Funny Papa Smith would have produced had his life taken a different turn.

Bb
I feel bluer this morning then I ever felt before
Eb                                                                Bb
I feel bluer this morning then I ever felt before
F                                              Eb                                      Bb
I'm changin' friends and men and I won't be blue no more

Talkin' 'bout changin' men, (mama). you been singin' that stuff all over town 
Talkin' 'bout changin' men, (mama). you been singin' that stuff all over town
But I'm liable to take my '45 mama, and turn you upside down.

I know you 'buked and dogged me baby with your '45 
I know you 'buked and dogged me baby with your '45
And I couldn't do nothin' but wring my hands and cry

When I talk to you God above know I don't mean no harm 
When I talk to you mama God above know I don't mean no harm 
But It's just because I love you and I'm tryin' to teach you right from wrong

Though you try to be mean baby and use me as a child 
Though you try to be mean baby and use me as a child 
But it's goin' to hurt you to your heart when I leave you for a while

Mama ain't no need to leavin' me, your gonna be mistreated by someone else 
Ain't no need to leavin' me, your gonna be mistreated by someone else
And rather than to see someone else mistreat you, I'd rather keep you and mistreat you myself

Almost a double turnaround to start us off, watch out for the awkward feeling timing of the turnaround riffs.

The progression plays around familiar themes, but has some really lovely work going on – bar 2 of Verse 1 is the “main” riff, and sounds amazing when played with momentum. The little pseudo turn around in bar 11 of V 1 is also a new favourite of mine. So simple, so subtle, but such a great sound. Take it slow and build up speed gradually.
Verse 1
Verse 2
Verse 3
Verse 4
Verse 5
Verse 6