Crow Jane Skip James

Crow Jane Crow Jane, don’t you hold your head too high
Someday, baby you know you got to die

You got to lay down and.
You got to die…
You got to….

You know I wanna buy me a pistol,
Want me 40 rounds of ball
Shoot crow jane Just to see her fall
She got to fall She go to
She got to

I wanna dig her grave
With a silver spade
I aint gonna let nobody take her place
No, you can’t take her…
No, you can”t take her place

solo

I never missed my water
Till my well went dry
Didn’t missed crow jane until she…
Till the day she died, till the day she…

There’s a reason I begged Crow Jane
Not to hold her head too high
Someday, baby, you know you got to die
You got to lay down…

And I dug that women’s grave
8 ft in the ground
I didn’t feel sorry
Until they let her down
They had to let her down, let her…

There’s a reason I begged Crow Jane
Not to hold her head too high
Someday, baby, you know you got to die

Jimmy Rogers was born James A. Lane in Ruleville, Mississippi, on June 3, 1924, and was raised in Atlanta and Memphis.[1] He adapted the professional surname "Rogers" from his stepfather's last name. Rogers learned the harmonica alongside his childhood friend Snooky Pryor, and as a teenager took up the guitar and played professionally in East St. Louis, Illinois (where he played with Robert Lockwood, Jr., among others), before moving to Chicago in the mid 1940s.[citation needed] By 1946 he had recorded his first record as a harmonica player and singer for the local Harlem record label (not to be confused with the New York based label of the same name), although his name was not included on the label — the record was issued under the names "Memphis Slim and his Houserockers".

Rogers joined Muddy Waters the next year, with whom he helped shape the sound of the nascent Chicago Blues style. Although he had several successful releases of his own on Chess Records beginning in 1950 with "That's Alright", he stayed with Waters' until leaving his band for a solo career in 1954. In the mid 1950s he enjoyed several successful record releases on the Chess label, most notably "Walking By Myself", but as the 1950s drew to a close and interest in the blues waned, he gradually withdrew from the music industry. In the early 1960s he worked as a member of Howling Wolf's band, before finally withdrawing from the music business altogether for almost a decade. He worked as a cab driver and owned a clothing store, until his store was burned in the Chicago riots that followed the assassination of Dr. Martin Luther King, Jr. in 1968. He gradually began performing in public again, and in 1971 when fashions made him a reasonable draw in Europe, Rogers began occasionally touring and recording again, including a 1977 reunion session with his old bandleader Waters. By 1982, Rogers was again a full-time solo artist.

In 1995 Rogers was inducted into the Blues Hall of Fame.[2]

He continued touring and recording albums until his death in 1997, in Chicago. He was survived by his son, James D. Lane, who is also a guitarist and a record producer and recording engineer for Blue Heaven Studios and the APO Records label.

Reverend Gary Davis was a towering figure in at least two realms. As a finger-style guitarist he developed a complex yet swinging approach to picking that has influenced generations of players, including Jerry Garcia, Ry Cooder, Dave Van Ronk, Jorma Kaukonen and Stefan Grossman. And as a composer of religious and secular music he created a substantial body of work that has been recorded by, among others, Bob Dylan, Jackson Browne, Peter Paul & Mary and the Grateful Dead, not to mention Davis's own releases.

From the perspective of his one hundredth birthday (April 30, 1896 in Laurens, South Carolina -- he died on May 5, 1972 in Hammonton, New Jersey), the Davis legacy looms especially large. Early musical experiences at Center Raven Baptist Church in Gray Court, South Carolina, were at the core of strong religious convictions that helped him cope with blindness, and in 1933 he was ordained as minister of the Free Baptist Connection Church in Washington, North Carolina. For years he toured as a singing gospel preacher and also sang on the streets, mostly in Durham. During this period he crossed paths and eventually recorded with Blind Boy Fuller and other "Piedmont style" musicians, including Brownie McGhee and Sonny Terry.

By 1940 Reverend Davis had found his way to New York City, where he was ordained minister of Missionary Baptist Connection Church. Here his recording career began in earnest, first for Asch and Folkways Records (now available on Smithsonian/Folkways), and later for Prestige (now available on Fantasy).

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Furry Lewis (March 6, 1893 - September 14, 1981[1]) was a country blues guitarist and songwriter from Memphis, Tennessee. Lewis was one of the first of the old-time blues musicians of the 1920s to be brought out of retirement, and given a new lease of recording life, by the folk blues revival of the 1960s.

Life and career

Walter E. Lewis was born in Greenwood, Mississippi, but his family moved to Memphis when he was aged seven. Lewis acquired the nickname "Furry" from childhood playmates. But by the time he was re-discovered in the 1950s not even Furry himself could remember why.

By 1908, he was playing solo for parties, in taverns, and on the street. He also was invited to play several dates with W. C. Handy's Orchestra.

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James Cotton (called Cotton by his friends) was born
on the first day of July,1935, in Tunica, Mississippi. He was the
youngest of eight brothers and sisters who grew up in the cotton fields working beside their mother, Hattie, and their father, Mose. On Sundays Mose was the preacher in the area's Baptist church. Cotton's earliest memories include his mother playing chicken and train sounds on her harmonica and for a few years he thought those were the only two sounds the little instrument made. His Christmas present one year was a harmonica, it cost 15 cents, and it wasn't long before he mastered the chicken and the train. King Biscuit Time, a 15-minute radio show, began broadcasting live on KFFA, a station just across the Mississippi River in
Helena, Arkansas. The star of the show was the harmonica legend, Sonny Boy Williamson (Rice Miller). The young Cotton pressed his little ear to the old radio speaker. He recognized the harmonica sound AND discovered something - the harp did more! Realizing this, a profound change came over him, and since that moment, Cotton and his harp have been inseparable - the love affair had begun. Soon he was able to play Sonny Boy's theme song from the radio show and, as he grew so did his repertoire of Sonny Boy's other songs. Mississippi summers are ghastly, the heat is unrelenting. He was too young to actually work in the cotton fields, so little Cotton would bring water to those who did. When it was time for him to take a break from his job, he would sit in the shadow of the plantation foreman's horse and play his harp. His music became a source of joy for his first audience. James Cotton's star began to shine brightly at a very early age.

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