Chords for Junior Wells last (?) Interview part 1
Tempo:
96.6 bpm
Chords used:
F
C
G
Fm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[F] Give me one real nice day, yeah, and I'll turn [C] right back.
I'm [G]
leaving home, [Fm] but you gotta make me [C] change my mind.
Baby, I got you in my mind, and I know [G] that you got mine.
You [F] know that I'll call, I'll call [G] you too.
[C]
[N]
We're here with Junior Wells.
Junior, welcome first of all.
It's a pleasure to have you out here.
Thank you very much.
Very quickly, a little bit of background on your history as a blues man.
When were you first exposed to the music, to blues music?
[F] Well, I thought that I had been listening to Randy's Record Shop thing.
And [N] I didn't hear anything about Sonny Boy on there at that time.
But once I was in Chicago, Sonny Land Slim and Big Maceo and people like that,
Sonny used to get me around with him and Robert Junior Lockwood.
And we were at 30th and Indiana in the basement of the hotel.
Was that the Flame?
No, the place, the hotel was in the basement.
And Sonny Boy came in there.
He was playing the harmonica and I was there because Sonny Land used to come by the house and pick me up all the time and take me out with him.
And I saw him.
And I could understand why it was that when he was singing, he didn't stutter.
But when he wasn't singing, he did stutter.
Right, when he spoke, he had a little speech problem.
Yeah, you know, so it was a big thing and I heard him play.
And I said, now this is what I want to do here.
Like he was playing, you know, so I started to practice on that type of thing.
Then Tampa Red, he told me, you know, Junior said, you don't want to do a copycat thing like Sonny Boy.
You want to try to get a thing of your own also.
So I told him, I said, well, whilst I'm doing what I'm doing now, let me do what I'm doing now.
This is what's setting me off.
It was like a foundation for me to explore other options other than what I had in mind to do.
So I did those things.
And then it was like everything he did, it always set me off.
Everything he did, I always try to make sure I could try to create a different thing than what he was doing.
Every Sunday when he had a Sunday matinee in the hotel, I'd go down there.
Dick Macy, all of us come down there, be all out.
I used to go down there and Dick did a Brahms thing.
And I just thought I was a fortunate young person to have all these older musicians in my corner to try to help me out.
How old were you then?
When I first went into the club?
Yeah.
I was 10 years old.
10 years old?
Yeah.
Were you playing harmonica at that time yet?
I was trying.
Yeah.
It was a thing that I wanted to do because before then I had went back down to Westminster, Arkansas.
I passed by this church, St.
Paul.
And the way he was playing the music and stuff up in there and dancing around, I thought that it was a blues joint because I didn't know.
So I went back over where my mom was with my aunties and I told her I was going to the blues joint over at St.
Paul.
She said, well, before you're information, young man, St.
Paul is not a blues joint.
It's a sanctified church.
I said, well, they was playing the blues.
She said, no, they wasn't.
She said, it's the way they expressed themselves in the religional way.
What the preacher had did to me on the downfall of the baptism, she said, well, now you're sanctified and it's your religion.
I just knew what I heard.
And I thought that if the blues or the blues and what is sanctified people play them, then there should be no handicap in whatever I do.
So it's going to be a natural thing to me.
Did you get to see Sonny Boy perform much before he died?
No, not much.
Because most of the time I get to go to different places where he was doing the thing.
And because my mom, I used to, she thought I was in school when I wasn't.
I got beat up by dad and stuff, you know.
So eventually she told me, what you want to do?
Go up to be a dummy or something?
I said, I'm going to play music anyway.
She said, you still got a little more to play music.
You know, it's a junior education too.
I listened to what she was saying and every now and then I'd go off again.
Because I couldn't do what I wanted to.
I just wanted to forget about the school.
Just let me play the music.
But I'm happy now as of today that people like Sutherland Slim told me, you know, you need to get an education.
Because I don't have one myself.
He said, I'm just thankful for you.
He said, but you're a young man.
I don't think you should be in this particular rut that you're in.
I'm [G]
leaving home, [Fm] but you gotta make me [C] change my mind.
Baby, I got you in my mind, and I know [G] that you got mine.
You [F] know that I'll call, I'll call [G] you too.
[C]
[N]
We're here with Junior Wells.
Junior, welcome first of all.
It's a pleasure to have you out here.
Thank you very much.
Very quickly, a little bit of background on your history as a blues man.
When were you first exposed to the music, to blues music?
[F] Well, I thought that I had been listening to Randy's Record Shop thing.
And [N] I didn't hear anything about Sonny Boy on there at that time.
But once I was in Chicago, Sonny Land Slim and Big Maceo and people like that,
Sonny used to get me around with him and Robert Junior Lockwood.
And we were at 30th and Indiana in the basement of the hotel.
Was that the Flame?
No, the place, the hotel was in the basement.
And Sonny Boy came in there.
He was playing the harmonica and I was there because Sonny Land used to come by the house and pick me up all the time and take me out with him.
And I saw him.
And I could understand why it was that when he was singing, he didn't stutter.
But when he wasn't singing, he did stutter.
Right, when he spoke, he had a little speech problem.
Yeah, you know, so it was a big thing and I heard him play.
And I said, now this is what I want to do here.
Like he was playing, you know, so I started to practice on that type of thing.
Then Tampa Red, he told me, you know, Junior said, you don't want to do a copycat thing like Sonny Boy.
You want to try to get a thing of your own also.
So I told him, I said, well, whilst I'm doing what I'm doing now, let me do what I'm doing now.
This is what's setting me off.
It was like a foundation for me to explore other options other than what I had in mind to do.
So I did those things.
And then it was like everything he did, it always set me off.
Everything he did, I always try to make sure I could try to create a different thing than what he was doing.
Every Sunday when he had a Sunday matinee in the hotel, I'd go down there.
Dick Macy, all of us come down there, be all out.
I used to go down there and Dick did a Brahms thing.
And I just thought I was a fortunate young person to have all these older musicians in my corner to try to help me out.
How old were you then?
When I first went into the club?
Yeah.
I was 10 years old.
10 years old?
Yeah.
Were you playing harmonica at that time yet?
I was trying.
Yeah.
It was a thing that I wanted to do because before then I had went back down to Westminster, Arkansas.
I passed by this church, St.
Paul.
And the way he was playing the music and stuff up in there and dancing around, I thought that it was a blues joint because I didn't know.
So I went back over where my mom was with my aunties and I told her I was going to the blues joint over at St.
Paul.
She said, well, before you're information, young man, St.
Paul is not a blues joint.
It's a sanctified church.
I said, well, they was playing the blues.
She said, no, they wasn't.
She said, it's the way they expressed themselves in the religional way.
What the preacher had did to me on the downfall of the baptism, she said, well, now you're sanctified and it's your religion.
I just knew what I heard.
And I thought that if the blues or the blues and what is sanctified people play them, then there should be no handicap in whatever I do.
So it's going to be a natural thing to me.
Did you get to see Sonny Boy perform much before he died?
No, not much.
Because most of the time I get to go to different places where he was doing the thing.
And because my mom, I used to, she thought I was in school when I wasn't.
I got beat up by dad and stuff, you know.
So eventually she told me, what you want to do?
Go up to be a dummy or something?
I said, I'm going to play music anyway.
She said, you still got a little more to play music.
You know, it's a junior education too.
I listened to what she was saying and every now and then I'd go off again.
Because I couldn't do what I wanted to.
I just wanted to forget about the school.
Just let me play the music.
But I'm happy now as of today that people like Sutherland Slim told me, you know, you need to get an education.
Because I don't have one myself.
He said, I'm just thankful for you.
He said, but you're a young man.
I don't think you should be in this particular rut that you're in.
Key:
F
C
G
Fm
F
C
G
Fm
_ _ _ _ _ [F] Give me one real nice day, yeah, and I'll turn [C] right back. _
_ _ _ _ I'm [G] _
leaving home, [Fm] but you gotta make me [C] change my mind.
_ _ _ _ _ Baby, I got you in my mind, and I know [G] that you got mine. _
_ _ _ You [F] know that I'll call, _ I'll call [G] you too.
_ [C] _
_ [N] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ We're here with Junior Wells.
Junior, welcome first of all.
It's a pleasure to have you out here.
Thank you very much.
Very quickly, a little bit of background on your history as a blues man.
_ When were you _ first exposed to the music, to blues music? _
_ [F] Well, I thought that _ I had been listening to Randy's Record Shop thing. _
And [N] I didn't hear anything about _ Sonny Boy on there at that time.
_ But once I was in Chicago, _ Sonny Land Slim and _ Big Maceo and people like that,
Sonny used to get me around with him and Robert Junior Lockwood. _ _ _
_ And we were at 30th and Indiana in the basement of the hotel.
Was that the Flame?
No, the place, the hotel was in the basement.
_ _ And _ Sonny Boy came in there.
_ _ He was playing the harmonica and I was there because Sonny Land used to come by the house and pick me up all the time and take me out with him.
And I saw him.
_ And I could understand why it was that when he was singing, he didn't stutter.
But when he wasn't singing, he did stutter.
Right, when he spoke, he had a little speech problem.
Yeah, you know, so it was a big thing and I heard him play.
And I said, now this is what I want to do here.
Like he was playing, you know, so I started to _ practice on that type of thing. _ _
Then Tampa Red, he told me, you know, Junior said, you don't want _ to do a copycat thing like Sonny Boy.
You want to try to get a thing of your own also.
So I told him, I said, well, whilst I'm doing what I'm doing now, let me do what I'm doing now. _
This is what's setting me off.
It _ _ was like a foundation for me to _ _ explore other options other than what I had in mind to do.
So I did those things.
And then _ it was like _ _ everything he did, _ it always set me off.
Everything he did, I _ always try to make sure I could try to create a different thing than what he was doing. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
Every Sunday when he had a Sunday matinee in the hotel, I'd go down there.
_ Dick Macy, all of us come down there, be all out.
I used to go down there and Dick did a Brahms thing.
And _ I just thought I was a fortunate young person to have all these older musicians in my corner to try to help me out.
How old were you then?
When I first went into the club?
Yeah.
I was 10 years old.
10 years old?
Yeah.
Were you playing harmonica at that time yet?
I was trying.
Yeah.
It _ _ _ was _ _ a thing that I wanted _ _ to do because before then I had went back down to Westminster, Arkansas.
I passed by this church, St.
Paul.
And the way he was playing the music and stuff up in there and dancing around, I thought that it was a blues joint because I didn't know.
So I went back over where my mom was with my aunties and I told her I was going to the blues joint over at St.
Paul.
She said, well, before you're information, young man, St.
Paul is not a blues joint.
It's a sanctified church.
I said, well, they was playing the blues.
She said, no, they wasn't.
She said, it's the way they _ _ expressed themselves in the religional way.
_ _ _ What the preacher had did to me on the downfall of the baptism, she said, well, now you're sanctified and it's your religion.
I _ _ _ just knew what I heard.
And _ _ I thought that _ _ if the _ blues or the blues and what is sanctified people play them, then there should be no handicap in whatever I do.
So it's going to be a natural thing to me.
Did you get to see Sonny Boy perform much before he died?
No, not much.
Because _ most of the time I _ _ _ get to go to different places where he was doing the thing.
And because my mom, I used to, she thought I was in school when I wasn't.
I got beat up by dad and stuff, you know.
So eventually she told me, what you want to do?
Go up to be a dummy or something?
I _ said, I'm going to play music anyway.
She said, you still got a little more to play music.
You know, it's a junior education too.
_ _ I _ _ listened to what she was saying and every now and then I'd go off again.
Because I couldn't do what I wanted to.
I just wanted to forget about the school.
Just let me play the music.
But I'm happy now as of today that people like _ Sutherland Slim told me, you know, _ you need to get an education.
Because I don't have one myself.
He said, I'm just thankful for you.
_ _ _ _ He said, but you're a young man.
I don't think you should be in this particular rut that you're in. _ _ _
_ _ _ _ I'm [G] _
leaving home, [Fm] but you gotta make me [C] change my mind.
_ _ _ _ _ Baby, I got you in my mind, and I know [G] that you got mine. _
_ _ _ You [F] know that I'll call, _ I'll call [G] you too.
_ [C] _
_ [N] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ We're here with Junior Wells.
Junior, welcome first of all.
It's a pleasure to have you out here.
Thank you very much.
Very quickly, a little bit of background on your history as a blues man.
_ When were you _ first exposed to the music, to blues music? _
_ [F] Well, I thought that _ I had been listening to Randy's Record Shop thing. _
And [N] I didn't hear anything about _ Sonny Boy on there at that time.
_ But once I was in Chicago, _ Sonny Land Slim and _ Big Maceo and people like that,
Sonny used to get me around with him and Robert Junior Lockwood. _ _ _
_ And we were at 30th and Indiana in the basement of the hotel.
Was that the Flame?
No, the place, the hotel was in the basement.
_ _ And _ Sonny Boy came in there.
_ _ He was playing the harmonica and I was there because Sonny Land used to come by the house and pick me up all the time and take me out with him.
And I saw him.
_ And I could understand why it was that when he was singing, he didn't stutter.
But when he wasn't singing, he did stutter.
Right, when he spoke, he had a little speech problem.
Yeah, you know, so it was a big thing and I heard him play.
And I said, now this is what I want to do here.
Like he was playing, you know, so I started to _ practice on that type of thing. _ _
Then Tampa Red, he told me, you know, Junior said, you don't want _ to do a copycat thing like Sonny Boy.
You want to try to get a thing of your own also.
So I told him, I said, well, whilst I'm doing what I'm doing now, let me do what I'm doing now. _
This is what's setting me off.
It _ _ was like a foundation for me to _ _ explore other options other than what I had in mind to do.
So I did those things.
And then _ it was like _ _ everything he did, _ it always set me off.
Everything he did, I _ always try to make sure I could try to create a different thing than what he was doing. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
Every Sunday when he had a Sunday matinee in the hotel, I'd go down there.
_ Dick Macy, all of us come down there, be all out.
I used to go down there and Dick did a Brahms thing.
And _ I just thought I was a fortunate young person to have all these older musicians in my corner to try to help me out.
How old were you then?
When I first went into the club?
Yeah.
I was 10 years old.
10 years old?
Yeah.
Were you playing harmonica at that time yet?
I was trying.
Yeah.
It _ _ _ was _ _ a thing that I wanted _ _ to do because before then I had went back down to Westminster, Arkansas.
I passed by this church, St.
Paul.
And the way he was playing the music and stuff up in there and dancing around, I thought that it was a blues joint because I didn't know.
So I went back over where my mom was with my aunties and I told her I was going to the blues joint over at St.
Paul.
She said, well, before you're information, young man, St.
Paul is not a blues joint.
It's a sanctified church.
I said, well, they was playing the blues.
She said, no, they wasn't.
She said, it's the way they _ _ expressed themselves in the religional way.
_ _ _ What the preacher had did to me on the downfall of the baptism, she said, well, now you're sanctified and it's your religion.
I _ _ _ just knew what I heard.
And _ _ I thought that _ _ if the _ blues or the blues and what is sanctified people play them, then there should be no handicap in whatever I do.
So it's going to be a natural thing to me.
Did you get to see Sonny Boy perform much before he died?
No, not much.
Because _ most of the time I _ _ _ get to go to different places where he was doing the thing.
And because my mom, I used to, she thought I was in school when I wasn't.
I got beat up by dad and stuff, you know.
So eventually she told me, what you want to do?
Go up to be a dummy or something?
I _ said, I'm going to play music anyway.
She said, you still got a little more to play music.
You know, it's a junior education too.
_ _ I _ _ listened to what she was saying and every now and then I'd go off again.
Because I couldn't do what I wanted to.
I just wanted to forget about the school.
Just let me play the music.
But I'm happy now as of today that people like _ Sutherland Slim told me, you know, _ you need to get an education.
Because I don't have one myself.
He said, I'm just thankful for you.
_ _ _ _ He said, but you're a young man.
I don't think you should be in this particular rut that you're in. _ _ _