by catherine yronwode

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TITLE: Mojoe Blues
MATRIX NO.: 145105-3
SINGER: Charlie Lincoln (Charlie Hicks, aka Laughing Charley)
DATE OF REC.: 4 November 1927, Atlanta, Georgia
REISSUE(S): RST Records BDCD-6027
by Charlie Lincoln

(laughter) Hah heh heh heh

Aw, the mojo blues, mama, crawling 'cross the floor
Aw, these mojo blues, mama, crawling 'cross the floor
Some hard luck rascal done told me I ain't here no more

I'm leaving here, mama-babe, cryin' won't make me stay
I'm leaving here, mama, cryin' won't make me stay
Honey, the more you cry, further i'm goin' away

Aw, she went to the hoodoo, she went there all alone
She went to the hoodoo, she went there all alone
'Cause every time i leave her, i have to hurry back home

Says, "I love you, sweet mama, but i sure ain't no fool about you
Said, "I love you, sweet mama, but i ain't no fool about you
I can get another kid-gal just like i got you

When I leave here you can pin crepe over my door
When I leave here you can pin crepe over my door
Said, "I won't be dead, just ain't comin' here no more"

Some people tell me, "Hon, them blues ain't bad"
Aw, some people tell me, "Honey, them blues ain't bad"
That must not been them lowdown things i had
TRANSCRIBED BY: catherine yronwode ( 24 Oct 2000

DISCOGRAPHY BY: Roger Misiewicz (on Document CD)

COMMENTS BY CAT YRONWODE: This is essentially a collection of floating verses about love-troubles, but V.1 includes mention of the typical symptom of being poisoned through the feet, namely, foot and leg trouble which culminates in the victim crawling on all fours (and howling like a dog); and in V.3 there is a strong but unstated implication that the hoodoo practitioner employed a black cat bone on the woman's behalf, because the symptom of its use is that any man who leaves her is forced to return against his will.

FURTHER INFORMATION: The following web pages can be consulted for more details about the topics referenced in this song:
V.1 mojo
V.1 crawling 'cross the floor (Aunt Caroline Dye)
V.1 crawling 'cross the floor (foot track magic)
V.3 hoodoo (meaning practitioner)
V.3 she went to the hoodoo (hired a root worker)
V.3 lover forced to return (implied black cat bone)

ACKNOWLEDGEMENTS: Individual acknowledgements for transcriptions and discographical data appear on each song-page, but i want to note that this Blues Lyrics and Hoodoo archive would never have been possible without the contributions of Gorgen Antonsson, who generously shared with me the format and content of his own personal lyrics archive, and Alan Balfour and Chris Smith, who have devoted a great deal of time to supplying me with tapes, transcribed lyrics, and detailed discographical information. Additionally, i wish to thank the kind members of the prewar blues e-list who have aided my research in innumerable ways. If you have missing data to supply, hear a substantially different take on a transcription, or want to let me know about a song that has been overlooked in these pages, please contact me through the prewar blues e-list:

COPYRIGHT NOTICE: Due to certain social, economic, and political paradigms in place at the time of their composition, many early blues songs were improperly copyrighted or not copyrighted at all. Many bore no composer credits. Many were ripped off by unethical music publishers who falsely claimed authorship and copyrighted them in their own names. Many that were once copyright-protected are now in the public domain due to publishers' or composers' failures to properly renew the copyrights. Many have since been ripped off by unethical performers or music publishers who have pretended to be the composers for the purpose of securing a belated copyright or who have claimed "arranger's" credits on songs they falsely swore were "traditional" when in fact the songs were composed by the people who originally performed them on record. It is my sincere belief that the song transcribed on this page bears the implied moral copyright of its composer, whoever that may be. If you believe that you control the copyright by virtue of authorship or legal legerdemain, you may contact me in a civil and polite manner and i will attempt in good faith to satisfy your needs in the matter of obtaining formal permission to quote the lyrics in this scholarly publication.

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