For this edition of Songs From The Vaults, we’re going to look at a tune called “Old Jim Granger.” This was recorded for, and released on, The Tenderloin EP, a joint release between US-based Blind Pig Records, and UK-based Wah Tup Records.
It was recorded at Coast in San Francisco (if memory serves?), and features Steve Escobar on drums, Danny Uzilevsky on bass, Big Bones on harmonica, and yours truly on National and vocals.
The sessions were engineered by Bryan Zee.
The tune is in Dm, and The National is tuned to Open Dm (D A D F A D).
You can listen to the cut here: Old Jim Granger
And here are the lyrics:
Old Jim Granger
Old Jim Granger was an angry man
He had a fence so high you couldn’t see his land
His house was hidden by trees as well
We only knew he was there when we heard him yell
Us little boys, we didn’t have much sense
We only wanted to see inside of his fence
So we dug a hole and crawled through to his place
Waited to see if he’d show his face
He come runnin’ right outta his house
Screamin and cursin, we could hear him shout
“Get off my land unless ya wanna get shot,
Say yer prayers, cuz my shotgun’s cocked”
Well, we broke and ran, to the left and right
Tryin’ to get out of Mr. Granger’s sight
We heard him shout, “Boys, you can’t hide from Jim!
I’m gon’ release my hound, he’ll tear ya limb from limb”
Tearin cross the yard that old hound came
And Mr. Granger’s gun was out and aimed
I jumped up to run, and I swear to Gog
He don’ missed me and he shot that dog
Old Jim Granger was a lonely man
He didn’t have no wife, he didn’t have no clan
That old hound dog was like his only kin
And when he died, that was it for Jim
Well, I’m a grown man now, but I remember still
What happened right after that dog got killed
When he saw what he’d done, into the house he walked
To say goodbye with his shotgun cocked
Please share this, cheers!
Leave a comment | tags: Big Bones, Blind Pig Records, Danny Uzilevsky, Old Jim Granger, Song Lyrics, Songs From The Vaults, Steve Escobar, The Tenderloin EP, Wah Tup Records | posted in Recordings | Albums, Songs From The Vaults
Q: Where does the name Preacher Boy come from?
A: Well, it started out essentially as a demi-derisive nickname a good friend used to call me when I’d get to soapboxing too much; sort of a Hazel Motes call out.
Q: How many Preacher Boy albums are there?
A: 6, if you include the 4-song Tenderloin EP:
Q: Best gigs ever?
A: Too many to count! How about favorite acts I’ve gotten to perform with? Some highlights:
- Opening for Taj Mahal in Denver, Colorado
- With Los Lobos at The Catalyst in Santa Cruz, and then with JJ Cale at The Catalyst
- Opening for Shane MacGowan (The Pogues) at his annual X-mas show in London, ON my 30th birthday!
- The San Francisco Blues Festival, the same day and stage as John Lee Hooker
- Guesting in the set with Eagle-Eye Cherry, for his live concert film at Shepherd’s Bush, in London
- Opening for Clarence Gatemouth Brown at The Great American Music Hall
- With Sonny Landreth at The Great American Music Hall
- 4 different shows at Slim’s in SF, opening for Bob Geldof, Peter Wolf, Jimmy Vaughan, and The Texas Tornadoes
- With AJ Croce at Moulin Blues in The Netherlands
- Opening for Cracker at The Warfield
- Playing the Glastonbury Festival on the same bill as Portishead, Nick Cave, and Bob Dylan
- Opening for CJ Chenier in LA, and for Buckwheat Zydeco at Bimbo’s in SF
- Opening for Chris Whitley in Portland, OR
- Playing opposite Chris Isaak at The Paradise Lounge in SF
- Opening for Charlie Musselwhite at The House of Blues in New Orleans
Q: How old is your National?
A: 1936! And actually, I’m so fortunate, I have two now, both from 1936!
Q: What tunings do you use on your Nationals?
A: Well, as I said, I have two, and I use them differently; what I call “The National” (the one my Grandpa gave me) is my slide instrument, so on that one, I use primarily Open G and Open D, and the minors of each as well. My second National (the one that belonged to my Grandpa, and was passed down to me when he passed) I keep mainly in standard, though I’ll occasionally do Drop D or something like that. I have one tune for which I use a really strange tuning (Open C, essentially, but with no 3rd: CGCGCC), and I generally do that on this second National as well.
Q: What do you think about all the Tom Waits comparisons you’ve received over the years?
A: Well, two things, I suppose: 1) High praise, and 2) A lot of people need to go listen to Blind Willie Johnson, Bukka White, Charley Patton, Dave Van Ronk, Lemmy, Louis Armstrong, and Captain Beefheart.
Q: What’s the most successful song you’ve ever recorded?
A: Depends on the criteria for judging, really, so, four answers:
- If you ask my bank account, it’s “Long Way Around” which I wrote with Eagle-Cherry. We recorded it at The Magic Shop in New York with Rick Rubin producing, and Eagle-Eye’s sister Neneh sung on it, and it went on to be certified Gold in Europe.
- If you ask iTunes, it’s probably the version of “Old Boyfriends” I did for a Waits tribute album. Per the question above, I was a little put out by the request initially, but decided to do it as I found what I thought was a clever way to circumnavigate the vocal comparisons; Waits never sung “Old Boyfriends,” Crystal Gayle did, on the One From The Heart Soundtrack. So that’s the one I covered!
- If you ask my discography, it would probably be “I Won’t Be There” from Gutters & Pews, as I think that’s the one that’s been anthologized the most. Or perhaps “This Is New York,” because that made it onto the Approaching Union Square soundtrack.
- “Dead, Boy!” Because that was the first “professional” song I recorded with my National, and it was for my debut album, for my first record label! Thus, the beginning of it all …
Q: What got you into this music in the first place?
A: Simple. Side 1, song 1, of a Vanguard Twofer that collected all the great country blues performers who had performed at the Newport Folk Festival in the 60s. I put it on my record player with NO idea what to expect, and along came the first song: Mississippi John Hurt playing “Sliding Delta.” And that was it, man. I heard it, and I said, “I’m sorry Joe Strummer, but THAT! I want to be able to do THAT!”
Please share this, cheers!
Leave a comment | tags: AJ Croce, BImbo's 365, Blind Pig Records, Bob Dylan, Bob Geldof, Buckwheat Zydeco, Charlie Musselwhite, Chris Isaak, Chris Whitley, CJ Chenier, Clarence Gatemouth Brown, Coast Road Records, Cracker, Crow, Demanding To Be Next, Eagle-Eye Cherry, Glastonbury Festival, Great Bluesmen At Newport, Gutters & Pews, Jimmy Vaughan, JJ Cale, John Lee Hooker, Los Lobos, Manifesto Records, Mississippi John Hurt, National Steel Guitar, Nick Cave, Peter Wolf, Portishead, Preacher Boy, Preacher Boy & The Natural Blues, Shane MacGowan, Sliding Delta, Slim's Sonny Landreth, Taj Mahal, The Catalyst, The Devil's Buttermilk, The Great American Music Hall, The Tenderloin EP, The Texas Tornadoes, The Warfield, Tom Waits, Wah Tup Records | posted in Performance Stories | Tales From The Road, Preacher Boy: General News, Recordings | Albums