Nothing But The Blues
Nothing But The Blues #2
An Eric Bibb special, with interview and music, plus tracks from Michael Jerome Browne, Eric with Rory Block and Maria Muldaur, Ruthie Foster, Martin Simpson and Derek Trucks.
Hi, this is Eric Biv, and you're listening to Cliff with Nothing But the Blues. [Music] Tell Riley, baby, next time he comes to touch, if he needs somewhere to lay, his body down, tell Riley, baby, he's welcome to stay, like my words, he's gonna be paid someday. I'm leaving Memphis, whoa, because I got to go there, Mr. Melrose in a telegram from Chicago, and that's the man making vegas on me, wants to make some more, I'm gonna sing my songs, tell my folk it's on me. So tell Riley, baby, next time he comes to touch, if he needs somewhere to lay, his palate down, tell Riley, baby, a vocal set he could stay, and mark my words, he'll be paid someday. [Music] [Music] [Music] So tell Riley, baby, next time he comes to touch, if he needs somewhere to stay, lay his body down, tell Riley, baby, he's welcome to stay. [Music] This is Nothing But the Blues with me, Cliff, and that was Eric Bibb with tell Riley from his 2003 album, Natural Light. It's a song written from a perspective of Booker White about his cousin, I think, BB King, very cleverly done, great song. And this issue of Nothing But the Blues is an Eric Bibb special. I went to the Cambridge Folk Festival a few months ago and was looking off to meet Eric, and he was kind enough to let me record a brief interview. So today's show is music, mostly Eric's, but not all Eric's, interspersed with bits of the interview. And I should say that Eric had a cough, so there's some very sort of heavy coughing on it at times, so hopefully if you're listening on earphones, it doesn't blow your head off. We were also in a porter cabin with people occasionally coming in and out, so the occasional kind of distractions and bits where you might not hear what's going on too well, but hopefully it'll work fine. Let's start the interview. First up, thank you very much for the time. Sure, I should have recorded the workshop because you answered the word of the question. Oh, okay, by the way. They're working hard on this festival, you did a bomb storm, you did a bomb storm. Yeah, that's not my second last night, you're just an amazing workshop, and you're closing the festival tonight. Yeah, well, closing, I guess we're on stage two tonight, yeah, that's going to be fun. Yeah, they're working me, but it's been great to be here, you know, I was here six years ago last. And it's felt like a really wonderful time for me to come back, and I hope it won't be six years before I'm here again. You do all those festivals, honey, when you don't possibly... Yeah, that's very corn berry, it's lavatory. Yes, yeah, it's true, you can do it in this band. I know probably. I think it's too much. Yeah. Coffee smell. Yeah. Anyway, you prefer festivals or small venues or mix of both? Unmix of both, you know, festivals are a great way to meet a lot of people, and energy wise, there are certain, um, based on their own, um, just in terms of what you need to reach out to so many people at once and, you know, communicate. I think it would be pretty strenuous to just do only festivals, you know. Right. So I really like breaking it up. I also like, of course, being closer to a smaller group of people, just that intimacy. But it's a nice combination. The summer months are really a nice mix of them. Yeah, yeah. And the weather is always a challenge, you know, and on a practical level, rainy, damp weather is not really optimal for a singer, you know, repeatedly, but it's been working out. Yeah, because I've got a DVD of you in Australia. Yeah. That seemed like a fairly small club. It was, sweaty, hot club. Yeah. The basement. Yeah, it was really pouring sweat. Yeah. Um, but a nice club, a nice venue. And I've played it several times, yeah. ♪ Every time it rains ♪ ♪ I sit at home and wonder why ♪ ♪ Ever since you said goodbye ♪ ♪ I felt so all alone ♪ ♪ Every time it rains ♪ ♪ Summer showers soaked around ♪ ♪ I watch the rain come pouring down ♪ ♪ I call out your name ♪ ♪ Every time it rains ♪ ♪ I hang my head and wanna die ♪ ♪ I don't seem to care that I ♪ ♪ Just not making it on my own ♪ ♪ Every time it rains ♪ ♪ Sometimes they didn't make it ♪ ♪ I close my eyes ♪ ♪ And that you're here with me ♪ ♪ Every time it rains ♪ ♪ I realize ♪ ♪ Just how lonely my life's ♪ ♪ Gonna be ♪ ♪ Every time it rains ♪ ♪ Every time I hear raindrops fall ♪ ♪ I may see I don't mind at all ♪ ♪ But I do ♪ ♪ Every time it rains ♪ ♪ Every time I try to tell myself ♪ ♪ Every time I find somebody else ♪ ♪ Won't be you ♪ ♪ Every time it rains ♪ ♪ Every time it rains ♪ ♪ Every time it rains ♪ ♪ Every time it rains ♪ ♪ Every time it rains ♪ ♪ Every time it rains ♪ That was every time it rains, that was a very naturalized album, a lovely album, I really like it. Well, being a bit of a guitar nerd myself, I had to ask Eric about guitars. You mentioned five guitars and the guy who tells them, "How did you make contact with them?" He made contact with me. He sent his emissary some years back. I said, "Eric, I really enjoy your playing. I think you would enjoy my guitars judging from your style of playing. I came with a man who works with Roger and Michael English, came over with about six guitars, and I played them. They were fine instruments. One of them, I said, "You can't have this back." And thus began our friendship and our collaboration, really. I actually tried to buy a file guitar all the time. I couldn't find anybody who stopped them. It's really difficult to get a hold of them. He's doing well. It's quite busy. As you say, you can't find them in every music shop. Even one of them, so-called stockists, had to ship one from Southampton for a second. It's only in the bottom of the house. You always have loads of different guitars. Is the files your favorite? It's definitely my main working guitars. I have several of them. It's become the one that's mostly what I take on the road. I record with other instruments. It's a practical thing. I would take more guitars on the road. If I could do these. A air travel and a lot of guitars, it's being pretty expensive if you're going to take more than two instruments. Even two, I mean, Kelly Jofamp, just don't have a slide now. It only turns a long time. Is it true? Yeah. ♪ ♪ ♪ Take it in my pocket ♪ ♪ ♪ Felt her in my head ♪ ♪ ♪ Suitcase in my head ♪ ♪ ♪ Got to get tired on my back ♪ ♪ ♪ ♪ ♪ As I walk this city streets, new song in my heart, I feel it boots on my feet. Everywhere I go people ask me, what kind of music do you play? And I just say, I'm gonna hear some blues, like a free train movein' too. Gospel's sold in some globe I can go. Standing by while I'm livin' plus a little bit more. They call me a choo-a-doh, call me a choo-a-doh. Trump is far behind me, no worry on my brow. I've brought away regrets, oh I'm livin' in the here and now. No matter where I wander, or how far I may go. Gotta solve it keeps me happy, and the music is my home. Everywhere I go people ask me, what kind of music do you play? And I just say, I'm gonna hear some blues, like a free train rollin' too. Gospel's sold in some good old rock 'n' roll. Standing by while I'm livin' plus a little bit more. They call me a choo-a-doh, call me a choo-a-doh. [Music] Take it in my pocket, got a feather in my hand. Gotta solve it keeps me happy, and the music is my home. Everywhere I go people ask me, hey what kind of music do you play? And I just say, I'm gonna hear some blues, like a free train rollin' too. Gospel's sold in some good old rock 'n' roll. Singin' 'bout what I'm livin' plus a little bit more. They call me a choo-a-doh, call me a choo-a-doh. A choo-a-doh, call me a choo-a-doh, call me a choo-a-doh, call me a choo-a-doh. [Music] That was Troubadour from Eric's 2005 album, A Ship Called Love. And sharing the vocals with him on that one was a lovely lady called Ruthie Foster. Ruthie comes up in conversation later so we'll be hearing more about her. But let's get back to the interview. I was interested in the people you mentioned as the current people you were listening to. As I mentioned, slide-wise, Derek Truckses is making wonderful sounds. He is truly a great guitar player. I like a lot of people who are less than you know spent to go to. Now I don't know if you want it. I'm another fine player in this tribe of people who are taking old material into a new space. Well, escaping me. Love all in the young blood heart. Yeah. A great player. When a number of instruments, just a really fine player. Michael Jerome Brown. He's based in Canada and Americans live in Canada all his life. Great player. I've been playing on everything from finger picking to slide to fatless banjo. Great good banjo player. The banjo seems to be coming back. Yeah, it's coming back big time. Have you come up? There was his tailor on them recently, recapturing the banjo. Yes, yes, I've had that. Yes, yes. It was his album. Yeah, guys on it out into it. I love that stuff. Yes, guys, wonderful. Eric mentioned a guy that I called Michael Jerome Brown and I'd never heard of him. But I've been doing some investigation and I suspect I'm going to be playing quite a lot of more of him in the future. This is Michael Jerome Brown. ♪ ♪ No, the path he lived behind ♪ ♪ No, the path he lived behind ♪ ♪ No, the path he lived behind ♪ ♪ Helped your brother down the line ♪ ♪ No, the path he lived behind ♪ ♪ Take the gifts your life provides ♪ ♪ Take the gifts your life provides ♪ Take the gifts you might provide, accept love to be your guide. Give your children love and care. Give your children love and care. Give your children love and care. They're not treasured beyond compassion. Give your children love and care. Give your children love and care. Give your children love and care. Give your children love and care. Give your children love and care. Give your children love and care. Give your children love and care. Give your children love and care. Give your children love and care. Give your children love and care. Know the path you leave behind. Know the path you leave behind. Know the path you leave behind. Make your steps both sure and care. Know the path you leave behind. For all fabulous stuff, Michael Jerome Brown and the path you leave behind from his 2001 album, Drive On. And I'm very grateful to very bringing him to my attention. I've not come across him before, I suspect I'm going to be listening to quite a bit of Michael Jerome Brown in the coming months and probably featuring him on the show a couple of times as well. Okay, let's get back to the interview. I spoke to Rory Bloch. Oh, Rory. And I was amazed how hard she plays that Martin. Yes. But I've never seen anybody hit on a Martin. That's right. But you said that because she does the sponsorship to your endorsement, they fix it for a long time. So you have the same deal with father? Yes, exactly. I don't get to see him as often as I'd like to. He's made a new guitar for me. A kind of alto guitar somewhere between my baritone and the standard. Collaborated on a kind of little experiment that worked out really great. It's tuned down the sea. Yeah, I just love it. It's got some really exotic wood, pink ivory. Have you seen that wood? It's not the one with you. No, I don't have it with you. Okay. Pink ivory is actually pink. It's from Southern Africa. And its natural color is pink and they're back inside. So that's a wonderful guitar. Mentioning Rory, you did the Sisters and Brothers? Yeah. How did that come about from you? The producer just said to me, well actually, no, that's not true. We did have a wonderful producer who basically saw it to it that it happened. But it started with a gig in Seattle. I was playing in a place. And I noticed Marie and Malta, I was in the audience. And she started singing towards the end of my set, joining in. She came back and she said, Eric, you know, I'd love to do something with you. If I can get somebody interested in doing a kind of collaborative project with me and you and maybe one other player, singer, would you be interested? And I said, yeah. And she talked to her friends at Telark. And the next thing I know, they said, can you be at this place at this time? And, you know, here's the deal. So I worked for you and I said, yeah. And over three days in Unity, Maine, we made that record. Sound of the tracks though sounded as though it was either only you or only Rory. Yes, yes. It was kind of collaborating. Yes, we had limited time, so we had to, you know, kind of do what we could. I mean, I met Rory since and we talked about revisiting that whole idea, maybe doing some more things together. So we'll see. Yeah. ♪ ♪ You might slip, you know you might fly ♪ ♪ Stumbling fall by the roadside ♪ ♪ But don't you ever let go by ♪ ♪ Drag your spirit down ♪ ♪ Don't let nobody drag your spirit down ♪ ♪ Remember we're walking up the airport ♪ ♪ Don't let nobody turn you round ♪ ♪ ♪ Well, walk with the rich ♪ ♪ Walk with the poor ♪ ♪ Learn from everyone ♪ ♪ That's what life is for ♪ ♪ Don't let nobody ♪ ♪ Drag your spirit down ♪ ♪ Don't let nobody drag your spirit down ♪ ♪ Remember we're walking up the helmer ♪ ♪ Don't let nobody turn you round ♪ ♪ ♪ ♪ Some say yes ♪ ♪ Some say no ♪ ♪ Some people wait in secret ♪ ♪ Where the wind gonna blow ♪ ♪ But don't you let nobody ♪ ♪ Drag your spirit down ♪ ♪ Don't let nobody drag your spirit down ♪ ♪ Remember you're walking up the heavens ♪ ♪ Don't let nobody turn you round ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ I can't let 'em turn around You might slip, try and know your might's life, Stumbling for a thousand roads high But don't you ever let nobody drag your spirit down? Don't let nobody drag your spirit down Remember we're walking up the heavens Don't let nobody turn you around A rather sedate studio version of something that Eric does much more animated live The track is "Don't ever let nobody drag your spirit down" That was Eric, Rory Block and Maria Muldor from the Sisters and Brothers album 2004 Apparently Eric's mum said he should put that number in every set he does I suspect she's right This is nothing but the blues with me, Cliff and we're in the middle of a Eric Bibbs special Since I caught up with him at the Cambridge Folk Festival And I asked him about covering other people's songs A couple of other things that came up in the workshop You don't do covers or you don't do a lot of covers You've covered a couple of Dylan tunes How do you choose which tunes you've got to cover? They really have to speak to me I mean, there's so many songs that I like But when I actually try them out for myself they don't really feel like they're my own You have to make every song wrong whether you're written or not I'm going to do Guy Clark's song "The Cape" tonight Do you know that song? I love that song Who's interested? People suggest things and sometimes they get it right It was an Australian radio presenter who said "There's a guy Clark Clark's song called "The Cape" that I think would just work great for you And I heard it some time in the past but hadn't really thought of it in those terms And I went and listened to it and I thought "I'll have a go like this" And she was right, it just fit me like a glove So sometimes she can't see it That's right Eight years old with a floss at Cape tied all around his neck He climbed up on the garage figuring what to heck He screwed his courage up so tight the whole thing came unwound Gotta run and start and bless his heart, he hit it for the ground He's one of those who knows that life is just the leap of faith He's spread yards and hold your breath and always trust your cape All grown up with a floss at Cape tied all around his dreams He's full of piss and vinegar and he's busting at the seams Well he licked his finger and checked the wind, he's gonna be due or die He wasn't scared of nothing but he was pretty sure he could fly 'Cause he's one of those who knows that life is just the leap of faith He's spread yards and hold your breath and always trust your cape Now he's old and grey with a floss at Cape tied all around his head Well he's still jumping off the garage and it will be 'til he's dead All these years the people said he's acting like a kid He did not know he could not fly so he did He's one of those who knows that life is just the leap of faith Spread yards and hold your breath and always trust your cape He's one of those who knows that life is just the leap of faith Spread yards and hold your breath and always trust your cape Spread yards and hold your breath and always trust your cape Wasn't that lovely? That was the Cape, the guy clocks on one of the few covers that Eric does And you can find that on his friend's album which came out in 2004 Back to the interview now You mentioned you started off on piano or you play a bit of piano? I had some lessons and I had a great teacher, a jazz teacher And I was just interested in guitar so I wasted my parents money It was really unattentive but I recognized a great teacher And he was helpful in pointing out some harmony things that were useful to me later So you can read music? I can read music in a kind of rudimentary fashion I know some things about harmony, but I've had wonderful teachers who I didn't really completely take advantage of And I wish I had Because I think that was one of the questions, what do you prefer music? I don't really have a big connection to tablature, to written music I write out chord charts for my own tunes, particularly when I'm trying to teach other musicians Or if somebody's interested in covering one of my songs, I just sent the lead sheet to Ruthie Foster for a new song She is amazing, listen, the word is not completely out here on Ruthie But when the world discovers that amazing singer, an artist, she's tested for the heights I think You've done some work with her? Yeah, we've had a chance to collaborate on a few things But we just watched this space with Ruthie because I think she's going to be much bigger I think she's amazing, yeah Oh, I woke up this morning with my mind Stayed on freedom Oh, I woke up this morning with my mind Stayed on freedom I woke up this morning with my mind Stayed on freedom Oh, I let it move Oh, I let it move Oh, yeah Let me tell you that I'm walking in my mind Stayed on freedom I'm walking and talking with my mind Stayed on freedom I'm walking and talking with my mind Stayed on freedom Oh, I'm singing and praying with my mind Stayed on freedom I'm singing and praying with my mind Stayed on freedom I'm singing and praying with my mind Stayed on freedom I let it move I let it move I let it move Oh, yeah Oh, yeah Yes, I am Oh, yeah Yes, oh, yeah Come on now Yes, I am Yeah, yeah Yeah, yeah Oh, I'm singing and praying with my mind Stayed on freedom You know I'm teaching and preaching with my mind Stayed on freedom I'm teaching and preaching with my mind Stayed on freedom I'd have to lose I'd have to lose I'd have to lose Oh, you know there ain't no harm to keep your mind Stayed on freedom I know there ain't no harm to keep your mind Stayed on freedom I ain't no harm to keep your mind Stayed on freedom I let it move I let it move I let it move Yeah I let it move I let it move I let it move I let it move Oh, yeah Ruthie Foster with "Woke Up This Morning" from her "Runaway Soul" album She came out in 2002 And if you've got Eric's latest album "Get On Board" You'll know that he does a version of that called "Stayed On Freedom" It's a traditional song A lot of people have covered it, but I really like Ruthie's version I like Eric's version as well If you've got the "Diamond Days" album, you'll know that there's a bonus track on the end That's a bit difficult to get to You've got to play track 12 and wait until you get halfway through This is then a break and then the bonus track comes in Eric, what was the thinking behind that? Can I have some sort of DJ track for sure? Diamond Days You've got the "Last Track" And then you've got a 30 second game And then you've got the "Woke Up" I love that song Don't decide to do it that way rather than just put two tracks on Yes, I think I decided that That recording was done in another moment in the record And I was so attached to it That I wanted it to be shared But I didn't really want it to I mean, I had a wonderful producer on that project And I didn't want to step on his toes too much I wanted to make some kind of indication That it was not really attached to that body of work that was Diamond Days I wanted the integrity of that particular set to be maintained That's what I think we decided to Okay, it made it very difficult as a DJ Yeah, to wait And to play the first one That's right, that's right Something I've not known with you, which is open the mic It's all for 30 seconds, doesn't it? And they're not to cut you off of the bridge Exactly, yeah, good So it's not going to get as much out of playing as it would be No, that's true That's true Well, we may have at some point You know, included on some plays As a separate track Yeah, that would be you ♪ It takes a worried man To sing a worried song It takes a worried man To sing a worried song I'm worried now But I won't be worried now ♪ I wouldn't cross the river ♪ Lead down to sleep ♪ I wouldn't cross the river ♪ Lead down to sleep ♪ When I woke up It shackles on my feet ♪ 29 lanes ♪ Chained by my lead ♪ 29 lanes ♪ Chained by my lead On each lake The initials of my name ♪ It takes a worried man To sing a worried song It takes a worried man To sing a worried song I'm worried now But I won't be worried now ♪ ♪ I asked a judge What might be my fine I asked a judge What might be my fine 21 years When I all seem out alive ♪ A train that I would ride Is 16 coaches alone ♪ A train I ride Is 16 coaches alone One man I love On that train and gone ♪ It takes a worried man To sing a worried song It takes a worried man To sing a worried song It takes a worried man To sing a worried man To sing a worried man To sing a worried man ♪ It takes a worried man To sing a worried man To sing a worried man To sing a worried man To sing a worried man To sing a worried man To sing a worried man To sing a worried man To sing a worried man To sing a worried man To sing a worried man To sing a worried man To sing a worried man To sing a worried man To sing a worried man To sing a worried man To sing a worried song I'm worried now But I won't be worried now But I won't be worried now But I won't be worried now But I won't be worried now I won't be worried now ♪ ♪ ♪ ♪ ♪ Worried man blues isn't that nice From Eric's 2006 album Diamond Days That's the bonus track Well not being able to write a song to save me life I always wonder how Proper songwriters do it I took this opportunity to ask Eric You always let no problems writing songs I mean in the sense that You seem to have to put a song together reasonably easily The number of albums you've had Yeah, that's true Which comes first The Panama Hat or the song Go Jackson's Right Um It can either start with an idea Like a pan in my hat Like that started with Martin Simpson telling me Oh you're breaking in A new pan in my hat Because I had one I think that was When I was once at Cambridge Maybe it might have been the last time Okay We were in the hotel And we're here And Martin said I mean Steve Simpson said Oh you're breaking a new pan in my hat And I said man that sounds like a song He said It said cut me in on it I said I'll do that And I ended up doing that And um You know A potent idea Will spawn a song As easy as anything like that You know it kind of almost writes itself Breaking a brand new pan in my hat And just Doing the dots you know Spaces but Dot to dot But other things will come to me Just noodling around on the guitar Something can kind of bubble up from the subconscious And I'll follow it And I'll end up being a song Breaking in a brand new pan in my hat Bought it in a battle just like that Best hat yankin' dollars can buy Waking on the brim 'cause I'm like a real flat Talking about a brand new pan in my hat Breaking in a brand new pan in my hat Bought it in a battle just like that Best hat yankin' dollars can buy Waking on the brim 'cause I'm like a real flat Talking about a brand new pan in my hat Breaking in a brand new pan in my hat Bored it in a battle just like that Best hat yankin' dollars can buy Waking on the brim 'cause I'm like a real flat Talking about a brand new pan in my hat Bored it in a battle just like that Best hat yankin' dollars can buy Waking on the brim 'cause I'm like a real flat Waking on the brim 'cause I'm like a real flat Talking about a brand new pan in my hat Just gonna take some time But I'm a patient guy Waking up the beach with my private shade Sipping that ice cold lemonade Just taking in the sea the sun and sky Waking on the brim 'cause I'm like a real flat Talking about a brand new pan in my hat Just gonna take some time But I'm a patient guy (music) My hand is good but I'm bad as better That's what I wrote my down And I'm better, I wish you were here We're drink the whole time drunk (music) While she's back home with the kids in the flat I'm out here breaking in a pan in my hat Just gonna take some time (music) And I'm a patient guy (music) But God, a special kind of run with lights you up Someone's always there to fill your cup It ain't like regular liquor And I can't say why (music) I say I'm sitting in my same place Handing waste and breaking in my brand new pan On my hat Just gonna take some time (music) But I'm a patient guy (music) (music) (music) (music) (music) (music) Just gonna take some time (music) But I'm a patient guy (music) (music) (music) (music) Great stuff, Panama has from Eric's 2005 album Road Works And for the final section of the interview I was interested in where Eric saw himself going Sort of things he'd like to be doing You touched on Destiny Blues just at the end there Because one of the quotes I pulled out is Sometimes my destiny feels like a mystery to you Do you have a sense of where you're going? I do actually, that was a moment of crisis Really a kind of existential meltdown At five in the morning being seriously jet-lagged But generally speaking I'm pretty clear about what I'm here to do And where I want to take it And it's just a question of finding that balance between activity and downtime And prioritizing what projects come and what order But I really have a clear idea of what I want to keep doing And how I want to do it And it's basically continuing There's a whole list of musicians who I'd like to collaborate with at some point I'd like to present my concerts in a certain format That's going to take some time and resources Like a somewhat longer concert I'd like to build it up from basically solo to group oriented stuff You know, it's an incredibly expensive enterprise Tour with other musicians If you want to do it properly And make sure that everybody gets what they really need out of it So, you know, it doesn't hurt to have some hit records, you know I mean, thank you for all that If this was a job interview, I'd be saying What do you see yourself doing in the next five years? Where would you see yourself being in five years' time? Well, I see myself doing what I'm doing I see myself having an opportunity to pick and choose a bit more In terms of how much I tour And what kind of venues You tend to gravitate towards Geeks that are going to pay well And further your reputation It would be nice to do more rather than less theaters I like the format of theaters It would be nice to do something more ambitious In terms of the staging of the show Almost like sets Okay, great I'd like to do some things with film footage Back projection of things, you know, really tell stories Yeah, and we'd like to do it more theatrical Think of Tom Waits, but who may be not as radical, you know But I really think that presenting it in a considered way With the detailed attention to stagecraft would be really fun I'd love to do more film work More music for films Soundtracks? Yeah, that kind of thing I've done some and I'd love to do more Maybe even some on-screen things Although that's not a big priority But the music thing Soundtracks is really something I'd really like to get more involved in A couple of projects involving children's music Even some instrumental things, you know Sounds good? Yeah Yeah, yeah Don't you hear the whistle blowing A little dude, yeah You're telling everyone You don't need no fail Talking 'bout a love train Coming round the bend Go tell your mother and your father's sister brother Children tell your friends Drop whatever you do to me That this train won't wait You wanna get on board Before it's too late Talking 'bout a love train Don't need no ticket to ride Make sure you're waiting at the station With your neighbor, with your heart open wide Open the door Open the door Open the door Get on board Open the door Open the door Open the door Get on board Can't you hear the train come Coming down the track Wanna one-way journey Ain't coming back Talking 'bout a love train Won't be stopping long There's room for everybody Whether you're rich or poor We go strong Open the door Open the door Open the door Get on board Open the door Open the door Open the door Get on board This train is bound For a land of milk and honey Don't you wanna go To get on board Don't you don't need money Don't you show me brother and love Don't you hear the whistle though Don't do the air Telling everyone You don't need no fare Talking 'bout a love train Talking 'bout a love train Coming 'round the bend Go tell your mother And your father's sister brother Tell me tell your friends Open the door Open the door Open the door Get on board It always time to open the door Open the door Open the door Get on board Open the door Open the door Open the door Get on board Yeah Open the door Open the door Open the door Get on board Open the door Open the door Open the door Open the door Get on board Get on board The title track from Eric's Latest album released earlier this year And this is nothing but the blues with me, Cliff And I'll put the playlist for the show Up on the website Which is www.nothingputtheblues.co.uk And there's a link there to the RSS feed And the playlist will have links to Mostly Eric Bibb this week But to the other artists as well It's been an Eric Bibb special And I hope you've enjoyed it As much as I've enjoyed putting it together One of the other people Eric mentioned Was Martin Simpson So let's have some Martin Simpson ♪ John Hardy was a desperate little man And he carried two guns every day He shot a man down on the West Virginia line All the scene John Hardy getting away All the scene John Hardy getting away All the scene John You're the scene John Hardy getting away John Hardy standing on his own pistol bow So drunk he could not see How come the deputy took him by the arm He said Johnny come and go with me He said Johnny come and go with me He said Johnny come and go with me He said Johnny come and go with me John Hardy had his sweet loving mother He'd come for the go his bail But there was no bail for murdering man So they throw John Hardy back in jail Throw John Hardy back in jail They throw John You know they throw John Hardy back in jail John Hardy had a pretty little girl And the dress she wore was blue She come down to the old jail cell She said Johnny I've been shooting you She said Johnny I've been shooting you She said Johnny I've been shooting you She said Johnny I've been shooting you And John Hardy had a pretty little girl The dress she wore was red She come down to the old jail cell She said Johnny I'd rather see you dead She said Johnny I'd rather see you dead She said Johnny I'd rather see you dead And Johnny I'd rather see you dead I've been to the E I've been to the West I've been this old white world around I've been to the river I've been back tonight You can take me to my hanging ground You take me to my hanging ground You can take me to my hanging ground You take me to my hanging ground You take me to my hanging ground You take me to my hanging ground You take me to my hanging ground You take me to my hanging ground You take me to my hanging ground You take me to my hanging ground You take me to my hanging ground You take me to my hanging ground You take me to my hanging ground You take me to my hanging ground You take me to my hanging ground You take me to my hanging ground You take me to my hanging ground You take me to my hanging ground You take me to my hanging ground John Hardy was a desperate little man He carried two guns every day He shot a man down on the West Virginia line Oh, the scene John Hardy getting away Oh, the scene John Yeah, the scene John Hardy getting away Oh, the scene John Yeah, the scene John Yeah, the scene John Hardy getting away Tremendous stuff Martin Simpson with John Hardy From his 2003 album, strangely titled Righteousness and Humidity That's right Well, this has been Nothing But The Blues at Meatcliff And I'm going to leave you with somebody else that Eric mentioned, the Fantastic Derek Trucks with Chevrolet from his Songlines album in 2006 Thanks for listening, I'll catch you next week [MUSIC PLAYING] [MUSIC PLAYING] [MUSIC PLAYING] [MUSIC PLAYING] [MUSIC PLAYING] [MUSIC PLAYING] [MUSIC PLAYING] [MUSIC PLAYING] [MUSIC PLAYING] [MUSIC PLAYING] [MUSIC PLAYING] [MUSIC PLAYING] [MUSIC PLAYING] [MUSIC PLAYING] [MUSIC PLAYING] [MUSIC PLAYING] [MUSIC PLAYING] [MUSIC PLAYING] [MUSIC PLAYING] [MUSIC PLAYING] [MUSIC PLAYING] [MUSIC PLAYING] [MUSIC PLAYING] [MUSIC PLAYING] [MUSIC PLAYING] [MUSIC PLAYING] [MUSIC PLAYING] ♪ I'm alright, don't you see from you ♪ ♪ Baby, don't you see from you ♪ ♪ Buy you a chef on day ♪ ♪ Buy you a chef on day ♪ ♪ Buy you a chef on day ♪ ♪ And catch you soft from you ♪ ♪ And catch you soft from you ♪ ♪ Let me see you soft from you ♪ ♪ Let me see you soft from you ♪ ♪ Yeah, look at you soft from you ♪ ♪ You just don't do something ♪ ♪ I don't do something ♪ [MUSIC]