Nice to be back again at the tune of the month project.
Good version too! Did you invent that ending yourself?
Very nice and original.
Now let's hope the others will join in, too.

Naw, like almost everything I do, I "lifted" it (or rather some semblance of it) from Chris Miller on another song. Works for me, though!

You know what they say, though: imitation is the sincerest form of flattery, and I'm nothing if not a sincere flatterer!

Well, keep on flatterin' . sounds good!

C'mon, boys! Where are those Blacktop Blues versions? It's not a particularly hard song, and I know a few of you already know it. I've broken the ice, so let's see some action!

And it's too hot outside most places to do much else . . . or want to, anyway.

My first impression of this song that it was simple and boring. Playing with 3 fingers, it is indeed a simple song. However, in listening closely to Octa Clark's recording it becomes suddenly more complex.

Mr. Octa has taken a simple tune and injected the illusive chanky-chank licks that most of us beginners are seeking, but not often finding. Slowing the song down reveals far more things going on than first meet the ear.

I worked at it pretty hard for a couple of days and went back to the Slow-Downer to check my work. To my surprise, I had it all wrong, and it sounds differently to me today than before. This scenario repeats itself as the underlying harmonies and transitions present themselves in an ever-changing light. More days have past, and I'm starting over again!

It is strange how the mind picks what you want for it to process, pacing you along until you are ready for another increment of complexity.

I recently went through this with Cory McCauley's Yo Yo Two Step, but Octa Clark's music is even more bedeviling.

By the time I get this simple tune down solid, I'll be able to play it on the Chinese scale.

Don't give me up, Jamey, the month ain't over.

The recording I'm listening to is by Octa Clark and posted on Cajun Music MP3.


A few thoughts:

I find the melody to be simple and it didn't take me log to figure that part out. BUT, this song is somewhat "crooked" (as some cajun blues songs can be) at least the way Octa plays it in this recording it is. To play it just like Octa did is fairly elusive because I find that Octa is just running with the feeling he had at that time.

So that kind of presents a dilema, should one play it as recorded with its odd quirks and all (potential jam buster), smooth it out a bit (jam friendly), or play it however you feel while holding true to the melodie (as I'd imagine Octa did)?

I don't think there is any simple answer to that. But, what I'm trying to do is learn the song as close to Octa's recording as possible just so that I am able to accomplish that goal but when I'm playing with others I will be listening to how the guitar player and fiddler are playing and just roll with the feel while holding true to the melody and overall feel for the song.

The elusive parts I'm talking about are simple too. They are mainly when he drags out the notes after some of the phrases of music. Those drug out notes vary in duration and that's mainly what I find elusive. But how important is it to drag out those notes exactly how long Octa Clark did at the exact time and exact length each time?

I don't do that drag thingy because I can't make it work out right. I've long noticed that many of those old players often drug out notes. This seems to be a skill gone by the wayside in favor of fast and fancy thrills. To me it's very hard to put them in the right place and come out of it at the right time. If you watch Cory McCauley play much, you'll notice he does it quite a bit, especially in jams.

Is "crooked" like broken meter?

If so, I may be Cajun. :-)

I think it's typical for Cajun music to be "crooked". Other kinds of music are very strict: for instance 16 measures, four counts per measure - not more, not less (like Irish traditional), but not so in Cajun.
Bosco Stomp, Mamou Two Step, and countless others are often played with a count or a half measure extra, mostly at the end of a phrase or part. That's why it's sometimes better in jams to make sure to play the same version. The same goes for Octa's version of Blacktop Blues. He does it his way, you can do it your way. You can replace the long drag note with a shorter one , or leave it away completely (in jams), just as you like it. It's a fun tune.

I made this up some three years ago.I wouldn't have the patience now! some of it I would play it a bit different now, but it may be helpful! Website #1.

Ok--here you go. Took my shot at it--sounds like everyone is having a good go at it and its been a while for me to post anything. Hello everyone!

Well gentlemen (still no ladies around ??), this is the definite version as far as I'm concerned. Very inspiring.
You don't even need a band when you can play it like this. Fabulous!
Thanks Chris! And good to see/hear you again.

Ain't that the truth, Peer? Chris wanders in and nails it again. His playing is simply beautiful, and rather mesmerizing. I just love to watch him play.

Thanks, Chris! Thank heavens you post versions that we can all learn from; they are pure gold!

But as beautiful as Chris' playing is, it's still fun to see EVERYONE'S version, because they are all different, and there's something to learn from everyone, from beginner to expert.

So don't be shy, guys - it's ALL good!

Yeah !

C'mon boys - cowboy up!

Whoo hooo. Yay Jamie!! I already nailed down this song. I gots myself another 2-step. I think that makes 3 total.



Man... Chris.. I love how you got that swing feel of it.

John in Oregon