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It’s a long John/Lost John
Traditional Old-Time, Bluegrass; Breakdown and Song- Alabama, Mississippi, Tennessee, Kentucky.
ARTIST: Source: Afro-American Spirituals, Work Songs, and Ballads, ed. Alan Lomax (Washington, D.C.: Library of Congress Archive of Folk Song, AFS L3). Sung by “Lightning” and a group of Afro-American convicts at Darrington State Prison Farm, Sandy Point, Texas, 1934. Recorded by John A. and Alan Lomax.
CATEGORY: Fiddle and Instrumental Tunes; DATE: Early 1900’s;
RECORDING INFO: Columbia 15103 (78 RPM), Oliver Sims (1926). Columbia 15122-D (78 RPM), Burnett and Rutherford (1926). County 719, Kenny Baker- "Portrait of a Bluegrass Fiddler" (1968. Learned from his father). Mag 1018, Ted Powers- "Old Time Fiddler." Mississippi Department of Archives and History AH-002, Enos Canoy Band - "Great Big Yam Potatoes: Anglo-American Fiddle Music from Mississippi" (1985). Okeh 40391 (78 RPM), Henry Whitter (1928). Rounder 0034, Jim Gaskin. Rounder 1004, "The Songs of Dick Burnett and Leonard Rutherford." Vocalation 5441 (78 RPM), Stripling Brothers (Alabama) {1929}. Vocalation (78 RPM), Southern Moonlight Entertainers (Tenn.) {1930}.Baker, Kenny. Portrait of a Bluegrass Fiddler, County 719, LP (1968), cut# 5. Burnett and Rutherford. Ramblin' Reckless Hobo, Rounder 1004, LP, cut# 5. Canoy, Enos. Great Big Yam Potatoes. Anglo-American Fiddle Music from Missi., Southern Culture AH002, LP (1985), cut# 25. Cohen, Andy; and Joe LaRose. Tuxedo Blues, Green Linnet SIF 1033, LP (1981), cut# 9. Cousin Emmy (Cynthia May Carver). New Lost City Ramblers with Cousin Emmy, Folkways FTS 31015, LP (1968), cut# 8. Gregory, W. L.; and Clyde Davenport. Monticello, Davis Unlimited DU 33014, LP (1975), cut# 14. Hash, Albert; and the Whitetop Mountain Band. Whitetop, Heritage (Galax) 041, LP (198?), cut#A.01. Holt, David. It Just Suits Me, June Appal JA 0038, LP (1981), cut# 3. Iron Mountain String Band (Galax). Music from the Mountain, Heritage (Galax) 101C, Cas (1992), cut# 3. Kottke, Leo. Greenhouse, Capitol ST-11000, LP (197?), cut# 11. Martin, Asa; and the Cumberland Rangers. Dr. Ginger Blue, Rounder 0034, LP (1974), cut# 9. Parham, Red; & the Haywood County Ramblers. 37th Old-Annual Old-Time Fiddlers Convention, Folkways FA 2434, LP (1962), cut# 5. Pegram, George; and Parham, Red (Walter). Music From South Turkey Creek, Rounder 0065, LP (1976), cut#b-1. Pegram, George; and Parham, Red (Walter). Pickin' and Blowin', Riverside RLP 12-60, LP (195?), cut# 3. Poston, Mutt; and the Farm Hands. Hoe Down! Vol. 7. Fiddlin' Mutt Poston and the Farm Hands, Rural Rhythm RRFT 157, LP (197?), cut#B.13. Stamper, I.D.. Red Wing, June Appal JA 0010, LP (1977), cut# 5 . Stripling, Lee. Hogs Picking Up Acorns, Voyager VRCD 349, CD (2000), cut#19. Sutphin, Vernon. Stoneman Family Old Time Songs, Folkways FA 2315, Cas (1957), cut# 21. Terry, Sonny. Folk Box, Elektra EKL-9001, LP (1964), cut# 54. Watson, Doc. Doc Watson on Stage, Vanguard VSD 9/10, LP (1970), cut# 6 Bascom Lamar Lunsford (listed as "Lundsford"), "Lost John Dean" (Vocalion 5246, c. 1928; on TimesAint01)
RELATED TO: Walk Along John; Feather Bed; Blowing the Train; Ruben/Ruben's Train;
OTHER NAMES: "Lost Boy Blues," Lost John Dean from Bowling Green ; Long John; Long Gone; Long Gone from Kentucky
SOURCES: Kenny Baker [Brody], Rutherford and Burnett (Ky) [Kuntz], Ralph Troxell & Kenny Baker [Phillips]. Brody (Fiddler's Fakebook), 1983; pg. 178-179. Kuntz (Ragged but Right), 1987; pg. 269-270. Phillips (Traditional American Fiddle Tunes), Vol. 2, 1995; pg. 81. Lomax-FSNA 287, "Long John". Lomax-ABFS, pp. 75-79, "Long Gone" Courlander-NFM, pp. 102-103, "(Lost John)"; p. 261, "Long John"; Handy/Silverman-Blues, pp. 200-202, "Long Gone"; Silber-FSWB, p. 68, "Long John"
NOTES: G Major. Standard. AB (Phillips): AAB (Brody, Kuntz). Mark Wilson reports that folklorist/musicologist Alan Lomax links these songs (plural, for there are several tunes which use this floating title) to ante-bellum folklore about the character of John the Trickster Slave.
Charles Wolfe remarks that the family of songs has several branches, including the old-timey 'hillbilly' song, a blues harmonica solo version by De Ford Bailey (Victor, 1920's), a vaudeville song ("Lost John Dean from Bowling Green"), and a work song "Wake Up, Dead Man"). Tom Rankin (1985) differentiates the different melodies using the title: Enos Canoy, Burnett and Rutherford, Henry Whitter, De Ford Bailey and Oliver Sims' (the latter three are harmonica versions. Enos Canoy originally learned the tune on the harmonica and transferred it to the fiddle). The tune was recorded by the Northwest Alabamian (Fayette) of August 29, 1929, as likely to be played at an upcoming fiddlers' convention (Cauthen, 1990).
The Lomaxes believe this to be based on the story (coming from W. C. Handy's book "Blues"; see page 215 in Handy/Silverman) of one Long John Green, who was known for his ability to move. When the prison where Green was staying acquired a pack of bloodhounds, they allegedly decided to conduct a test by giving him a head start and then sending the hounds after him. But Green was too fast (he also managed to trick the hounds by catching one in a trap), and escaped them.
“Long John” is an African American roots version of “Lost John.” Spirituals and work songs, rooted in both the slavery era and the West African societies from which most African-American slaves were originally taken, provided cultural sustenance to African Americans in the midst of intense racial oppression. They first came to be valued by northern white audiences in the late-19th century. Later, folklorists began collecting (and eventually recording) traditional southern music. John and Alan Lomax recorded southern musicians (African-American, white, and Mexican-American) for the Library of Congress. They recorded “Long John,” a work song, sung by a man identified as “Lightning” and a group of his fellow black convicts at Darrington State Prison Farm in Texas in 1934. Black prisoners working in gangs to break rocks and clear swamps relied on the repeated rhythms and chants of work songs (originating in the forced gang labor of slavery) to set the pace for their collective labor. “Long John” mixed religious and secular concerns, including the notion of successful escape from bondage, a deeply felt desire of both slaves and prisoners.
Here are the lyrics to “Lost John” from Lomax:
LONG JOHN (All lines are repeated)
LEADER:
l. It’s a long John,
He’s a long gone,
Like a turkey through the corn,
Through the long corn.
2. Well, my John said,
In the ten chap ten,
"If a man die,
He will live again."
Well, they crucified Jesus
And they nailed him to the cross;
Sister Mary cried,
“My child is lost!”
Chorus: Well, long John,
He’s long gone,
He’s long gone.
Mister John, John,
Old Big-eye John,
Oh, John, John,
It’s a long John.
3. Says-uh: "Come on, gal,
And-uh shut that do',"
Says, "The dogs is comin'
And I’ve got to go."
Chorus: It’s a long John,
He’s long gone,
It’s a long John,
He’s a long gone.
4. "Well-a two, three minutes,
Let me catch my win';
In-a two, three minutes,
I’m gone again."
Chorus: He’s long John,
He’s long gone,
He’s long gone,
He’s long gone.
5. Well, my John said
Just before he did,
"Well, I’m goin' home,
See Mary Lid."
Chorus: He’s John, John,
Old John, John,
With his long clothes on,
Just a-skippin' through the corn.
6. Well, my John said
On the fourth day,
Well, to "tell my rider
That I’m on my way."
Chorus: He’s long gone,
He’s long gone,
He’s long gone,
It’s a long John.
7. "Gonna call this summer,
Ain’t gon‘ call no mo’,
If I call next summer,
Be in Baltimore."
He’s long gone.
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