By Chris Rea
Piano, Vocal, Guitar Tablature
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Sam Briggs, he was one we fell out with because we couldn’t do nothing about him and his whiskey. That’s one of the reasons why it was hard to keep singers. One time we had us a bass singer that was out of this world. And the ﬁrst program we went off on, a deacon of all people, came to us and wanted to know, did we want a little refreshments. We asked what did he mean. ” But this bass singer, he just kept on watching the guy. After then, I said to myself, we sure going to have to get rid of him.
The song they used as a “placater” was Stephen Foster’s “Old Black Joe,” a melancholy pseudohymn about an aged slave yearning for old times and friends long gone. “Jimmy Bryant brought the song into the group,” recalls James Davis. ” I’m coming, I’m coming, for my head is bending low. ” The 1860 song’s romanticized vision of slavery was especially popular with white audiences in the South. The Dixie Hummingbirds were aware that they were validating white stereotypes, but they viewed it as part of the price paid for the privilege of accessing wider audiences.
So I said, “OK, suppose I marry you? We’re ﬁxing to leave here. In fact, I’m leaving here tomorrow. ” She say [back to the high voice], “Well, I’ll be here when you get back. And I know you will be back. I’m with you. ” [In normal voice] And, hey, I’d go back and hadn’t done too well. ” She’d say, “Oh, don’t worry about it, baby. ” I was gone for three months after we got married. I give her credit. She had more sense. She knew me better than I did. When we started doing pretty good, got into Ebony magazine, Sepia, and all those magazines, she was more proud than I was.