Why do I sing The Dirty Blues?

Why do this show? Why does a woman of a “certain age” need to get gussied up and sing songs from a long time ago? I mean…what do you think you are right?


Well here’s why. Since turning a bit older I have felt invisible, unknown, under-respected and finished. After all biology and our culture here in the USA tells us that a woman my age must give up on sexuality and attractiveness. These songs scream against that idea. That a women is what she is told she is. That her power is given and not just inherent. That she must pass some test, be the proper weight, height and be feminine and submissive. Ladies and Gents., I have no interest in being any of those things nor am I doing this for attention like a woman hoping to grasp at the last straws of her beauty.

These songs speak to me because I feel invisible and dishonored. Just like many women did when they were first written and many do now with a misogynist president, sexual abusers still in power and the threat of rape like a wind constantly blowing over too exposed skin. It is nice to stand up and tell a lover how to love me, to kiss me, to hold back when I say so and do it how I like because I like it like that and if they don’t I’ll walk away and find a new one! How cool it is to claim my experience as a woman, a lover and a creatrix.

No, it is not the same reason these songs were done back then, although I do think Sophie Tucker did this choose scream out that cry too later in her career. That of the older, more experienced woman stating her power on the stage! The others who sang these like Bessie Smith, Ida Cox, Lil Johnson and more did so in an era when it was important for women, especially African American women and all brave women (Mae West comes to mind) began to speak out and up.

The 1910’s where the earliest songs in our act are from …also the 1920’s when we (women) got the vote, cut our hair, smoked and shouted out the fact that we have a right to good sex, nice men, love, respect and honor and the decades that followed where this same message rang out even if not always totally successful!

My real Granny was a flapper and proud of it. My Grandmother was an emancipated wild woman at a time when that was impossible. I named this act for her and her bloomers which were always hot and always sexy!

A lot of people ask me why I sing these dirty songs. They aren’t dirty to me…they are a howling form of empowerment. They unleash the dominant lioness in this old girl and the same in the women in my audience! The men seem to love them too because they are strong, funny and fierce.

Plus, truly everyone leaves a little turned on and that’s why I call it Burlesque for your ears…and your mind.

List below of the songs we do. We change it up a little each time!

  • A Good Man Is Hard To Find
  • A Guy What takes his Time
  • Ain’t Got Nobody to Grind My Coffee
  • Anybody Here Want to Try My Cabbage
  • Back Door Man
  • Bed Spring Poker
  • Black Eye Blues
  • Blue Skies
  • Bumble Bee
  • Come To Mama
  • Crazy ‘Bout My Lollypop
  • Daddy, You’ve Got Ev’rything
  • Do Your Duty
  • Don’t Come Too Soon
  • Don’t You Feel My Leg
  • Down in the Alley
  • Empty Bed Blues
  • Get It Fixed
  • Handy Man
  • He May Be Your Dog but He’s Wearing My Collar
  • Honey Dipper Blues
  • Honey Don’t You Tear My Clothes.
  • I Need A Little Sugar in My Bowl
  • I Wonder Where My Easy Rider’s Gone
  • I’m Selling My Pork Chops (But I’m Giving My Gravy Away)
  • I’m Wild about That Thing
  • I’ve got a Crush on the Fuller Brush Man
  • I’ve Got Ford Engine Movements in My Hips
  • If You See My Rooster
  • It Ain’t the Meat, It’s The Motion
  • It Ain’t the Meat its the Motion
  • It’s Tight Like That
  • Keep Your Hands Off It
  • King Size Papa
  • Kissing In the Dark
  • Kitchen Man
  • Let’s Get Drunk and Truck
  • Me and My Chauffer Blues
  • Mighty Tight woman
  • Insurance Man
  • My Daddy Rocks Me
  • My Girl’s Pussy
  • My Handy Man
  • My Kitchen Man
  • My Man Stands Out
  • Oh, Daddy
  • One Hour Mama
  • Organ Grinder Blues
  • Press My Button Ring My Bell
  • Sam the Hot Dog Man
  • Second Hand man
  • Send Me a Man
  • Stavin’  Chain
  • Take Your Hand off It
  • Telephone Man
  • The Spinach Song
  • Wet IT
  • Wild Women Don’t Get the Blues
  • You Can Leave Your Hat On
  • You Gotta See Mama
  • You Stole My Cherry

Reverend Mary and Granny’s Blue-Mers Oct 14 & Nov 17

 

 

Reverend Mary

and

Granny’s Blue-Mers

TWICE THIS FALL!

More vintage dirty blues and more from the 1910’s through the 1950’s

 

Band Below! Check out the talent! 

 

 

NEW FUNNY, FILTHY SONGS

AND

NEW BAND MEMBERS

Andrew Beall (Composer of Song of Solomon) and singer-songwriter … and whistler, Lauren Elder join Rev. Mary’s merry band for Granny’s Blue-Mer’s new show: “One Hour Mama.”

Rev. Mary [Micari] a specialist of dirty blues and vintage songs with a filthy flair is back again to bring you even more raucous, rowdy, bawdy blues, plus early rock and cabaret songs that will have you blushing more than anything out there today! Back-in-the-day, censorship made singers and songwriters work hard to hammer out sexy lyrics but under the cloak of double-entendres & clever turns-of-phrase. Rev. Mary brings these songs back to life with a theatrical flair as she honors the women who wrote them. Prepare for wild time and the hottest history lesson in … well … history!

The Granny’s Blue-Mers orchestra is now led by celebrated pianist Rachel Kaufman and features Ms. Elder (Hair, Side Show), Mr. Beall (The Lion King, Les Miserables, Spiderman, In The Heights, and A Gentlemen’s Guide to Love and Murder,) and Mario Claudio, a member of the final cast of the legendary production of LINE at 13th Street and member of the company of UVX at the Abron’s Art Center.

The Duplex in October

61 CHRISTOPHER STREET @ 7TH AVE, NYC

Saturday, October 14 @ 9:30 p.m.

On-line Ticket Price: $ 15.00 / At the Door: $20.00 / 60 minutes.

https://www.purplepass.com/#160975/The_Duplex-Rev._Mary_in_ONE_HOUR_MAMA-The_Duplex_Cabaret_Theatre-October-14-2017.html

and The West End Lounge in November

955 West End Avenue, NYC

Friday, November 17 @ 9:00 p.m.

http://granny.bpt.me

Lead Singer, Percussion, Washboards, Kazoo

TRIXIE SMITH!

From http://www.redhotjazz.com/trixiesmith.html

More at Wikipedia: https://en.wikipedia.org/wiki/Trixie_Smith

trixie smith

Trixie Smith was born in Atlanta, Georgia and is reported to have studied at Selma University in Alabama. Sometime around 1915 she moved north to New York to work in show business. At first she worked in minstrel shows and on the TOBA vaudeville circuit. It was in vaudeville where she became a featured vocalist. In 1922 Smith made her first recordings for the Black Swan label and later that year she won a blues singing contest in New York sponsored by the White dance team of Vernon and Irene Castle, beating out Lucille Hegamin and some other lesser known singers with her song “Trixie’s Blues“. Smith is best remembered today for the excellent Jazz bands that accompanied her on her records. The records were often released under the name of Trixie Smith and her Down Home Syncopators, which was usually either Fletcher Henderson and his Orchestra or the White group The Original Memphis Five. Trixie recorded a fine session for Decca in 1938 that featured Sidney Bechet and an additional song in 1939, but her recording career had for all practical purposes ended by 1926 when she recorded with Jimmy Bythe and his Ragamuffins. As her career as a Blues singer waned, Smith returned to her theatrical roots and worked in musical revues, Broadway shows and appeared the four films. She died in 1943.

Title Director Year
The Black King Bud Pollard 1932
Drums O’ Voodoo Arthur Hoerl 1934
Swing! Oscar Micheaux 1938
God’s Step Children Oscar Micheaux 1938

 

Title Recording Date Recording Location Company
Ada Jane’s Blues
(Jay Guy Suddoth)
9-1924 New York, New York Paramount
12232-B
Black Bottom Hop
(Paul Carter)
12-1925 New York, New York Paramount
12336
Choo Choo Blues (1)
(Jay Guy Suddoth)
12-1924 New York, New York Paramount
12245
Choo Choo Blues (2)
(Jay Guy Suddoth)
12-1924 New York, New York Paramount
12245
Silvertone 3565
Desperate Blues
(Alex Rogers / James P. Johnson)
1-1922 New York, New York Black Swan
2039-A
Don’t Shake It No More
(Thomas A. Dorsey)
6-1924 New York, New York Paramount
12211-B
Everybody’s Doing The Charleston Now
With Fletcher Henderson’s Orchestra

(Benton)
12-1925 New York, New York Paramount
12330-A
Everybody Loves My Baby (But My Baby Don’t Love Nobody But Me)
(Jack Palmer / Spencer Williams)
1-1925 New York, New York Paramount
12249
Freight Train Blues
(Thomas A. Dorsey / Everett Murphy )
5-1924 New York, New York Paramount
12211-A
Freight Train Blues
(Williams)
5-26-1938 New York, New York Decca
7489 A
Give Me That Slow Drag
(Tom Delaney)
9-1922 New York, New York Black Swan
14127-A
Paramount
12164-A
He May Be Your Man
(But He Comes To See Me Sometimes)

(Lemuel Fowler)
4-1922 New York, New York Black Swan
14114-A
He May Be Your Man
(But He Comes To See Me Sometimes)

(Perry Bradford / Lemuel Fowler)
5-26-1938 New York, New York Decca
7528
He Likes It Slow
(W. Benton Overstreet)
12-1925 New York, New York Paramount
12336
How Come You Do Me like You Do?
(Austin / Bergere)
1-1925 New York, New York Paramount
12249
I Don’t Know And I Don’t Care Blues (1)
(George Brooks)
5-1924 New York, New York Paramount
12208
I Don’t Know And I Don’t Care Blues (2)
(George Brooks)
5-1924 New York, New York Paramount
12208
I’m Gonna Get You
(Porter Grainger / Bob Ricketts)
1-1923 New York, New York Black Swan14138-B
I’m Through With You
(As I Can Be)

(Billy Higgins)
10-1922 New York, New York
14132-B
Black Swan
14132-B
Jack, I’m Mellow
(Gerry / House)
5-26-1938 New York, New York Decca
7528
Log Cabin Blues
(Tom Delaney)
3-1923 New York, New York Black Swan
14142-A
Long Lost, Weary Blues 3-1922 New York, New York Black Swan
2044-B
Love Me Like You Used To Do
With Fletcher Henderson’s Orchestra

(Paul Carter)
12-1925 New York, New York Paramount
12330-B
Mining Camp Blues (1)
(Trixie Smith)
2-1925 New York, New York Paramount
12256-A
Mining Camp Blues (2)
(Trixie Smith)
2-1925 New York, New York Paramount
12256-A
My Man Rocks Me
(With One Steady Roll)

(J. Berni Barbour)
9-1922 New York, New York Black Swan
14127-B
Paramount
12164-B
My Unusual Man
(Porter Grainger)
5-26-1938 New York, New York Decca
7489 B
My Daddy Rocks Me (1)
(J. Berni Barbour)
5-26-1938 New York, New York Decca
My Daddy Rocks Me – No. 2
(J. Berni Barbour)
5-26-1938 New York, New York Decca
7617 A
No Good Man 6-14-1939 New York, New York Decca
7617 B
Pensacola Blues
(Spencer Williams)
4-1922 New York, New York Black Swan
14114-B
Praying Blues
(Jay Guy Suddoth)
9-1924 New York, New York Paramount
12232-A
Railroad Blues (1)
(Trixie Smith)
3-1925 New York, New York Paramount
12262-A
Railroad Blues (2)
(Trixie Smith)
3-1925 New York, New York Paramount
12262-A
Ride Jockey Ride
(Arthur Schell Jr.)
12-1924 New York, New York Paramount
12245
Sorrowful Blues
(Trixie Smith / Johns)
5-1924 New York, New York Paramount
12208
Take It Daddy It’s All Yours
(Perry Bradford)
10-1922 New York, New York Paramount
12165-A
Black Swan
14132-A
The World’s Gone Jazz Crazy And So Am I (1)
(William Henry Huff / Jimmy Blythe)
3-1925 New York, New York Paramount
12262-B
The World’s Gone Jazz Crazy And So Am I (2)
(William Henry Huff / Jimmy Blythe)
3-1925 New York, New York Paramount
12262-B
Tired Of Waiting Blues
(Porter Grainger / Bob Ricketts)
3-1923 New York, New York Black Swan
14149-A
Triflin’ Blues
(Porter Grainger / Bob Ricketts)
3-1923 New York, New York Black Swan
14149-B
Trixie’s Blues
(Trixie Smith)
1-1922 New York, New York Black Swan
2039-B
Trixie’s Blues
(Trixie Smith)
5-26-1938 New York, New York Decca
7469
2 A.M. Blues
(J.C. Johnson / Roland Irving)
1-1923 New York, New York Black Swan14138-A
Voodoo Blues
(Hegamin)
3-1923 New York, New York Black Swan
14142-B
You Missed A Good Women
When You Picked All Over Me

(Williams)
3-1922 New York, New York Black Swan
2044-A
You’ve Got To Beat Me To Keep Me
(Porter Grainger)
2-1925 New York, New York Paramount
12256-B

Artist Instrument
Henry “Red” Allen Cornet
Louis Armstrong Cornet
Sidney Bechet Clarinet
Barney Bigard Clarinet
Edgar Campbell Clarinet
Sidney Catlett Drums
Buster Bailey Clarinet, Alto Saxophone
Teddy Bunn Guitar
Edgar Campbell Clarinet
Elmer Chambers Banjo
Charlie Dixon Banjo
Ralph Esudero Tuba
Richard Fullbright Bass
Frank Signorelli Piano
Charlie Green Trombone
Flethcher Henderson Piano
James P. Johnson Piano
Jimmy Lytell Clarinet
Miff Mole Trombone
Phil Napoleon Clarinet
Ted Nixon Trombone
Sam Price Piano
Don Redman Clarinet
Jack Roth Drums
Howard Scott Cornet
Charlie Shavers Trumpet
Joe Smith Trumpet
Russell Smith Trumpet
O’Neil Spencer Drums
Walter Watkins Tenor Saxophone