The Big Boat
Sonny Boy Williamson · Other Songs - Sonny Boy Williamson
Sonny Boy Williamson I (John Lee Williamson)
(John Lee Williamson)
Chicago, October 19, 1945
with Big Maceo - piano, Tampa Red - guitar
Charles Saunders - drums
Album Complete Recorded Works Vol 5
October 19, 1945 - November 12, 1947
Document Records DOCD 5059
My little woman, my little woman
My little woman, she don't believe in me
My little woman, my little woman, yeah
My little woman, she don't believe in me, yeah
Lord, now she left me early this mo'nin'
An' she went down on to Hadley Road
Lord, I believe I'll go ov'r to the drugsto', now
Call my baby up ov'r the telephone
I believe I'll go ov'r to the drugsto'
Call my baby up ov'r the telephone
Now, an' I want you to give me-a central
An' tell me how long has the big boat been gone?
(instrumental, piano & harp)
I was standin' at the landin'
Wonderin' what boat, Lord, boys must I ride?
Lord, I was standin' at the landin', yeah
Wonderin' what boat, Lord, boys must I ride
I, since I ain't no hurrin'
I believe I wait 'chere, on the Katy flyin'
Once I was down by the landing
When the big boat, Lord, pull of his load
Once I was down by the landing, n'yeah
A-when the big boat, Lord, pull off his load, understand
Lord, as I been-a hurtin' me to my heart n
I was wonderin' where in the world did my baby go, now?
~
The Big Boat
Sonny Boy Williamson's 'The Big Boat' stands as a quintessential example of his electrifying Delta blues style, characterized by his signature slide guitar work and rhythmic, percussive drumming. Recorded in the late 1940s, the track exemplifies the raw energy and improvisational flair that defined Williamson's contributions to the genre. As a key figure in the development of blues music, Williamson's recordings often featured a driving tempo and a vocal delivery that emphasized the human element of the blues experience. This particular recording captures the essence of his live performance energy, showcasing his ability to blend traditional blues structures with innovative rhythmic patterns. The song remains a significant piece in the catalog of early electric blues, reflecting the vibrant musical culture of the Mississippi Delta during a pivotal era in American music history.