When I began my bluegrass banjo journey as an innocent pre-teen, I remember coming across a little ditty called “Little Sadie”. I had recently bought a Doc Watson record (yes, we all listened to vinyl back in those days), and I remember listening to him sing this rueful tale of a man who, while out for a evening stroll, runs into a certain Little Sadie and blows her away with his 44. Pretty intense stuff. And this was just within the first 15 seconds of the song. What added to the gruesomeness of this tune was the fact that the lyric was sung in the first person. Here’s this guy describing very matter-of-factly how he meets Sadie and, right then and there, murders her:
Went out last night one night to make a little round
I met little Sadie and I shot her down
Went back home, jumped into bed
44 pistol under my head
What I found most intriguing/disturbing about this lyric is how the line about killing Sadie is tossed off with an air of cool indifference. Rather than serving as the centerpiece of the tale, the line seems no more than an insignificant (almost irrelevant) detail to our balladeer’s story. And now we’re thinking, “Who’s this Sadie? His wife? A girlfriend? A neighbor who pissed him off? Of course, none of this is ever addressed in the song’s lyrics, which center not on Sadie but rather on our anti-hero’s attempts to flee the authorities and avoid punishment for Sadie’s demise.
According to music historians, the earliest written record of the song dates back to 1922. The following lyric fragment is noted in the 1948 book Ozark Folksongs, Vol. II.
“Bad Lee Brown”
Last night I was a-makin’ my rounds,
Met my old woman and I blowed her down,
I went on home to go to bed,
Put my old canon right under my head.
Jury says murder in the first degree,
I says oh Lord, have mercy on me!
Old Judge White picks up his pen,
Says you’ll never killed a woman ag’in.
Latest From Our Blog
If you’re a banjo player (and if you’re reading this blog post, there’s a 99.9999% chance you are), it’s a pretty safe bet you’re familiar with the Earl Scruggs classic, “Foggy Mountain Breakdown”. Let’s face it, any bluegrass banjo player worth their salt not only...
In my years teaching clawhammer banjo, I’ve found that once students have mastered some of the more basic mechanics (i.e. bum-ditty, pull-offs, slides, hammer-ons, simple chords, drop-thumb, rhythm fundamentals), things generally go smoothly up to a point – that is,...
In the decades I’ve spent teaching 5-string banjo, a fairly common (and thoroughly reasonable) question usually crops among banjo newcomers just before the first lesson. This question takes many different forms, but usually goes something like this…“What kind of banjo...