Level: 2/3
Tuning: Standard

Although this songs sounds, on the surface, fairly simple and straightforward, it is yet another example of the Reverend taking a common traditional form and, with the tricks of impeccable timing, turning it into something diabolically clever and difficult to play. I don't think that he ever really worried much about other guitarists stealing his stuff because he knew how really hard it was to play it like he did. On the other hand, he prided himself on the ability to imitate any guitarist, being able himself to steal anything he admired. So it is most helpful to be sure, when listening to him play this song, and complex songs like this, to be able to count the changes accurately. It is very much like listening to Thelonious Monk. The changes proceed impeccably, but the melody slides over through the progression in devious ways, often starting on the four rather than the one. For me personally, this was a lesson that, once learned, made all the difference for his music in general.

Therefore, keep in mind that many of Rev. Davis's songs come into focus when counted. This is true not only of the songs he has worked out to stable forms, but also of the many improvised blues that he has recorded. It is in these blues that he often brings the great Monk to mind. This is another reason, in my opinion, that Rev Davis should be considered one of the great jazz age artists. The song begins normally enough, with the base run from G to C to A minor. When he gets to the run, he pauses on the four beat and starts the run on the and-one, ending on the third beat of the next bar. Ending again on the third beat when he resolves the first part, he starts the second part with a slide to the fifth fret, second string again on the fourth beat. So the general rule, once this tune gets going is to start the sequence on the fourth beat instead on the usual first.