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jelly roll morton – the story of king porter stomp كلمات اغاني

er, this gentleman was named porter king, as i before
stated. and, of course, he seemed to have a kind of a
yen for my style of playin’, although we had two
diffferent styles of playin’. and, of course, he
particularly liked this type of number that i was
playin’, and that was the reason that i named it after
him — but not porter king. i changed the name backwards
and named it “king porter stomp.”

er, this tune become to be the outstanding favourite of
every great hot band throughout the world that had the
accomplishments and qualifications of playin’ it. and
until today, this tune has been the cause of many great
bands to come to fame. it has caused the outstanding
tunes today to, er, to use the backgrounds that belong
to “king porter” in order to make great tunes of
themselves.

what . . . er, when did you write this, jelly?

er, this tune was wrote the same year as “alabama
bound,” in nineteen-five. it was wrote the same time
with another tune that i wrote. of course, i never got
any credit for it. mr. williams — clarence williams —
got the credit for it. it was “you can have it, i don’t
want it.”

how does that go?

er, well, it went something like this.

you can have it, i don’t want it

there was no words, it was a lot of foolish words to
it.

you can have it, i don’t want it,
papa, lord god, take it from me,
papa, lord god, take it from me,
oh, take it from me.

you can have it, i don’t want it,
that’s the thing i say,
oh, my baby, yes, baby,
you can have it from me.

of course, it didn’t sound so good, see? but, er,
clarence williams thought it was all right, and he’d
taken a number that was really his first hit. it was my
material because i used to . . . in fact, i happened to
be the man that taught mr. williams how to play. and of
course i don’t intend to say anything unless it’s real
facts, and it’s really fact. of course, we’ll finish up
by playing “king porter stomp” do you think?

why didn’t, why didn’t you ever copyright any these
tunes way back then?

well, i’ll tell you why we didn’t copyright ‘em. we
didn’t copyright ‘em for — that is for a great reason —
not only me, but a many other. why, the publishers
thought that they could buy anything they wanted for
fifteen, twenty dollars. well, the fact was that, at
that particular time, the sporting houses were all over
the country and you could go in any town. if you was a
good piano player, just as soon as you hit town, you
had ten jobs waiting for you. so we all made a lot of
money, and ten, or fifteen or twenty or a hundred
dollars didn’t mean very much to us during those days.
i’d really like to see those days back again. i’m
telling you the truth. they were wonderful days.

so the publishers, we didn’t give ‘em anything. so they
decided, ‘we know where to get ‘em.’ so they’d — a lot
of publishers — would come out with tunes, our
melodies, and they would steal ‘em. but we kept ‘em for
our private material. that is, to battle each other in
battles of music. battles of music is old, ages old.
and of course, if we had the best material, we was
considered one of the best men. and of course, the best
player always had the best jobs. and the best jobs
always meant plenty of money. when i made a hundred
dollars a day i thought i had a small day. and now
today if i make ten, i think i’ve got a great day.
that’s how that was.

is there any, any other information you would like to
ask?

- jelly roll morton

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