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I Went Down to St. James Infirmary: Investigations in the shadowy world of early jazz-blues in the company of Blind Willie McTell, Louis Armstrong, Don Redman, Irving Mills, Carl Moore, and a host of others, and where did this dang somg come from anyway?
Infused with humor and supported by meticulous research, this ground breaking book explores the turbulent and mysterious history of one of the most important and influential songs of the twentieth century.
I Went Down to St. James Infirmary looks at the people and
the times in which “St. James Infirmary” achieved its initial popularity and explores what happens to a traditional song when it becomes a piece of merchandise.
The Song
“St. James Infirmary” is the quintessential jazz-blues song of the early twentieth century. Major performing and recording artists have covered it, from Louis Armstrong and Jimmie Rodgers to Van Morrison and the White Stripes.
Saturated with ego-driven angst and once considered obscene because of the song’s stark depiction of death and the portrayal of a seedy underworld inhabited by gamblers, pimps, “loose” women, and every sort of rounder, it has been adapted, rewritten, borrowed, stolen, attacked, revered, and cherished.
In its heyday of the 1920s and 30s, when recordings and
sheet music of “St. James Infirmary” were first packaged and marketed, the public could not get enough of it. Nearly a hundred years later, its allure remains.
The song has been shrouded in mystery as well as scandal. Who is the woman stretched out on a long white table? Who is the narrator and why is he, robust and vain, more concerned about his own funeral arrangements than with hers?
And there are the questions about the song itself. Where did it come from? To what lineage does it belong? Who was Joe Primrose and how did he gain copyright to a song that had been circulating the country for decades?
The Era
Driven to solve these and other puzzles about “St. James Infirmary,” author Robert W. Harwood toiled for years researching the song, the singers, and the times before and after its stunning success as a jazz hit in 1929.
Harwood has now emerged from his isolation, grey with cobwebs and dust, brandishing the fruits of his labors — the story of a song as it traveled from its folk origins and into the recording studios, performance stages, and law courts of America’s jazz age.
With a supporting cast of fascinating characters whose stories are as interesting as the song itself, I Went Down to St. James Infirmary will entertain and inform the reader as it unravels the riddles of one song while casting light on the production of music yesterday and today.
I Went Down to St. James Infirmary looks at the people and
the times in which “St. James Infirmary” achieved its initial popularity and explores what happens to a traditional song when it becomes a piece of merchandise.
The Song
“St. James Infirmary” is the quintessential jazz-blues song of the early twentieth century. Major performing and recording artists have covered it, from Louis Armstrong and Jimmie Rodgers to Van Morrison and the White Stripes.
Saturated with ego-driven angst and once considered obscene because of the song’s stark depiction of death and the portrayal of a seedy underworld inhabited by gamblers, pimps, “loose” women, and every sort of rounder, it has been adapted, rewritten, borrowed, stolen, attacked, revered, and cherished.
In its heyday of the 1920s and 30s, when recordings and
sheet music of “St. James Infirmary” were first packaged and marketed, the public could not get enough of it. Nearly a hundred years later, its allure remains.
The song has been shrouded in mystery as well as scandal. Who is the woman stretched out on a long white table? Who is the narrator and why is he, robust and vain, more concerned about his own funeral arrangements than with hers?
And there are the questions about the song itself. Where did it come from? To what lineage does it belong? Who was Joe Primrose and how did he gain copyright to a song that had been circulating the country for decades?
The Era
Driven to solve these and other puzzles about “St. James Infirmary,” author Robert W. Harwood toiled for years researching the song, the singers, and the times before and after its stunning success as a jazz hit in 1929.
Harwood has now emerged from his isolation, grey with cobwebs and dust, brandishing the fruits of his labors — the story of a song as it traveled from its folk origins and into the recording studios, performance stages, and law courts of America’s jazz age.
With a supporting cast of fascinating characters whose stories are as interesting as the song itself, I Went Down to St. James Infirmary will entertain and inform the reader as it unravels the riddles of one song while casting light on the production of music yesterday and today.
268 pages, Paperback
First published January 1, 2008
7 people are currently reading
99 people want to read
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Displaying 1 - 10 of 10 reviews
February 13, 2023
Utterly entertained and enlightened. I enjoyed wandering through the maze influences and social forces behind and within the development of early jazz/blues while unravelling the mystery at the core of the book: who wrote the song “Saint James Infirmary”?
Lucid and engaging, the details of the characters and the times still enrich my experience of this song, all its iterations, and further into “song” itself. Further it deepens my understanding of what is happening in music creation today.
I highly recommend this book to any popular music aficionado as well as interested passer-by.
Lucid and engaging, the details of the characters and the times still enrich my experience of this song, all its iterations, and further into “song” itself. Further it deepens my understanding of what is happening in music creation today.
I highly recommend this book to any popular music aficionado as well as interested passer-by.
May 29, 2025
The 4th edition of a deep dive into the history and story behind the song. It also offers all you want to know and more about the US recording business in the 1920s and '30s.
The author examines all the variant verses that have been included under this title and its brother "Gambler's Blues", and looks for the ur-story behind it, but concludes that the verses are an amalgam of verses from various sources that don't necessarily fit together. Of course this is how blues and folk songs often evolve.
The author apparently has compiled a spotify playlist to go along with the book (under the book's title). That's a good idea, but I don't use spotify. It would have been nice to have a discography of what is more currently available on CD and LP.
The author examines all the variant verses that have been included under this title and its brother "Gambler's Blues", and looks for the ur-story behind it, but concludes that the verses are an amalgam of verses from various sources that don't necessarily fit together. Of course this is how blues and folk songs often evolve.
The author apparently has compiled a spotify playlist to go along with the book (under the book's title). That's a good idea, but I don't use spotify. It would have been nice to have a discography of what is more currently available on CD and LP.
March 4, 2023
I enjoyed this book hugely. Within the framework of exploring the original of one famous song, the author delves into the history and abuses of copyrights as well as the history of American music. He even touches on the minstrel show era which is still a painfully decisive topic.
Anyone who appreciates blues, jazz or history will find this book entertaining and informative.
Anyone who appreciates blues, jazz or history will find this book entertaining and informative.
October 14, 2009
An interesting look at the origins of the traditional song, but I don't think I'd recommend it to anyone other than music scholars or big fans of the song.
January 10, 2025
The Timeless Journey of "St. James Infirmary"
I never had the opportunity to hear Louis Armstrong in person. Boy, did I miss out! But I was fortunate in that my parents loved music—so much so that we grew up listening to the likes of Duke Ellington, Fats Waller, Glenn Miller, and Count Basie.
It wasn’t just about the newer hits. Sometimes we’d listen to older music too. My dad called it folk, bluegrass, or jazz, while my mom referred to it as old-time music. The newer songs, she’d say, were Big Band. Either way, this rich variety of music lured all of us kids into playing in a band. While my brothers picked up horns, I was drawn to the woodwinds.
The First Time I Heard "St. James Infirmary"
I believe the first time I heard the iconic song "St. James Infirmary" was when Louis Armstrong sang it on television. However, one of my all-time favorite renditions is by Cab Calloway, belting it out in his signature style. As I grew older, I discovered other versions, like Eric Clapton’s and Arlo Guthrie’s, each bringing their own touch while strumming their guitars. More recently, I’ve enjoyed Hugh Laurie’s version on the piano, where he effortlessly combines playing and singing.
"St. James Infirmary" is a timeless piece of jazz-blues music, and it's fascinating to trace its evolution over the years.
Discovering the Origins
Everything originates from something else, and "St. James Infirmary" is no different. A deep dive into this song reveals how its journey has been shaped by various musical influences. I found myself completely engrossed in a discussion of the song’s many variants, all following the same basic chords but with unique twists.
This particular song, with its folk roots and modern jazz influence, tells a rather morbid story. A man visits the infirmary to view the corpse of his lady friend and proceeds to share his final wishes for his own burial. It’s dark but undeniably captivating.
A Unique Journey Through Music History
This is where my journey takes an unexpected turn. As I read about the history of the song, I grabbed my laptop to follow along and explore the various artists and recordings mentioned in the book. I came across a range of artists I hadn’t heard of before and some I had just listened to yesterday. It wasn’t long before I found one of the songs being played on an Edison Cylinder Phonograph—amazingly clear considering its age!
From there, I moved on to the flat discs, and let me tell you, by the time I reached the 78 rpm records, some of the tracks were hard to make out due to distortion caused by the wide grooves. But despite the distortion, I was completely invested. The journey was as much about discovering the artists as it was about hearing the music.
Time Well Spent
What I thought would be a quick browse turned into over three hours of pure enjoyment. By the time I checked, I was only on page 30 of the book, having spent hours listening to music that spanned generations. The best part? The learning never stopped.
I learned about the early days of cash-per-recording deals (imagine working for just one dollar a year!). The book also covered the fascinating practice of musicians reworking songs and even hiding their identities for various reasons. By page 39, I had discovered new favorites, and after some searching, I finally found a link to listen to Redman’s clarinet—his playing made me smile from ear to ear!
Fond Memories and Surprises
The mention of Fred Rose brought back fond memories of my dad, a guitar player who had stacks of sheet music featuring Fred’s name. In a surprising twist, I learned that one of the songs mentioned in the book had been banned in England until 2002—luckily, I had listened to it on a Saturday rather than a Sunday!
Final Thoughts
The appendix of the book provides a detailed list of what Harwood perceives the five principal variants of "St. James Infirmary," to be.
I learned more about objectivity in music, and how easy it is to get lost in the world of different versions and interpretations. The book offered an incredibly informative journey, filled with many hours of pure listening pleasure
This book, which I received from Steven Booth, publisher at Genius Books & Media, Inc, was an absolute treasure. You'll find it a fascinating way to track the song’s evolution. Whether you’re a jazz - blues enthusiast or simply someone who loves music history, this deep dive into the legacy of "St. James Infirmary" is a journey worth taking
I never had the opportunity to hear Louis Armstrong in person. Boy, did I miss out! But I was fortunate in that my parents loved music—so much so that we grew up listening to the likes of Duke Ellington, Fats Waller, Glenn Miller, and Count Basie.
It wasn’t just about the newer hits. Sometimes we’d listen to older music too. My dad called it folk, bluegrass, or jazz, while my mom referred to it as old-time music. The newer songs, she’d say, were Big Band. Either way, this rich variety of music lured all of us kids into playing in a band. While my brothers picked up horns, I was drawn to the woodwinds.
The First Time I Heard "St. James Infirmary"
I believe the first time I heard the iconic song "St. James Infirmary" was when Louis Armstrong sang it on television. However, one of my all-time favorite renditions is by Cab Calloway, belting it out in his signature style. As I grew older, I discovered other versions, like Eric Clapton’s and Arlo Guthrie’s, each bringing their own touch while strumming their guitars. More recently, I’ve enjoyed Hugh Laurie’s version on the piano, where he effortlessly combines playing and singing.
"St. James Infirmary" is a timeless piece of jazz-blues music, and it's fascinating to trace its evolution over the years.
Discovering the Origins
Everything originates from something else, and "St. James Infirmary" is no different. A deep dive into this song reveals how its journey has been shaped by various musical influences. I found myself completely engrossed in a discussion of the song’s many variants, all following the same basic chords but with unique twists.
This particular song, with its folk roots and modern jazz influence, tells a rather morbid story. A man visits the infirmary to view the corpse of his lady friend and proceeds to share his final wishes for his own burial. It’s dark but undeniably captivating.
A Unique Journey Through Music History
This is where my journey takes an unexpected turn. As I read about the history of the song, I grabbed my laptop to follow along and explore the various artists and recordings mentioned in the book. I came across a range of artists I hadn’t heard of before and some I had just listened to yesterday. It wasn’t long before I found one of the songs being played on an Edison Cylinder Phonograph—amazingly clear considering its age!
From there, I moved on to the flat discs, and let me tell you, by the time I reached the 78 rpm records, some of the tracks were hard to make out due to distortion caused by the wide grooves. But despite the distortion, I was completely invested. The journey was as much about discovering the artists as it was about hearing the music.
Time Well Spent
What I thought would be a quick browse turned into over three hours of pure enjoyment. By the time I checked, I was only on page 30 of the book, having spent hours listening to music that spanned generations. The best part? The learning never stopped.
I learned about the early days of cash-per-recording deals (imagine working for just one dollar a year!). The book also covered the fascinating practice of musicians reworking songs and even hiding their identities for various reasons. By page 39, I had discovered new favorites, and after some searching, I finally found a link to listen to Redman’s clarinet—his playing made me smile from ear to ear!
Fond Memories and Surprises
The mention of Fred Rose brought back fond memories of my dad, a guitar player who had stacks of sheet music featuring Fred’s name. In a surprising twist, I learned that one of the songs mentioned in the book had been banned in England until 2002—luckily, I had listened to it on a Saturday rather than a Sunday!
Final Thoughts
The appendix of the book provides a detailed list of what Harwood perceives the five principal variants of "St. James Infirmary," to be.
I learned more about objectivity in music, and how easy it is to get lost in the world of different versions and interpretations. The book offered an incredibly informative journey, filled with many hours of pure listening pleasure
This book, which I received from Steven Booth, publisher at Genius Books & Media, Inc, was an absolute treasure. You'll find it a fascinating way to track the song’s evolution. Whether you’re a jazz - blues enthusiast or simply someone who loves music history, this deep dive into the legacy of "St. James Infirmary" is a journey worth taking
January 28, 2018
Robert Harwood does a very good job of tracing the roots of the legendary American song St. James Infirmary, finding similarities with the 18th century British folksong The Unfortunate Rake and also the American ballad The Streets of Laredo. He also uses the history of this song to show the beginnings of the music industry's creation of Race Recordings, the recording of African American artists for sales to the Black community. In addition, he uses a copyright trial over the name of the song to illustrate how folk musicians borrowed and changed music and lyrics to make songs their own, and how the music industry used copyrights on sheet music and recordings to profit from the musicians' work.
For those who want to research these topics further, this is a good piece of scholarship with extensive notes, a three page bibliography, and four appendices. I found the writing could have benefited from the hand of a good editor as whole paragraphs appear more than once in the text. It was an interesting and enjoyable read for a fan of this classic song that has been recorded by many musicians in a diverse range of genres including folk, blues and jazz.
For those who want to research these topics further, this is a good piece of scholarship with extensive notes, a three page bibliography, and four appendices. I found the writing could have benefited from the hand of a good editor as whole paragraphs appear more than once in the text. It was an interesting and enjoyable read for a fan of this classic song that has been recorded by many musicians in a diverse range of genres including folk, blues and jazz.
January 10, 2025
The Timeless Journey of "St. James Infirmary"
I never had the opportunity to hear Louis Armstrong in person. Boy, did I miss out! But I was fortunate in that my parents loved music—so much so that we grew up listening to the likes of Duke Ellington, Fats Waller, Glenn Miller, and Count Basie.
It wasn’t just about the newer hits. Sometimes we’d listen to older music too. My dad called it folk, bluegrass, or jazz, while my mom referred to it as old-time music. The newer songs, she’d say, were Big Band. Either way, this rich variety of music lured all of us kids into playing in a band. While my brothers picked up horns, I was drawn to the woodwinds.
The First Time I Heard "St. James Infirmary"
I believe the first time I heard the iconic song "St. James Infirmary" was when Louis Armstrong sang it on television. However, one of my all-time favorite renditions is by Cab Calloway, belting it out in his signature style. As I grew older, I discovered other versions, like Eric Clapton’s and Arlo Guthrie’s, each bringing their own touch while strumming their guitars. More recently, I’ve enjoyed Hugh Laurie’s version on the piano, where he effortlessly combines playing and singing.
"St. James Infirmary" is a timeless piece of jazz-blues music, and it's fascinating to trace its evolution over the years.
Discovering the Origins
Everything originates from something else, and "St. James Infirmary" is no different. A deep dive into this song reveals how its journey has been shaped by various musical influences. I found myself completely engrossed in a discussion of the song’s many variants, all following the same basic chords but with unique twists.
This particular song, with its folk roots and modern jazz influence, tells a rather morbid story. A man visits the infirmary to view the corpse of his lady friend and proceeds to share his final wishes for his own burial. It’s dark but undeniably captivating.
A Unique Journey Through Music History
This is where my journey takes an unexpected turn. As I read about the history of the song, I grabbed my laptop to follow along and explore the various artists and recordings mentioned in the book. I came across a range of artists I hadn’t heard of before and some I had just listened to yesterday. It wasn’t long before I found one of the songs being played on an Edison Cylinder Phonograph—amazingly clear considering its age!
From there, I moved on to the flat discs, and let me tell you, by the time I reached the 78 rpm records, some of the tracks were hard to make out due to distortion caused by the wide grooves. But despite the distortion, I was completely invested. The journey was as much about discovering the artists as it was about hearing the music.
Time Well Spent
What I thought would be a quick browse turned into over three hours of pure enjoyment. By the time I checked, I was only on page 30 of the book, having spent hours listening to music that spanned generations. The best part? The learning never stopped.
I learned about the early days of cash-per-recording deals (imagine working for just one dollar a year!). The book also covered the fascinating practice of musicians reworking songs and even hiding their identities for various reasons. By page 39, I had discovered new favorites, and after some searching, I finally found a link to listen to Redman’s clarinet—his playing made me smile from ear to ear!
Fond Memories and Surprises
The mention of Fred Rose brought back fond memories of my dad, a guitar player who had stacks of sheet music featuring Fred’s name. In a surprising twist, I learned that one of the songs mentioned in the book had been banned in England until 2002—luckily, I had listened to it on a Saturday rather than a Sunday!
Final Thoughts
The appendix of the book provides a detailed list of what Harwood perceives the five principal variants of "St. James Infirmary," to be.
I learned more about objectivity in music, and how easy it is to get lost in the world of different versions and interpretations. The book offered an incredibly informative journey, filled with many hours of pure listening pleasure
This book, which I received from Steven Booth, publisher at Genius Books & Media, Inc, was an absolute treasure. You'll find it a fascinating way to track the song’s evolution. Whether you’re a jazz - blues enthusiast or simply someone who loves music history, this deep dive into the legacy of "St. James Infirmary" is a journey worth taking.
I never had the opportunity to hear Louis Armstrong in person. Boy, did I miss out! But I was fortunate in that my parents loved music—so much so that we grew up listening to the likes of Duke Ellington, Fats Waller, Glenn Miller, and Count Basie.
It wasn’t just about the newer hits. Sometimes we’d listen to older music too. My dad called it folk, bluegrass, or jazz, while my mom referred to it as old-time music. The newer songs, she’d say, were Big Band. Either way, this rich variety of music lured all of us kids into playing in a band. While my brothers picked up horns, I was drawn to the woodwinds.
The First Time I Heard "St. James Infirmary"
I believe the first time I heard the iconic song "St. James Infirmary" was when Louis Armstrong sang it on television. However, one of my all-time favorite renditions is by Cab Calloway, belting it out in his signature style. As I grew older, I discovered other versions, like Eric Clapton’s and Arlo Guthrie’s, each bringing their own touch while strumming their guitars. More recently, I’ve enjoyed Hugh Laurie’s version on the piano, where he effortlessly combines playing and singing.
"St. James Infirmary" is a timeless piece of jazz-blues music, and it's fascinating to trace its evolution over the years.
Discovering the Origins
Everything originates from something else, and "St. James Infirmary" is no different. A deep dive into this song reveals how its journey has been shaped by various musical influences. I found myself completely engrossed in a discussion of the song’s many variants, all following the same basic chords but with unique twists.
This particular song, with its folk roots and modern jazz influence, tells a rather morbid story. A man visits the infirmary to view the corpse of his lady friend and proceeds to share his final wishes for his own burial. It’s dark but undeniably captivating.
A Unique Journey Through Music History
This is where my journey takes an unexpected turn. As I read about the history of the song, I grabbed my laptop to follow along and explore the various artists and recordings mentioned in the book. I came across a range of artists I hadn’t heard of before and some I had just listened to yesterday. It wasn’t long before I found one of the songs being played on an Edison Cylinder Phonograph—amazingly clear considering its age!
From there, I moved on to the flat discs, and let me tell you, by the time I reached the 78 rpm records, some of the tracks were hard to make out due to distortion caused by the wide grooves. But despite the distortion, I was completely invested. The journey was as much about discovering the artists as it was about hearing the music.
Time Well Spent
What I thought would be a quick browse turned into over three hours of pure enjoyment. By the time I checked, I was only on page 30 of the book, having spent hours listening to music that spanned generations. The best part? The learning never stopped.
I learned about the early days of cash-per-recording deals (imagine working for just one dollar a year!). The book also covered the fascinating practice of musicians reworking songs and even hiding their identities for various reasons. By page 39, I had discovered new favorites, and after some searching, I finally found a link to listen to Redman’s clarinet—his playing made me smile from ear to ear!
Fond Memories and Surprises
The mention of Fred Rose brought back fond memories of my dad, a guitar player who had stacks of sheet music featuring Fred’s name. In a surprising twist, I learned that one of the songs mentioned in the book had been banned in England until 2002—luckily, I had listened to it on a Saturday rather than a Sunday!
Final Thoughts
The appendix of the book provides a detailed list of what Harwood perceives the five principal variants of "St. James Infirmary," to be.
I learned more about objectivity in music, and how easy it is to get lost in the world of different versions and interpretations. The book offered an incredibly informative journey, filled with many hours of pure listening pleasure
This book, which I received from Steven Booth, publisher at Genius Books & Media, Inc, was an absolute treasure. You'll find it a fascinating way to track the song’s evolution. Whether you’re a jazz - blues enthusiast or simply someone who loves music history, this deep dive into the legacy of "St. James Infirmary" is a journey worth taking.
July 3, 2025
"I Went Down to St. James Infirmary" is a classic blues song. It is entirely unclear where it came from. Several versions of it were recorded in the 1920s and several people claimed to copyright it.
Robert Harwood confesses that he is a "St James Obsessive". He has spent years tracking down the sources of the song. This is the fourth edition of this book. Each new edition includes new findings he has made.
SJI evolved like most folk blues. It was cobbled together from pieces. The most important source was an old English folk song, "The Unfortunate Rake". It is about a young man dying of syphilis which he caught from a pretty girl he fell for. It starts with the singer going to "St. James Hospital", as opposed to infirmary. He gives instructions about having "six young soldiers to carry my coffin". An English folk collector A. Lloyd made the connection with SJI in an article in 1947.
Harwood argues that it is not that simple. Key pieces of SJI, like the haunting phrase "let her go. God bless her" are not in "The Unfortunate Rake". The key phrases where the singer says that, "She can look this wide world all over, she'll never find another man like me." can be traced to several older songs.
"The Unfortunate Rake" is clearly the source for the Cowboy song "The Streets of Laredo". It is a very close copy.
It appears to me that SJI is a classic blues song. Blues players borrowed lines and couplets all the time. Most pre-1920 blues were assembled more than authored. it was an accepted practice. SJI seem to have been built on the frame of the "The Unfortunate Rake" and then added to over the years by various players. It is interesting that no one has ever located an actual "St. James Infirmary".
This book is enjoyable. Harwood loves digging up stuff about long forgotten musicians. At times it is a bit much. We don't need a three-generation genealogy on everyone. There were many versions of SJI recorded in the 1920s and 30s. Harwood tracks down the stories of almost every artist involved.
He also tracks the legal fights. Various music promoters copyrighted different versions of the song. They also filed state lawsuits against knock off copies of their versions.
This is one of those books filled with interesting stuff.
The Fox Trot was invented by a vaudeville performer named Harry Fox.
In 1930 Louis Armstrong, the first jazz superstar, played trumpet as an uncredited session player on "Blue Yodel No. 9", which was a huge hit for Jimmy Rodgers, the first country music superstar
Robert Harwood confesses that he is a "St James Obsessive". He has spent years tracking down the sources of the song. This is the fourth edition of this book. Each new edition includes new findings he has made.
SJI evolved like most folk blues. It was cobbled together from pieces. The most important source was an old English folk song, "The Unfortunate Rake". It is about a young man dying of syphilis which he caught from a pretty girl he fell for. It starts with the singer going to "St. James Hospital", as opposed to infirmary. He gives instructions about having "six young soldiers to carry my coffin". An English folk collector A. Lloyd made the connection with SJI in an article in 1947.
Harwood argues that it is not that simple. Key pieces of SJI, like the haunting phrase "let her go. God bless her" are not in "The Unfortunate Rake". The key phrases where the singer says that, "She can look this wide world all over, she'll never find another man like me." can be traced to several older songs.
"The Unfortunate Rake" is clearly the source for the Cowboy song "The Streets of Laredo". It is a very close copy.
It appears to me that SJI is a classic blues song. Blues players borrowed lines and couplets all the time. Most pre-1920 blues were assembled more than authored. it was an accepted practice. SJI seem to have been built on the frame of the "The Unfortunate Rake" and then added to over the years by various players. It is interesting that no one has ever located an actual "St. James Infirmary".
This book is enjoyable. Harwood loves digging up stuff about long forgotten musicians. At times it is a bit much. We don't need a three-generation genealogy on everyone. There were many versions of SJI recorded in the 1920s and 30s. Harwood tracks down the stories of almost every artist involved.
He also tracks the legal fights. Various music promoters copyrighted different versions of the song. They also filed state lawsuits against knock off copies of their versions.
This is one of those books filled with interesting stuff.
The Fox Trot was invented by a vaudeville performer named Harry Fox.
In 1930 Louis Armstrong, the first jazz superstar, played trumpet as an uncredited session player on "Blue Yodel No. 9", which was a huge hit for Jimmy Rodgers, the first country music superstar
July 28, 2025
Very detailed additional research into the impact, origins and presentation of the song, "I Went Down to St. James Infirmary," the author's expansion of his original investigation/book.
Harwood presents a lot of biographical, musical details concerning the artists, producers & record company owners.
Nice surprising "coda" in this book strengthens the all-encompassing claim about the "slippery slope" of song authorship.
Harwood presents a lot of biographical, musical details concerning the artists, producers & record company owners.
Nice surprising "coda" in this book strengthens the all-encompassing claim about the "slippery slope" of song authorship.
Read
May 21, 2014The first half was most interesting to me because it deals with some of the folk origins of the song. The second half is a lot of biography about bandleaders / blues musicians which is not so much my bag. But it is all very readable and the author's passion is apparent.
Displaying 1 - 10 of 10 reviews