Does the singer catch the song or does the song catch the singer? Blind Lemon Jefferson, writer of “See That My Grave Is Kept Clean,” hit with the tune on separate recordings in 1927 and 1928, but was dead of unknown causes by 1929. I like to think that maybe the song was trying to catch up to him.
In a tragic irony, Jefferson was buried in an unmarked grave until 1967. However, it wasn’t until 1997 that his hometown of Wortham, TX — in conjunction with the Blind Lemon Jefferson Memorial Project — erected a bona fide headstone to honor their famous blues prodigy. That gracious gesture even extended to renaming the cemetery, Blind Lemon Memorial Cemetery. Good stuff. Written on the gravestone is the couplet that formed the heart of his famous song: “Lord, it’s one kind favor I’ll ask of you/See that my grave is kept clean.” Thankfully, as the picture above seems to indicate, that simple request is finally being honored. From 1928, here’s the great Blind Lemon Jefferson singing his signature song:
Blind Lemon Jefferson – See That My Grave Is Kept Clean
http://youtu.be/zb8EL6WrTwg&w=560
While Blind Lemon’s influence on Texas and Louisiana blues is inestimable — T-Bone Walker, Lightnin’ Hopkins, and Lead Belly all drew from Jefferson’s deep well — his appearance on Harry Smith’s 1952 Anthology Of American Folk Music would prove to be equally influential. The Anthology compiled 84 American folk, country, and blues recordings from 1927-32, including “See That My Grave Is Kept Clean,” both rescuing these classic cuts from obsolescence and serving as Ground Zero for the folk music boom of the late ’50s and early ’60s. Of course, the biggest boom was heard from a young singer and songwriter from Hibbing, MN.
Bob Dylan digested Harry Smith‘s comp like few others and would eventually drag folk music kicking and screaming into the late 20th century. But, he started out as a faithful interpreter of those old folk, country, and blues songs. Here’s his Royal Bobness from 1962, doing his part to resuscitate the Blind Lemon Jefferson legacy with the final track on his self-titled debut.
Bob Dylan – See That My Grave Is Kept Clean
http://youtu.be/iEX3gLE1IeM&w=560
Which brings us to Thelonious Monster. It was the Monster who actually turned me onto this tune, initially through their 1989 album, Stormy Weather, but definitively and absolutely at their live shows. I probably saw 25 Thelonious Monster performances between 1990-97 and “Grave” was the set climax nearly every time.
Where their studio version turned Dylan’s meditative blues into a full-bore moshpit anthem, on stage the song managed to split the difference, like a punk rock requiem. It was still anthemic, but because the song would often stretch out for 8-10 minutes, the band was able to explore the dynamics more fully. In fact, as the live version below demonstrates, the band essentially functioned as a Greek chorus for the death stories of singer, songwriter, and raconteur extraordinaire, Bob Forrest.
Thelonious Monster – See That My Grave Is Kept Clean [Album Version]
Stormy Weather, 1989
Thelonious Monster – See That My Grave Is Kept Clean
Thelonious Monster – See That My Grave Is Kept Clean [Live]
Raji’s, Los Angeles
April 2, 1992
Thelonious Monster – See That My Grave Is Kept Clean
If any one song can illustrate why Thelonious Monster had such a profound impact upon me, this live version of “Grave” is it. Brutal honesty, passion, and humor delivered with all balls and no bullshit. What’s not to like?
This is the best version. Mavis Staples sing and you can FEEEEEEL the blues: http://www.youtube.com/watch?v=hvRxPA-dN2s
That is pretty awesome, thanks for the heads up. I’m pretty sure Mavis could make Happy Birthday sound like a blues song. HA! One of these days I’ll post about the Staple Singers. A tasty gospel, R&B, and country soul cocktail, with maybe a Stones and Band chaser. Everyone wins.
Is there any way I can still get my hands on Thelonious Monsters’s live redition of “See That My Grave Is Kept Clean”? I was at Raji’s that night!
Bob’s rendition on Survival Songs might lack the immediacy of the live Monster tracks but it has consummate musicianship and Bobesque vocals at their raggedy peak