Woody worked through the tune at one of his NY sessions last fall, in slide form, and I'm hoping to build further on that knowledge. To that end, I’m pulling together a list of other tunes that are closely based on this one. My list currently consists of the following:

“Things ‘Bout Coming My Way” – Tampa Red (1932)
“Worrying You Off of My Mind” – Big Bill Broonzy (1932)
“Come On In My Kitchen” – Robert Johnson (1936)

“(When Things Go Wrong ) It Hurts Me Too” – Tampa Red (1949) & Elmore James (1957)

As you can see from the list so far, some tunes use the original melody note for note and others have a slight variation but retain the phrasing.

I’m counting on the vast collective knowledge of tunes that members of this forum have to fill the list out from the ‘30s forward to contemporary work. Please feel free to correct and elaborate attributions and dates.

Thanks for your help! Hopefully the thread will provide a nice guide for others jumping into the music and this one vein of inspiration.

Same melody, very similar words, but about double the usual blues tempo.

Could someone post a basic chord structure for these songs ? In Nashville notation ?
(I-iv-v7 sort of thang)

My ears agree with Mr. Mando’s discarding of “Key to the Highway” but I think we’ve stumbled on a very early fork in the road of the tune’s use. For the life of me, I don’t hear the iv (minor IV) in the Mississippi Sheiks version of the tune. I also don’t hear it in Bill Broonzy’s “Worrying You Off of My Mind”. However, I do hear it in Tampa Red’s cover, and in his “Things ‘bout coming my way.” I also hear it in Elmore James’ cover of “It Hurts Me Too”. Maybe a harmonic development on the original that came from Tampa Red’s slicker ragtime/hokum drenched barrelhouse piano style? I also don’t hear a distinguishing flat 3 of the IV chord in the melody to trigger hearing a minor iv chord. Am I nuts? Am I over analyzing? This may be more scrutiny than the tune can bear but it does get your ear training focused on the task.

Per Eddie's request, here’s a crack at a Sol-Fa (Do Re Mi Fa Sol La Ti Do) transcription of the original melody for those unfamiliar with it with the corresponding lyric below it. The Mississipi Sheiks cover I have is in F standard tuning. My Tampa Red cover is in E and played in open e tuning with the melody played with the slide.

Do Mi Fa Do (octave up) Do (octave up)
Was early summer,

Do (octave up )Sol Fa Sol Mi
and early fall,

Mi Sol Fa Sol Mi Do
just tryin’ to find my

Sol Fa Mi Do
lil’ all and all.

Do Sol (lower) Do Mi
But now she’s gone

Do Mi Do Sol (lower)
I don’t worry.

Sol (lower) Do Mi Do Mi
I’m sittin’ on

Do Sol (lower) Do Do
top of the world.

The covers with the minor iv have this variation on the “lil’ all and all” melody section. I hear them also having a flat mi (3rd) on this verse and the one before it.

Thanks again for the feedback and please keep ‘em comin.

Campbell, Frank. Frank Campbell & the Country Blues, Campbell, LP (196?), cut# 4
2. Double Decker String Band. Evolution Girl, Marimac 9021, Cas (1988), cut# 20
3. Evans, Joe. Early Country Music, Historical HLP-8002, LP (197?), cut#A.03
4. Fox, Curly. Champion Fiddler, Vol. 2, Rural Rhythm RR 252, LP (196?), cut# 2
5. Gorman, Skip; and Rick Starkey. Late Last Night, Marimac 9602, Cas (1991), cut# 6
6. McGee, Sam & Kirk. Stars of the Grand Old Opry, Guest Star GS 1505, LP, cut# 3
7. Michael, Walt; & McCreesh, Tom. Dance Like a Wave on the Sea, Front Hall FHR-017, LP (1978), cut# 14
8. Monroe, Bill; and his Bluegrass Boys. Knee Deep in Bluegrass, Decca DL-8731, LP (196?), cut# 12 (I'm Sittin' on Top of the World)
9. Moody, Clyde. Moody's Blues, Old Homestead 90013, LP (197?), cut#A.04
10. Poston, Mutt; and the Farm Hands. Hoe Down! Vol. 6. Country Blues Instrumentals, Rural Rhythm RR 156, LP (197?), cut# 2
11. Ringer, Jim. Any Old Wind that Blows, Philo 1021, LP (1975), cut#B.06
12. Smith, Hobart. Hobart Smith, Folk Legacy FSA-017, LP (1964), cut# 12
13. Stecher, Jody; and Kate Brislin. Blue Lightning, Rounder 0284-C, Cas (1991), cut# 4
14. Thomas, Tony. Old Style Texas and Oklahoma Fiddling, Takoma A-1013, LP (195?), cut# 16
15. Watson, Doc. Doc Watson, Vanguard VSD-79152, LP (1964), cut#A.02
16. Watson, Doc; Clint Howard and Fred Price. Old Timey Concert, Vanguard 107/8, Cas (1987), cut#A.05
17. White, Roland. I Wasn't Born to Rock'n Roll, RidgeRunner RRR 0005, LP (1976), cut# 9f
18. Wills, Bob; and the Texas Playboys. Tiffany Transcriptions, Vol. 8. More of the Best, Kalidescope F-32, LP (1988), cut# 6
19. Wiseman, Mac. 20 Old-Time Country Favorites, Rural Rhythm RHY-258, CD (1997), cut# 8
20. Young, Lonnie, Sr. Sounds of the South, Atlantic 7-82496-2, CD (1993), cut#2.14

Mississippi Sheiks, 1930
Two Poor Boys (Joe Evans and Arthur McClain), 1931
Milton Brown, 1934
Bob Wills, 1935
Single, Bill Monroe, 1957
Knee Deep In Bluegrass, Bill Monroe, 1958
Whole Lotta Shakin', Carl Perkins, 1958
Old Style Texas and Oklahoma Fiddling, Tony Thomas, 195?
Wayne Raney and the Raney Family, 1960
Doc Watson, Doc Watson, 1964
Hobart Smith, Folk Legacy, Hobart Smith, 1964
Real Folk Blues, Howlin' Wolf, 1965
Bluegrass Style, Bill Monroe, 1965
Hometown Guitar, Chet Atkins, 1968
Frank Campbell and The Country Blues, Frank Campbell, 196?
Champion Fiddler, Vol. 2, Curly Fox, 196?
The London Howlin' Wolf Sessions, Howlin' Wolf, 1971
Greatest Folksingers of 60s, Various Artists (Doc Watson), 1972
Live and Cookin', Howlin' Wolf, 1972
Chester Burnette A.K.A. Howlin' Wolf, Howlin' Wolf, 1972
Any Old Wind That Blows, Jim Ringer, 1975
I Wasn't Born To Rock 'N' Roll, Roland White, 1976
Old Timey Concert, Doc Watson, 1977
Pat Webb - Guitar, Pat Webb, 1977
Dance Like A Wave On The Sea, Walt Michael and Tom McCreesh, 1978
Hoe Down! Vol. 6, Country Blues Instrumentals, Mutt Poston and The Farm Hands, 197?
Early Country Music, Joe Evans, 197?
Top Of The World, Earl Scruggs, 1983
It Ain't Easy, Chris Smither, 1983
Swingin' Piano 1920-46, Various Artists (Vera Guilaroff), 1983
Tiffany Transcriptions, Vol. 8, Bob Wills And The Texas Playboys, 1988
Evolution Girl, Double Decker String Band, 1988
Will the Circle Be Unbroken, Vol 2, Nitty Gritty Dirt Band, 1989
Blue Lightning, Jody Stecher and Kate Brislin, 1991
The Chess Box, various Artists (Howlin' Wolf), 1991
Late Last Night, Skip Gorman and Rick Starkey, 1991
Good As I Been To You, Bob Dylan, 1992
Complete Recordings 1951-1969, Howlin' Wolf, 1993
Original Folkway Recordings, Doc Watson, 1994
Doc Watson and Clarence Ashley 1960 Through 1962, Doc Watson and Clarence Ashley, 1994
Strange Things Happening, Sleepy La Beef, 1994
Off Yonder Wall, Jelly Roll Kings, 1997
The Carter Family On Border Radio 1938-1942, The Carter Family, 19??
Original Carter Family In Texas - Vol. 4 - Radio Transcriptions, The Carter Family, 19??
1934-37, The Light Crust Dough Boys, 19??
Crystal Creek, 19??
Mac Martin and the Dixie Travelers, 19??

Notes
First recorded by the Mississipi Sheiks and possibly written by members of the group, possibly adapted from a traditional song. Jacobs and Carter were members of the Mississippi Sheiks who wrote and performed under a number of different names; Bo Chatman (Carter) and Walter Vincson (Jacobs).

The Mississippi Sheiks version, just vocals, one guitar and one fiddle is slow and stately compared to the Dead's version.

The stately rhythm of their version and the song's melody were subsequently used by Robert Johnson in Come On In My Kitchen. Versions of this can be found on;

Do these recordings have covers of the original tune? If so, along with these incredible lists of covers, can you think of other songs that have used the melody?

I believe I have both of the tunes you mention in my collection. I believe the Bukka White tune is "Sleepy Man Blues". I hear the resemblance in the turnaround but the movement from the I to the IV in the verse and the melody associated with this does not sound the same to my ear. Johnson's "Love In Vain" seems to have more movement bar to bar. I'll listen further to confirm my initial hearing.

Patton's "Some Summer Day" sounds much like "Sittin' On Top Of The World". John Fahey was a huge Charlie Patton fan, but Fahey's "Some Summer Day" isn't at all like Patton's, and also not like "Sittin' ..". I believe I read at the time Fahey wrote his "Some Summer Day", he knew Patton had written a tune by this name, but he had not yet been able to locate a copy. So he just kind of named his new song in honor of one of his blues heroes. Maybe he was just guessing what it would sound like when he did finally find the Patton song. Fahey also named his "Joe Kirby Blues" for Patton. I read this years ago - I don't remember where.

Leo Kottke did a similar thiing with his song "Short Wave". He had heard of something called "Dry Guitar" he said from Africa. So he kept tuning in his short wave radio hoping to hear what dry guitar was, and he eventually wrote "Short Wave" figuring that might be what he'd have heard... if he could have heard it.

I done some research myself.
Here's something I recently wrote in a Bob Dylan forum about Dylan's "Pledging My Time":

"This song is related to a lot of Blues songs, that use the same structure and similar melodies: "It Hurts Me Too" (Tampa Red), "Worried Life Blues" (Big Maceo, one of the great Blues classics), "Come On In My Kitchen" (Robert Johnson), "Come Back Baby" (Walter Davis, Lightnin' Hopkins), "Sitting On Top Of The World" (Mississippi Sheiks) etc.

This family of songs goes back to "How Long" by Leroy Carr & Scrapper Blackwell, a great Blues hit in 1928. Every Blues singer had variations of these theme in his repertoire. Tampa Red was especially fond of it and he has recorded a song of this type in nearly all of his sessions. Other early variants were f. ex: "You Got To Reap What You Saw" (Carr/Blackwell, Tampa Red), "Things About Comin' My Way" (Walter Vincson, Tampa Red), "Worryin You Off My Mind" (Big Bill) and of course "Sitting On Top Of The World", a song that was nearly as popular as "How Long"."

And here's somthing I wrote about "Sitting On Top Of The World":

"I believe that the history of this song family should start with Leroy Carr & Scrapper Blackwell. Musically and structurally this song is derived from "How Long, How Long", one of the great Blues hits of the 20s (rec in 1928) by Leroy Carr and Scrapper Blackwell, and "You Got To Reap What You Sow", also by Carr & Blackwell (their own follow-up to "How Long").

Tampa Red's Bottleneck instrumental of "You Got To Reap..." (rec 1929) shows very clearly, where the melodic ideas of "Sitting..." are taken from.

The title line of "Sitting..." is borrowed from a well known Pop song of the 20, "I'm Sitting On Top Of The World", written by Ray Henderson, Sam Lewis and Joe Young, that was popularized by Al Jolson in 1926. Jolson used this song also in his second "talkie" "The Singing Fool" in 1928 (Info taken from Marvin Paymer, Sentimental Journey, 1999)."

There are 8-bar variants ("How Long", "Come Back Baby", "It Hurts Me Too" etc) and 9-bar-variants ("Sitting On Top Of The World", "Thing's 'Bout Comin' My Way", "Come On In My Kitchen". THe minor chord in the 4th bar is optional. It's f. ex in "How Long", but not in "Sitting On Top..." in not in all versions of "It Hurts Me Too".

Best Wishes

Juergen

Curiously , no musicians info, but I think I'm hearing some fledgling Duane Allman slide work on some of Burke's other Bell Records tunes. I'm thinking specifically of Burke's cover of Smokey Robinson's I Wouldn't Be Doggone. Very cool arrangement that sounds like early Taj Mahal stuff with a reso and harp. I also hear snippets of the Allman's Midnight Rider guitar riff.

and i can;t read it all.

but, charlie patton has a version of this--- i forget what he called it. probably abou the same time as the shiek's version

same melody.... but different words.... or is it the other way around?
a friend is borrowing my patton collection so i can;t cross reference.

fred mcdowell's " you gotta move" is also the same melody.

Also:

quote:

---

The title line of "Sitting..." is borrowed from a well known Pop song of the 20, "I'm Sitting On Top Of The World", written by Ray Henderson, Sam Lewis and Joe Young, that was popularized by Al Jolson in 1926. Jolson used this song also in his second "talkie" "The Singing Fool" in 1928 (Info taken from Marvin Paymer, Sentimental Journey, 1999)."

---

Wasn't this covered by Les Paul and Mary Ford? I have it named on their "Hits Of Les And Mary" album cover #T1476. I have no idea what date. I downloaded the song from itunes and it didn't sound anything like Sam Chatmon or Tampa Red

Is ths song Public Domain (Traditional) or is there a foundation that I need to contact if I want to publish my lyrics?

I am counting on you!

If your version is exactly like someone else's version, you need to credit them. If your version is markedly different, you are the composer. If it falls somewhere in between, then you can say that it is adapted and arranged by you.

Sounds like I would fill ip the liner notes with all of the credits!
LOL!

Of course I would credit the original composer. I just didn't know if ...let's say Chess Records...had acquired the licensing or there was an estate that would try to claim copyright infringement if I released it!

I kept the basic melody and chorus. I individualized the "FEEL" and rythm. I wrote new lyrics and had it played on the radio. I am told that Being played on the radio is as good as a copyright! I mailed a copy to myself too.

Thanks for the feedback and I welcome any more.