NRR Project: ‘Uncle Sam Blues’
Performed by Oran ‘Hot Lips’ Page with Eddie Condon’s
Jazz Band
Recorded 1944
3:18
“Uncle Sam ain't no woman
But he sure can take your man
Uncle Sam ain't no woman
But he sure can take your man
Women wringing their hands and a-cryin'
All over the land
I know you cross your fingers, baby
And pray for me every night
I know you cross your fingers, baby
And pray for me every night
With you in my corner
Lord knows everything's alright
Fritz and Tojo sure got themselves in a jam
Fritz and Tojo sure got themselves in a jam
They gotta go now
I'm crossing up my Uncle Sam”
The sentiments were apt. The U.S. was deep inside World War II, and the war, the Armed Forces, and the draft were on all citizens’ minds.
I must first point you to the excellent explanatory essay by Todd Bryant Weeks at the National Recording Registry. He spells out the history of Hot Lips Page, and outlines his significance in the history of blues and jazz. He speculates on the song as an expression of skepticism towards “Uncle Sam” and his ability to separate a man from his woman.
There are multiple alternate lyrics to this song, among these this very cynical set:
“You know I'm headed off for war
I got my questionnaire baby
You know I'm headed off for war
Well, now I'm gonna do some fightin'
Well, no one knows what for
Well, Uncle Sam ain't no woman
You know he sure can take your man
Said, "Uncle Sam ain't no woman"
You know he sure can take your man
Well, there's forty thousand guys in the service list
Doin' somethin', somewhere, they just don't understand
Well, I'm gonna do some fightin'
Of that I can be sure
Said, "I'm gonna do some fightin"
Of that I can be sure
Well, now I wanna kill somebody
Won't have to break no kind of law
I got my questionnaire baby
You know I'm headed off for war
I got my questionnaire baby
You know I'm headed off for war
Well, now I want to kill somebody
Won't have to break no kind of law”
Hot Lips’ original version is the canonical set.
He was a double threat: a vocalist who could improvise endlessly, and an admirable trumpeter. The music really swings; it’s a classic of straight-up blues, a particularly American sound that marks the sway of overwhelming current events over the soul of the guy in the street.
The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Next time: George Hicks’ D-Day radio broadcasts.