Riding On The L&N – Mark Feltham [..with tab]

You can imagine sittin’ at Tulse ‘ill can’t ya!

I first encountered this barnstorming track on 9 Below Zero‘s debut Live At The Marquee album (A&M) when it hit UK record stores in 1980. The band had already raised heads with its eponymous EP a few months earlier (originally on M&L records featuring Pack Fair And Square, Rocket 88, Last Night and Tore Down). Their new LP bowled in, tweaked noses and blew everyone away. My copy flew onto the bedroom turntable straight from its jacket and there it stayed for months. Of the fourteen tracks that received a daily spin, L&N, Pack Fair And Square and Swing Job went straight to the top of the ‘I want to play harp like that‘ list. It was a tall order, but through trial and error the decoding process slowly took shape.

Later research revealed the key influences for 9 Below Zero’s rendition of L&N. The first of which was most definitely John Mayall‘s Bluesbreakers‘ version with Paul Butterfield from 1967. The Bluesbreakers at the time comprised Peter Green, John McVie and Aynsley Dunbar. They were briefly joined on harp and vocals by a visiting Paul Butterfield who recorded a four track EP with them that included L&N. Feltham reproduces the signature harp riff that Butterfield plays behind the lead vocal and draws directly from the start of his harp solo midway through the song.

The second influence is evident in Mark Feltham’s steam train harp intro which has a distinctive country or bluegrass twist to it. The melody is a tune called Scotland by the father of Bluegrass, Bill Monroe. This tune was featured on the classic 1970 Nashville album A Trip In The Country by Area Code 615.

Feltham cites his original inspiration for playing harp as the country session men on Nashville’s Monument label; most notably Charlie McCoy. Charlie McCoy was of course one of the crew behind Area Code 615. Any UK music enthusiasts who grew up through the 1970s and 1980s will almost certainly have tuned in to watch The Old Grey Whistle Test on TV. The theme tune to which was Stone Fox Chase also by Area Code 615 (Polydor). And at the risk of further digression, yes that’s the same Charlie McCoy responsible for the famously jaw-busting harp version of Orange Blossom Special. So, with Mark Feltham’s nod at Nashville Country and Kentucky Bluegrass, the historical and musical connections with the L&N are complete.

Origins

Riding On The L&N was composed in 1946 by Lionel Hampton (Music) and Dan Burley (Lyrics). Dan Burley was a pianist-musician from Lexington, Kentucky (co-incidentally), who started his professional musical career playing rent parties around Chicago. He took up piano and writing when he was at Chicago’s Wendell Phillips High, where he eventually became president of the High School Newspaper. He was classmates with Lionel Hampton and Louis Jordan. Two names that need no introductions. For the record, Nat ‘King’ Cole, Dinah Washington and Sam Cooke were also Phillips alumni.

What was the L&N?

The L&N was the Louisville and Nashville Railroad, founded in Louisville Kentucky in 1850. It survived the Civil War and the Great Depression and eventually operated 7,000 miles of track feeding destinations such as New Orleans, Chicago, Cincinnati, Detroit, St Louis, Birmingham, Montgomery, Jacksonville and Miami.The Hummingbird was one of its most popular passenger services originally running between Cincinnati and New Orleans via Kentucky, later extended to Chicago and St.Louis. The L&N was eventually absorbed by Amtrak in the 1970s. The Horseshoe Bend in the song lyric refers to the natural meander in the Tallapoosa River of East-Central Alabama, now the Horseshoe Bend National Military Park.

So how did he do it?

Grab a D harp. We’ll be playing cross harp in the key of A. This is a higher register of harp which lends itself to clarity, movement and technical power playing. For the prelude, the initial wails are acoustic; open hands on the first wail for a thinner tone, then wah-wahs on the subsequent pair. The rest of the prelude is full on power harping through a harp mic and amp. This is underpinned by strong push-pull from the diaphragm and a rhythm based on natural breathing cycles. Don’t be fooled into thinking the sound is too big to tackle. The mic and amp set up produce peripheral audio details (woofs, surges and crunches) which you hear in the recording, but are largely amplification of the player’s breathing and movement across passing notes. Focus on the main thread, tone, breathing and diaphragm work. The rest will drop in naturally. The breathing pattern switches between an in-in-in-out, in-in-out pant. You will be able to sustain this for quite a time, but learn to combat hyperinflation with a forced exhale from the diaphragm at the end of each short cycle. Feltham uses a lot of power harp throat vibrato on his sustained draw notes too. If you haven’t yet mastered this technique, check it out in out harp skills section here.

Hyphenated notes (eg. 3D-4D) are played together. Notes linked with dots (eg. 3D’…3D are tied; run them together).

Prelude

3D-4D 3D-4D 3D-4D We’re playing off mic with hand wah-wahs for that traditional train call

3D-4D 3D-4D 3D-4D …now pick up that harp mic and get ready to use the breathing pattern

1D 2D 2D 2D 1D 2B

2D 1D 2B 3D 2D 2B

2D 2B 1D 2B

2D 1D 2B 3D 2D 2B

1D 2D 2D 2D 1D 2B

2D 1D 2B 3D 2D 2B

2D 2B 1D 2B

2D 2B 2D …..now ready to jump up and get cute with the diaphragm work

(gliss. up across the draw notes 2D-3D-4D-5D and out into) 6B 6D 6B

4D 5B 5D 5B 4D 4B 3D..3D’ 2D

6B 6D 6B

4D 5B 5D 5B 4D 4B 4D

6B 6D 6B

4D 5B 5D 5B 4D 4B 3D..3D’ 2D

XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX [details to follow]

(gliss. up across the draw notes 2D-3D-4D-5D and out into) 6B 6D 6B

4D 5B 5D 5B 4D 4B 3D..3D’ 2D

6B 6D 6B

4D 5B 5D 5B 4D 4B 4D

6B 6D 6B

4D 5B 5D 5B 4D 4B 3D..3D’ 2D

XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX [details to follow]

3D-4D 3D-4D 3D-4D cupped through the mic

3D-4D 3D-4D 3D-4D with mic wah-wahs

2D 2D 2D 1D 2B 1D

2D 1D 2B 3D 2D 2B 1D

2D 2D 2B

1D 1D 2B

2D 2D 3D 2D 2B 1D

2D 2D 2D 1D 2B 1D

2D 1D 2B 3D 2D 2B 1D

2D 2D 2B 2B 1D 1D 2B 2B

2D 2D 2B 2B 1D 1D 2B 2B

2D 2D 2B 2B 1D 1D 2B 2B

2D 2D 2B 2B 1D 1D 2B 2B slowing right down

2D 2D 2B 2B 1D 1D 2B 2B

2D 2D 2B 2B 1D 1D 2B 2B

2D”

3D”’

4D’

5D

6D’..6D

6D’..6D 6B 5D 5B 4D’..4D

4D’..4D..5D

4D’..4D..5D

4D’..4D..5D

4D’..4D..5D

4D’..4D..5D

4D’ 3D 2D 2D” 1D

2B 2D 4B 3D 2D

3D 4B

4D’..4D..5D

4D’..4D..5D

4D’..4D..5D

4D’ 4D’ 3D 2D

3D 4B 3D 4B

3D 4D 5B 6B

6D..7D 6D 6B..5B 6B..5D 4D

3D’..3D 2D 2D” 1D..1D’ Here she comes!

(huff into mic then..)

3D’-4D’ 3D-4D 3D’-4D’ 3D-4D 3D-4D 3D’-4D’ 2D-3D (bold notes are open wah, remainder are closed)

3D’-4D’ 3D-4D 3D’-4D’ 3D-4D 3D-4D 3D’-4D’ 2D-3D (bold notes are open wah, remainder are closed)

3D’-4D’ 3D-4D 3D’-4D’ 3D-4D guitar comes in

3D’-4D’ 3D-4D 3D’-4D’ 3D-4D behind guitar, and into the..

Main rhythm / vamp

Verse 1

2D 2D 2D”..1D

2D 2D 2D”..1D

2D 2D 2D”..1D 3D’..3D”..4D

2D 2D 2D”..1D

2D 2D 2D”..1D

2D 2D 2D”..1D 3D’..3D”..4D

2D 2D 2D”..1D

5D 5B 4D 4B 3D’..3D”..4D 3D’..3D”..4D

2D 2D 2D”..1D 3D’..3D”..4D

2D 2D 2D”..1D (stop)

…nobody knew just which was which. I’m riding’..

Chorus

2D..2D”..1D

Ridin’ on the L&N..

5D-4D 5D-4D 4D 3D 2D

5D-4D 5D-4D 4D 3D 2D

Ain’t jivin’, Ridin’ on the L&N..

2D 2D..2D”..1D 2D”..1D

2D 2D” 1D 1D

Verse 2

2D 2D 2D”..1D 3D’..3D..4

2D 2D 2D”..1D 2D”..1D

2D 2D 2D”..1D 3D’..3D..4

5D 5B 4D 4B 3D’..3D..4D 3D’..3D..4D 6B

2D 2D 2D”..1D

..he wasn’t dead ‘cos I heard him call. I’m riding..

Chorus

2D..2D”..1D

Ridin’ on the L&N..

3D-4D 4B-5B 4D-5D 5B-6B 5D-6D 5B-6B 4D-5D 4B-5B ….all trills

Ain’t jivin’ (might have 1D 1D behind jivin”)

Ridin’ on the L&N

Harp Solo

5D 5D 4D 3D 2D scoop the 5Ds

5D 5D 4D 3D 2D scoop the 5Ds

5D 5D 4D 3D 2D

1D 2B 2D 2D

1D 2B 3D 3D’ 2D 2D

2D..3D..4D 6B 5D 4D 4D’ 4B 3D 2D

6B 5D 4D 4D’ 3D 3D-4D 3D-4D

4D-5D scoop into this trill

4D-5D 5B-6B 5D-6D 5B-6B trills

3D-4D…..3D’-4D’…..3D-4D scoop into this trill.

The final trill starts straight, bends and straightens again in time to the music 4 beats, 4 beats and 8 beats.

Guitar solo

The harp provides a muted backing riff

2D 2D..2D’ 1D

2D 2D..2D’ 1D

2D 2D..2D’ 1D

2D 2D..2D’ 1D 1D’

2D 2D..2D’ 1D

2D 2D..2D’ 1D

2D 2D..2D’ 1D

2D 2D..2D’ 1D

1D 1D

1B 1B

2D 2D..2D’ 1D

2D 1D

Verse 3

2D 2D 2D”..1D 3D’..3D..4D

2D 2D 2D”..1D 2D”..1D

2D 2D 2D”..1D

5D 5B 4D 4B 3D’..3D..4D 3D’..3D..4D 6B

2D 2D 2D”..1D 3D’..3D..4D

2D 2D 2D”..1D

the Fireman hollered yeah well, well, well. I’m ridin’…

Chorus

2D..2D”..1D

Ridin’ on the L&N..

3D-4D 4B-5B 4D-5D 5B-6B 5D-6D 5B-6B 4D-5D 4B-5B ….all trills

Ain’t jivin’ (might have 1D 1D behind jivin”)

Ridin’ on the L&N

Second harp solo and outro

4D’..4D 2D-5D this a scooped 3 draw into a 4 hole split draw

3B-6B 3B-6B 3B-6B 3B-6B

4D 3D 2D…….2D 2D” 1D’ lots of vibrato on the 2D !

4D’..4D 2D-5D this a scooped 3draw into a 4 hole split draw

3B-6B 3B-6B 3B-6B 3B-6B

4D 3D 2D……. lots of vibrato on the 2D !

I ain’t jivin’ (1D 1D behind jivin’)

Ridin’ on the L&N (1B 1B behind Ridin’)

4D’..4D 4D’ 3D 2D

4D’..4D 4D’ 3D 2D 2D” 1D

4D’..4D 4D’ 3D 2D

4D’..4D 4D’ 3D 2D 2D” 1D

4D’..4D 4D’ 3D 2D

4D’..4D 4D’ 3D 2D

2D” 2D”

2D 2D” 1D

1D-4D

2B-5B

4D-5D scoop into this trill, and take it on up to

5D-6D trill

9 Below Zero live

And here is a some footage of 9 Below playing L&N live and al fresco in their heyday. Sadly the bluegrass intro has been cut from the recording.

Riding On The L&N lyrics

I have found so many horrific corruptions of the lyrics on line, I feel it is important to set out the original words of the Hampton/Burley score as follows.

Verse 1

Around the bend came the L&N
Loaded down with a lot of men
One jumped off and threw the switch
Nobody knew just which was which

Chorus

I’m ridin’, ridin’ on the L&N
Ain’t jivin’, ridin’ on the L&N

Verse 2 (…the one that gets forgotten!)

Around the rail came the evening mail
On its way to the County Jail
The whistle blew, the train slowed down
None of them cats ain’t ever been found

Chorus

Verse 3

A man named Quinn caught the L&N
Heading around that old horseshoe bend
The whistle blew and Quinn jumped off
He wasn’t dead ‘cos I heard him call

Chorus

Piano and Vibraphone solos

Verse 4

A man named Mose with a great big nose*
Was sleeping on a pile of clothes
Conductor came and rang the bell
The porter hollered well, well, well

Chorus

So long!

*PS. Somehow you’ve just gotta love that 9 Below ad lib… A man named Mose wiv a great big ‘ooter..!