Your Southern Can Is Mine - Revision history

SeanGlover at 03:03, 24 January 2012

2012-01-24T03:03:29Z

←Older revision		Revision as of 03:03, 24 January 2012
Line 19:		Line 19:
	==Trivia==		==Trivia==
	* Live guitar: Usually the [[Airline]] in standard tuning.		* Live guitar: Usually the [[Airline]] in standard tuning.
-	* The outro sample is from an interview with Blind Willie McTell, circa 1940. Apparently, John A. Lomax and his wife saw him playing in the street in Atlanta, Georgia, and afterwards asked him if he could record some material for them. They ended up recording [http://www.amazon.com/Complete-1940-Blind-Willie-Mctell/dp/B000000JI1/ref=ntt_mus_dp_dpt_12 this compilation] in a hotel room shortly after. What's particularly interesting about these interviews is the fact that the aging Lomax comes off as a insensitive, racist asshole, ~~and~~ possibly mistaking Blind Willie McTell for the similarly named [[Blind Willie Johnson]]. Check out the full track in the external links section below.	+	* The outro sample is from an interview with Blind Willie McTell, circa 1940. Apparently, John A. Lomax and his wife saw him playing in the street in Atlanta, Georgia, and afterwards asked him if he could record some material for them. They ended up recording [http://www.amazon.com/Complete-1940-Blind-Willie-Mctell/dp/B000000JI1/ref=ntt_mus_dp_dpt_12 this compilation] in a hotel room shortly after. What's particularly interesting about these interviews is the fact that the aging Lomax comes off as a insensitive, racist asshole, possibly mistaking Blind Willie McTell for the similarly named [[Blind Willie Johnson]]. Check out the full track in the external links section below.
	==Lyrics==		==Lyrics==
	Now, lookie here, mama, let me explain you this. If you wanna get crooked, I'll even give you my fist. You might read from Revelation back to Genesis; you keep forgettin' your southern can belongs to me. So there ain't no use in bringin' no jive to me -- your southern can is mine in the mornin'; your southern can belongs to me. You might go uptown, have me arrested, put in jail. Some hotshot get money, gonna pull my bail. Soon as I get out, hit the ground, your southern can is worth a thousand, half a pound. So there ain't no use in bringin' no jive to me -- your southern can is mine (talkin' about it); your southern can belongs to me. You might take it from the south, baby, hide it up north. Understand you can't rule me and be my boss. Take it from the east and hide it in the west, but when I get you, mama, your can'll see no rest. So there ain't no use in bringin' no jive to me -- your southern can is mine (I'm screamin'); your southern can belongs to me. Now, baby, ashes to ashes, sand to sand. When I hit ya, mama, then you feel my hand. Give you a punch through that barbed-wire fence -- when it hit ya, baby, y'know I make no sense. So there ain't no use in bringin' no jive to me -- your southern can is mine (I know it); your southern can belongs to me. Now look here, woman, don't get hot. I'm gettin' me a brick outta my backyard, so there ain't no use in bringin' no jive to me -- your southern can is mine (I'm talkin' about it); your southern can belongs to me. Well, if I catch you, mama, down in the heart of town, I'm gonna grab me a brick and tear your can on down, so there ain't no use in bringin' no jive to me -- your southern can is mine (I know it); your southern can belongs to me. You maybe get bedsick, 'cause you're graveyard bound. I'm gonna make you moan like a graveyard hound, so there ain't no use in bringin' no jive to me -- your southern can is mine (I'm screamin'); your southern can belongs to me.		Now, lookie here, mama, let me explain you this. If you wanna get crooked, I'll even give you my fist. You might read from Revelation back to Genesis; you keep forgettin' your southern can belongs to me. So there ain't no use in bringin' no jive to me -- your southern can is mine in the mornin'; your southern can belongs to me. You might go uptown, have me arrested, put in jail. Some hotshot get money, gonna pull my bail. Soon as I get out, hit the ground, your southern can is worth a thousand, half a pound. So there ain't no use in bringin' no jive to me -- your southern can is mine (talkin' about it); your southern can belongs to me. You might take it from the south, baby, hide it up north. Understand you can't rule me and be my boss. Take it from the east and hide it in the west, but when I get you, mama, your can'll see no rest. So there ain't no use in bringin' no jive to me -- your southern can is mine (I'm screamin'); your southern can belongs to me. Now, baby, ashes to ashes, sand to sand. When I hit ya, mama, then you feel my hand. Give you a punch through that barbed-wire fence -- when it hit ya, baby, y'know I make no sense. So there ain't no use in bringin' no jive to me -- your southern can is mine (I know it); your southern can belongs to me. Now look here, woman, don't get hot. I'm gettin' me a brick outta my backyard, so there ain't no use in bringin' no jive to me -- your southern can is mine (I'm talkin' about it); your southern can belongs to me. Well, if I catch you, mama, down in the heart of town, I'm gonna grab me a brick and tear your can on down, so there ain't no use in bringin' no jive to me -- your southern can is mine (I know it); your southern can belongs to me. You maybe get bedsick, 'cause you're graveyard bound. I'm gonna make you moan like a graveyard hound, so there ain't no use in bringin' no jive to me -- your southern can is mine (I'm screamin'); your southern can belongs to me.
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	* [http://www.youtube.com/watch?v=5n8skkVSlzs interview with Blind Willie McTell, sampled for the outro of this song]		* [http://www.youtube.com/watch?v=5n8skkVSlzs interview with Blind Willie McTell, sampled for the outro of this song]

-	[[Category:~~Songs~~]]	+	[[Category:The White Stripes songs]]
-	[[Category:~~Covers~~]]	+	[[Category:The White Stripes covers]]

SeanGlover at 16:33, 3 September 2011

2011-09-03T16:33:28Z

←Older revision		Revision as of 16:33, 3 September 2011
Line 8:		Line 8:
	* [[Meg White]]: tambourine, box, backing vocals		* [[Meg White]]: tambourine, box, backing vocals
	* [[Blind Willie McTell]]		* [[Blind Willie McTell]]
-
	===Production===		===Production===
	* Originally written and recorded by [[Blind Willie McTell]] (as "Southern Can Mama").		* Originally written and recorded by [[Blind Willie McTell]] (as "Southern Can Mama").
Line 15:		Line 14:
	* Mixed by [[Jim Diamond]] and Jack White at Ghetto Recorders		* Mixed by [[Jim Diamond]] and Jack White at Ghetto Recorders
	* Recorded by Jack White at [[Third Man Studios]], [[Detroit]], at the turn of the century.		* Recorded by Jack White at [[Third Man Studios]], [[Detroit]], at the turn of the century.
-
	==Meaning==		==Meaning==
	* From SongMeanings: "This is one of my favorite songs, first done by Blind Willie McTell in 1927. At that time, at the height of the segregation system, singing any kind of open protest song would likely mean that you would wind up dead by sundown. If someone dared to protest, it would have to be done in a coded way, coded so white people could not understand it. A common form of coding back then was to sing about women when what they really meant was white people. People often deride blues as a bunch of songs about being mistreated by bad women. That's absolutely, absolutely true. And if McTell is singing about someone's southern can (i.e. southern ass) belonging to someone else, well, that may very well be social commentary. The references to violence make an awful lot more sense this way. Of course, I may be totally wrong. Yet, it's certainly worth re-listening to a lot of your old blues records and thinking about what they might be trying to say."		* From SongMeanings: "This is one of my favorite songs, first done by Blind Willie McTell in 1927. At that time, at the height of the segregation system, singing any kind of open protest song would likely mean that you would wind up dead by sundown. If someone dared to protest, it would have to be done in a coded way, coded so white people could not understand it. A common form of coding back then was to sing about women when what they really meant was white people. People often deride blues as a bunch of songs about being mistreated by bad women. That's absolutely, absolutely true. And if McTell is singing about someone's southern can (i.e. southern ass) belonging to someone else, well, that may very well be social commentary. The references to violence make an awful lot more sense this way. Of course, I may be totally wrong. Yet, it's certainly worth re-listening to a lot of your old blues records and thinking about what they might be trying to say."
-
	==Band Quotes==		==Band Quotes==
	==Trivia==		==Trivia==
	* Live guitar: Usually the [[Airline]] in standard tuning.		* Live guitar: Usually the [[Airline]] in standard tuning.
-	* The outro sample is from an interview with Blind Willie McTell, circa 1940. Apparently, John A. Lomax and his wife saw him playing in the street in Atlanta, Georgia, and afterwards asked him if he could record some material for them. They ended up recording [http://www.amazon.com/Complete-1940-Blind-Willie-Mctell/dp/B000000JI1/ref=ntt_mus_dp_dpt_12 this compilation] in a hotel room shortly after. What's particularly interesting about these interviews is the fact that the aging Lomax comes off as a insensitive, racist asshole, possibly mistaking Blind Willie McTell for the similarly named [[Blind Willie Johnson]]. Check out the full track in the external links section below.	+	* The outro sample is from an interview with Blind Willie McTell, circa 1940. Apparently, John A. Lomax and his wife saw him playing in the street in Atlanta, Georgia, and afterwards asked him if he could record some material for them. They ended up recording [http://www.amazon.com/Complete-1940-Blind-Willie-Mctell/dp/B000000JI1/ref=ntt_mus_dp_dpt_12 this compilation] in a hotel room shortly after. What's particularly interesting about these interviews is the fact that the aging Lomax comes off as a insensitive, racist asshole, and possibly mistaking Blind Willie McTell for the similarly named [[Blind Willie Johnson]]. Check out the full track in the external links section below.
-		+
	==Lyrics==		==Lyrics==
	Now, lookie here, mama, let me explain you this. If you wanna get crooked, I'll even give you my fist. You might read from Revelation back to Genesis; you keep forgettin' your southern can belongs to me. So there ain't no use in bringin' no jive to me -- your southern can is mine in the mornin'; your southern can belongs to me. You might go uptown, have me arrested, put in jail. Some hotshot get money, gonna pull my bail. Soon as I get out, hit the ground, your southern can is worth a thousand, half a pound. So there ain't no use in bringin' no jive to me -- your southern can is mine (talkin' about it); your southern can belongs to me. You might take it from the south, baby, hide it up north. Understand you can't rule me and be my boss. Take it from the east and hide it in the west, but when I get you, mama, your can'll see no rest. So there ain't no use in bringin' no jive to me -- your southern can is mine (I'm screamin'); your southern can belongs to me. Now, baby, ashes to ashes, sand to sand. When I hit ya, mama, then you feel my hand. Give you a punch through that barbed-wire fence -- when it hit ya, baby, y'know I make no sense. So there ain't no use in bringin' no jive to me -- your southern can is mine (I know it); your southern can belongs to me. Now look here, woman, don't get hot. I'm gettin' me a brick outta my backyard, so there ain't no use in bringin' no jive to me -- your southern can is mine (I'm talkin' about it); your southern can belongs to me. Well, if I catch you, mama, down in the heart of town, I'm gonna grab me a brick and tear your can on down, so there ain't no use in bringin' no jive to me -- your southern can is mine (I know it); your southern can belongs to me. You maybe get bedsick, 'cause you're graveyard bound. I'm gonna make you moan like a graveyard hound, so there ain't no use in bringin' no jive to me -- your southern can is mine (I'm screamin'); your southern can belongs to me.		Now, lookie here, mama, let me explain you this. If you wanna get crooked, I'll even give you my fist. You might read from Revelation back to Genesis; you keep forgettin' your southern can belongs to me. So there ain't no use in bringin' no jive to me -- your southern can is mine in the mornin'; your southern can belongs to me. You might go uptown, have me arrested, put in jail. Some hotshot get money, gonna pull my bail. Soon as I get out, hit the ground, your southern can is worth a thousand, half a pound. So there ain't no use in bringin' no jive to me -- your southern can is mine (talkin' about it); your southern can belongs to me. You might take it from the south, baby, hide it up north. Understand you can't rule me and be my boss. Take it from the east and hide it in the west, but when I get you, mama, your can'll see no rest. So there ain't no use in bringin' no jive to me -- your southern can is mine (I'm screamin'); your southern can belongs to me. Now, baby, ashes to ashes, sand to sand. When I hit ya, mama, then you feel my hand. Give you a punch through that barbed-wire fence -- when it hit ya, baby, y'know I make no sense. So there ain't no use in bringin' no jive to me -- your southern can is mine (I know it); your southern can belongs to me. Now look here, woman, don't get hot. I'm gettin' me a brick outta my backyard, so there ain't no use in bringin' no jive to me -- your southern can is mine (I'm talkin' about it); your southern can belongs to me. Well, if I catch you, mama, down in the heart of town, I'm gonna grab me a brick and tear your can on down, so there ain't no use in bringin' no jive to me -- your southern can is mine (I know it); your southern can belongs to me. You maybe get bedsick, 'cause you're graveyard bound. I'm gonna make you moan like a graveyard hound, so there ain't no use in bringin' no jive to me -- your southern can is mine (I'm screamin'); your southern can belongs to me.

SeanGlover: /* Production */

2011-08-16T04:18:11Z

Production

←Older revision		Revision as of 04:18, 16 August 2011
Line 14:		Line 14:
	* Produced by Jack White		* Produced by Jack White
	* Mixed by [[Jim Diamond]] and Jack White at Ghetto Recorders		* Mixed by [[Jim Diamond]] and Jack White at Ghetto Recorders
-	* Recorded by Jack White at [[Third Man Studios]], [Detroit]], at the turn of the century.	+	* Recorded by Jack White at [[Third Man Studios]], [[Detroit]], at the turn of the century.
		+
	==Meaning==		==Meaning==
	* From SongMeanings: "This is one of my favorite songs, first done by Blind Willie McTell in 1927. At that time, at the height of the segregation system, singing any kind of open protest song would likely mean that you would wind up dead by sundown. If someone dared to protest, it would have to be done in a coded way, coded so white people could not understand it. A common form of coding back then was to sing about women when what they really meant was white people. People often deride blues as a bunch of songs about being mistreated by bad women. That's absolutely, absolutely true. And if McTell is singing about someone's southern can (i.e. southern ass) belonging to someone else, well, that may very well be social commentary. The references to violence make an awful lot more sense this way. Of course, I may be totally wrong. Yet, it's certainly worth re-listening to a lot of your old blues records and thinking about what they might be trying to say."		* From SongMeanings: "This is one of my favorite songs, first done by Blind Willie McTell in 1927. At that time, at the height of the segregation system, singing any kind of open protest song would likely mean that you would wind up dead by sundown. If someone dared to protest, it would have to be done in a coded way, coded so white people could not understand it. A common form of coding back then was to sing about women when what they really meant was white people. People often deride blues as a bunch of songs about being mistreated by bad women. That's absolutely, absolutely true. And if McTell is singing about someone's southern can (i.e. southern ass) belonging to someone else, well, that may very well be social commentary. The references to violence make an awful lot more sense this way. Of course, I may be totally wrong. Yet, it's certainly worth re-listening to a lot of your old blues records and thinking about what they might be trying to say."

SeanGlover: /* Performers */

2011-08-16T04:17:48Z

Performers

←Older revision		Revision as of 04:17, 16 August 2011
Line 5:		Line 5:
	==Credits==		==Credits==
	===Performers===		===Performers===
-	* [[Jack White]]: acoustic guitar, lead vocals	+	* [[Jack White]]: acoustic 12-string guitar, lead vocals
	* [[Meg White]]: tambourine, box, backing vocals		* [[Meg White]]: tambourine, box, backing vocals
	* [[Blind Willie McTell]]		* [[Blind Willie McTell]]
		+
	===Production===		===Production===
	* Originally written and recorded by [[Blind Willie McTell]] (as "Southern Can Mama").		* Originally written and recorded by [[Blind Willie McTell]] (as "Southern Can Mama").

SeanGlover: /* Trivia */

2011-08-16T04:15:26Z

Trivia

←Older revision		Revision as of 04:15, 16 August 2011
Line 19:		Line 19:
	==Band Quotes==		==Band Quotes==
	==Trivia==		==Trivia==
		+	* Live guitar: Usually the [[Airline]] in standard tuning.
	* The outro sample is from an interview with Blind Willie McTell, circa 1940. Apparently, John A. Lomax and his wife saw him playing in the street in Atlanta, Georgia, and afterwards asked him if he could record some material for them. They ended up recording [http://www.amazon.com/Complete-1940-Blind-Willie-Mctell/dp/B000000JI1/ref=ntt_mus_dp_dpt_12 this compilation] in a hotel room shortly after. What's particularly interesting about these interviews is the fact that the aging Lomax comes off as a insensitive, racist asshole, possibly mistaking Blind Willie McTell for the similarly named [[Blind Willie Johnson]]. Check out the full track in the external links section below.		* The outro sample is from an interview with Blind Willie McTell, circa 1940. Apparently, John A. Lomax and his wife saw him playing in the street in Atlanta, Georgia, and afterwards asked him if he could record some material for them. They ended up recording [http://www.amazon.com/Complete-1940-Blind-Willie-Mctell/dp/B000000JI1/ref=ntt_mus_dp_dpt_12 this compilation] in a hotel room shortly after. What's particularly interesting about these interviews is the fact that the aging Lomax comes off as a insensitive, racist asshole, possibly mistaking Blind Willie McTell for the similarly named [[Blind Willie Johnson]]. Check out the full track in the external links section below.

SeanGlover: /* Meaning */

2011-08-15T22:55:13Z

Meaning

←Older revision		Revision as of 22:55, 15 August 2011
Line 15:		Line 15:
	* Recorded by Jack White at [[Third Man Studios]], [Detroit]], at the turn of the century.		* Recorded by Jack White at [[Third Man Studios]], [Detroit]], at the turn of the century.
	==Meaning==		==Meaning==
		+	* From SongMeanings: "This is one of my favorite songs, first done by Blind Willie McTell in 1927. At that time, at the height of the segregation system, singing any kind of open protest song would likely mean that you would wind up dead by sundown. If someone dared to protest, it would have to be done in a coded way, coded so white people could not understand it. A common form of coding back then was to sing about women when what they really meant was white people. People often deride blues as a bunch of songs about being mistreated by bad women. That's absolutely, absolutely true. And if McTell is singing about someone's southern can (i.e. southern ass) belonging to someone else, well, that may very well be social commentary. The references to violence make an awful lot more sense this way. Of course, I may be totally wrong. Yet, it's certainly worth re-listening to a lot of your old blues records and thinking about what they might be trying to say."
		+
	==Band Quotes==		==Band Quotes==
	==Trivia==		==Trivia==

SeanGlover: /* Trivia */

2011-08-15T22:51:31Z

Trivia

←Older revision		Revision as of 22:51, 15 August 2011
Line 17:		Line 17:
	==Band Quotes==		==Band Quotes==
	==Trivia==		==Trivia==
		+	* The outro sample is from an interview with Blind Willie McTell, circa 1940. Apparently, John A. Lomax and his wife saw him playing in the street in Atlanta, Georgia, and afterwards asked him if he could record some material for them. They ended up recording [http://www.amazon.com/Complete-1940-Blind-Willie-Mctell/dp/B000000JI1/ref=ntt_mus_dp_dpt_12 this compilation] in a hotel room shortly after. What's particularly interesting about these interviews is the fact that the aging Lomax comes off as a insensitive, racist asshole, possibly mistaking Blind Willie McTell for the similarly named [[Blind Willie Johnson]]. Check out the full track in the external links section below.
		+
	==Lyrics==		==Lyrics==
	Now, lookie here, mama, let me explain you this. If you wanna get crooked, I'll even give you my fist. You might read from Revelation back to Genesis; you keep forgettin' your southern can belongs to me. So there ain't no use in bringin' no jive to me -- your southern can is mine in the mornin'; your southern can belongs to me. You might go uptown, have me arrested, put in jail. Some hotshot get money, gonna pull my bail. Soon as I get out, hit the ground, your southern can is worth a thousand, half a pound. So there ain't no use in bringin' no jive to me -- your southern can is mine (talkin' about it); your southern can belongs to me. You might take it from the south, baby, hide it up north. Understand you can't rule me and be my boss. Take it from the east and hide it in the west, but when I get you, mama, your can'll see no rest. So there ain't no use in bringin' no jive to me -- your southern can is mine (I'm screamin'); your southern can belongs to me. Now, baby, ashes to ashes, sand to sand. When I hit ya, mama, then you feel my hand. Give you a punch through that barbed-wire fence -- when it hit ya, baby, y'know I make no sense. So there ain't no use in bringin' no jive to me -- your southern can is mine (I know it); your southern can belongs to me. Now look here, woman, don't get hot. I'm gettin' me a brick outta my backyard, so there ain't no use in bringin' no jive to me -- your southern can is mine (I'm talkin' about it); your southern can belongs to me. Well, if I catch you, mama, down in the heart of town, I'm gonna grab me a brick and tear your can on down, so there ain't no use in bringin' no jive to me -- your southern can is mine (I know it); your southern can belongs to me. You maybe get bedsick, 'cause you're graveyard bound. I'm gonna make you moan like a graveyard hound, so there ain't no use in bringin' no jive to me -- your southern can is mine (I'm screamin'); your southern can belongs to me.		Now, lookie here, mama, let me explain you this. If you wanna get crooked, I'll even give you my fist. You might read from Revelation back to Genesis; you keep forgettin' your southern can belongs to me. So there ain't no use in bringin' no jive to me -- your southern can is mine in the mornin'; your southern can belongs to me. You might go uptown, have me arrested, put in jail. Some hotshot get money, gonna pull my bail. Soon as I get out, hit the ground, your southern can is worth a thousand, half a pound. So there ain't no use in bringin' no jive to me -- your southern can is mine (talkin' about it); your southern can belongs to me. You might take it from the south, baby, hide it up north. Understand you can't rule me and be my boss. Take it from the east and hide it in the west, but when I get you, mama, your can'll see no rest. So there ain't no use in bringin' no jive to me -- your southern can is mine (I'm screamin'); your southern can belongs to me. Now, baby, ashes to ashes, sand to sand. When I hit ya, mama, then you feel my hand. Give you a punch through that barbed-wire fence -- when it hit ya, baby, y'know I make no sense. So there ain't no use in bringin' no jive to me -- your southern can is mine (I know it); your southern can belongs to me. Now look here, woman, don't get hot. I'm gettin' me a brick outta my backyard, so there ain't no use in bringin' no jive to me -- your southern can is mine (I'm talkin' about it); your southern can belongs to me. Well, if I catch you, mama, down in the heart of town, I'm gonna grab me a brick and tear your can on down, so there ain't no use in bringin' no jive to me -- your southern can is mine (I know it); your southern can belongs to me. You maybe get bedsick, 'cause you're graveyard bound. I'm gonna make you moan like a graveyard hound, so there ain't no use in bringin' no jive to me -- your southern can is mine (I'm screamin'); your southern can belongs to me.

SeanGlover: /* External Links */

2011-08-15T22:42:41Z

External Links

←Older revision		Revision as of 22:42, 15 August 2011
Line 20:		Line 20:
	Now, lookie here, mama, let me explain you this. If you wanna get crooked, I'll even give you my fist. You might read from Revelation back to Genesis; you keep forgettin' your southern can belongs to me. So there ain't no use in bringin' no jive to me -- your southern can is mine in the mornin'; your southern can belongs to me. You might go uptown, have me arrested, put in jail. Some hotshot get money, gonna pull my bail. Soon as I get out, hit the ground, your southern can is worth a thousand, half a pound. So there ain't no use in bringin' no jive to me -- your southern can is mine (talkin' about it); your southern can belongs to me. You might take it from the south, baby, hide it up north. Understand you can't rule me and be my boss. Take it from the east and hide it in the west, but when I get you, mama, your can'll see no rest. So there ain't no use in bringin' no jive to me -- your southern can is mine (I'm screamin'); your southern can belongs to me. Now, baby, ashes to ashes, sand to sand. When I hit ya, mama, then you feel my hand. Give you a punch through that barbed-wire fence -- when it hit ya, baby, y'know I make no sense. So there ain't no use in bringin' no jive to me -- your southern can is mine (I know it); your southern can belongs to me. Now look here, woman, don't get hot. I'm gettin' me a brick outta my backyard, so there ain't no use in bringin' no jive to me -- your southern can is mine (I'm talkin' about it); your southern can belongs to me. Well, if I catch you, mama, down in the heart of town, I'm gonna grab me a brick and tear your can on down, so there ain't no use in bringin' no jive to me -- your southern can is mine (I know it); your southern can belongs to me. You maybe get bedsick, 'cause you're graveyard bound. I'm gonna make you moan like a graveyard hound, so there ain't no use in bringin' no jive to me -- your southern can is mine (I'm screamin'); your southern can belongs to me.		Now, lookie here, mama, let me explain you this. If you wanna get crooked, I'll even give you my fist. You might read from Revelation back to Genesis; you keep forgettin' your southern can belongs to me. So there ain't no use in bringin' no jive to me -- your southern can is mine in the mornin'; your southern can belongs to me. You might go uptown, have me arrested, put in jail. Some hotshot get money, gonna pull my bail. Soon as I get out, hit the ground, your southern can is worth a thousand, half a pound. So there ain't no use in bringin' no jive to me -- your southern can is mine (talkin' about it); your southern can belongs to me. You might take it from the south, baby, hide it up north. Understand you can't rule me and be my boss. Take it from the east and hide it in the west, but when I get you, mama, your can'll see no rest. So there ain't no use in bringin' no jive to me -- your southern can is mine (I'm screamin'); your southern can belongs to me. Now, baby, ashes to ashes, sand to sand. When I hit ya, mama, then you feel my hand. Give you a punch through that barbed-wire fence -- when it hit ya, baby, y'know I make no sense. So there ain't no use in bringin' no jive to me -- your southern can is mine (I know it); your southern can belongs to me. Now look here, woman, don't get hot. I'm gettin' me a brick outta my backyard, so there ain't no use in bringin' no jive to me -- your southern can is mine (I'm talkin' about it); your southern can belongs to me. Well, if I catch you, mama, down in the heart of town, I'm gonna grab me a brick and tear your can on down, so there ain't no use in bringin' no jive to me -- your southern can is mine (I know it); your southern can belongs to me. You maybe get bedsick, 'cause you're graveyard bound. I'm gonna make you moan like a graveyard hound, so there ain't no use in bringin' no jive to me -- your southern can is mine (I'm screamin'); your southern can belongs to me.
	==External Links==		==External Links==
		+	* [http://www.youtube.com/watch?v=5n8skkVSlzs interview with Blind Willie McTell, sampled for the outro of this song]

	[[Category:Songs]]		[[Category:Songs]]
	[[Category:Covers]]		[[Category:Covers]]

SeanGlover at 22:40, 15 August 2011

2011-08-15T22:40:24Z

←Older revision		Revision as of 22:40, 15 August 2011
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-	'''~~Your Southern Can Is Mine~~''' ~~is a song on the~~ [[~~De Stijl~~]] ~~album. It~~'~~s a cover from~~ Blind Willie McTell, ~~one~~ of ~~Jack's favourite artists~~.	+	==Releases==
-		+	* ''[[De Stijl]]'' (2000)
		+	* ''[[Under Moorhead Lights All Fargo Night]]'' (2011)
		+	==Other Appearances==
		+	==Credits==
		+	===Performers===
		+	* [[Jack White]]: acoustic guitar, lead vocals
		+	* [[Meg White]]: tambourine, box, backing vocals
		+	* [[Blind Willie McTell]]
		+	===Production===
		+	* Originally written and recorded by [[Blind Willie McTell]] (as "Southern Can Mama").
		+	* Arranged by [[Jack White]] and [[Meg White]].
		+	* Produced by Jack White
		+	* Mixed by [[Jim Diamond]] and Jack White at Ghetto Recorders
		+	* Recorded by Jack White at [[Third Man Studios]], [Detroit]], at the turn of the century.
		+	==Meaning==
		+	==Band Quotes==
		+	==Trivia==
	==Lyrics==		==Lyrics==
-	~~<pre>~~	+	Now, lookie here, mama, let me explain you this. If you wanna get crooked, I'll even give you my fist. You might read from Revelation back to Genesis; you keep forgettin' your southern can belongs to me. So there ain't no use in bringin' no jive to me -- your southern can is mine in the mornin'; your southern can belongs to me. You might go uptown, have me arrested, put in jail. Some hotshot get money, gonna pull my bail. Soon as I get out, hit the ground, your southern can is worth a thousand, half a pound. So there ain't no use in bringin' no jive to me -- your southern can is mine (talkin' about it); your southern can belongs to me. You might take it from the south, baby, hide it up north. Understand you can't rule me and be my boss. Take it from the east and hide it in the west, but when I get you, mama, your can'll see no rest. So there ain't no use in bringin' no jive to me -- your southern can is mine (I'm screamin'); your southern can belongs to me. Now, baby, ashes to ashes, sand to sand. When I hit ya, mama, then you feel my hand. Give you a punch through that barbed-wire fence -- when it hit ya, baby, y'know I make no sense. So there ain't no use in bringin' no jive to me -- your southern can is mine (I know it); your southern can belongs to me. Now look here, woman, don't get hot. I'm gettin' me a brick outta my backyard, so there ain't no use in bringin' no jive to me -- your southern can is mine (I'm talkin' about it); your southern can belongs to me. Well, if I catch you, mama, down in the heart of town, I'm gonna grab me a brick and tear your can on down, so there ain't no use in bringin' no jive to me -- your southern can is mine (I know it); your southern can belongs to me. You maybe get bedsick, 'cause you're graveyard bound. I'm gonna make you moan like a graveyard hound, so there ain't no use in bringin' no jive to me -- your southern can is mine (I'm screamin'); your southern can belongs to me.
-	~~<nowiki>~~	+	==External Links==
-	~~Lookie~~ here ~~momma~~ let me explain ya this	+
-	If ya wanna get crooked i'll even give ya my fist	+
-	Ya might read from ~~revelation~~ back to ~~genesis~~	+
-	Ya keep ~~forgetten~~ your southern can belongs to me	+
-		+
-	So there ain't no use in bringin no jive to me	+
-	~~Your~~ southern can is mine in the mornin	+
-	~~Your~~ southern can belongs to me	+
-		+
-	Ya might go uptown have me arrested, put in jail	+
-	Some ~~hotshots got~~ money gonna pull my bail	+
-	Soon as i get out, hit the ground	+
-	~~Your~~ southern can is worth a thousand, half a pound	+
-		+
-	So there ain't no use in bringin no jive to me	+
-	~~Your~~ southern can is mine, talkin about it	+
-	~~Your~~ southern can belongs to me	+
-		+
-	Ya might take it from the south, baby, hide it up north	+
-	Understand ya can't rule me and be my boss	+
-	Take it from the east and hide in the west	+
-	~~But~~ when i get ~~ya momma~~ your can'll see no rest	+
-		+
-	So there ain't no use in bringin no jive to me	+
-	~~Your~~ southern can is mine~~, i~~'m screamin	+
-	~~Your~~ southern can belongs to me	+
-		+
-	Now baby, ashes to ashes, sand to sand	+
-	When i hit ya ~~momma~~ then ya feel my hand	+
-	Give ya punch through that barbed wire fence	+
-	~~When i~~ hit ya baby, ya know i make no ~~sence~~	+
-		+
-	So there ain't no use in bringin no jive to me	+
-	~~Your~~ southern can is mine~~, i~~ know it	+
-	~~Your~~ southern can belongs to me	+
-		+
-	Now look here woman, don't get hot	+
-	I'm gettin me a brick outta my backyard	+
-		+
-	So there ain't no use in bringin no jive to me	+
-	~~Your~~ southern can is mine~~, i~~'m ~~takin~~ about it	+
-	~~Your~~ southern can belongs to me	+
-		+
-	Well if i catch you ~~momma~~ down in the heart of town	+
-	I'm gonna grab me a brick and tear your can on down	+
-		+
-	So there ain't no use in bringin no jive to me	+
-	~~Your~~ southern can is mine~~, i~~ know it	+
-	~~Your~~ southern can belongs to me	+
-		+
-	You maybe get ~~bed sick~~, 'cause you're graveyard bound	+
-	I'm gonna make you moan like a graveyard hound	+

-	~~So there ain't no use in bringin no jive to me~~	+	[[Category:Songs]]
-	~~Your southern can is mine, i'm screamin~~	+	[[Category:Covers]]
-	~~Your southern can belongs to me</nowiki></pre>~~	+

Pippin at 13:30, 17 April 2009

2009-04-17T13:30:19Z

←Older revision		Revision as of 13:30, 17 April 2009
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		+	'''Your Southern Can Is Mine''' is a song on the [[De Stijl]] album. It's a cover from Blind Willie McTell, one of Jack's favourite artists.
		+
	==Lyrics==		==Lyrics==
	<pre>		<pre>