“My Brother Ransom”

Ransom Raney (1847-1929) and Isaac “Ike” Raney (1848-1874) were the oldest sons of Lonsom Raney (1828-1923), the patriarch of the Raney family and moonshine dynasty. As Ike used to say, ‘me and Ransom are like Abel and Cain.’

Where Ransom loved to outdoors hunting and fishing, Ike was a farmer and was dedicated to raising a fine crop of corn and beans. But Ransom was somewhat of a bully and looked down on farming, seeing it as less manly than hunting. He would show this disrespect by harming Ike’s field by dragging one of his dead deers through the crop.

As this went on Ike knew he had to put some distance between himself and Ransom, so he built a little cabin and staked off a nice sized field on the river side of the Raney land, which covered a sizable acreage. After getting his farm going, and a couple of years, in 1869, Ike married Martha “Mattie” McLemore (1848-1874) a beautiful and innocently shy young woman.

Initially things went well, Mattie enjoyed life at the farm despite the seclusion and did not feel lonely. And when they had their forst two children, Charles (1871) and Charlotte (1873), even the solitude was improved. But eventually she began to want more.

Although she did love Ike, his personality was quiet, soft, and even passive. As a farmer he long ago accepted the vicissitudes of weather with an equanimity that she did not quite understand. It was almost like he accepted failure too easily. Ransom on the other hand was strong, and in control of the forces in his life. She found his roughness very attractive. Soon she was fantasizing about a closer relationship with her brother-in-law.

Mattie’s desire did not go unnoticed by Ransom, who saw how easily he could destroy Ike simply by letting nature take its course.

Over those first four years, Mattie and Ike grew further and further apart. Mattie continued to do her chores, cooking, cleaning, and bearing children. She always had a meal waiting for Ike when he came in from the field, but often would not sit at the table with him, excusing herself with the excuse she wanted to walk around the property. Ike knew she had come from a large family and no doubt missed the companionship of her siblings. He indulged her in these walks, but when they began to happen more frequently he became suspicious.

One day he decided to follow her to satisfy his curiosity about where she went. To his horror, he followed her to the river where Ransom had set up one of his deer blinds. Ike, hiding some brush, watched as they embraced, and then entered the small shack. Ike was devastated and trudged home despondent not knowing how to respond.

He wanted to give it time in order to see if Mattie would come to her senses, or if Ransom would grow tired of her. Ransom was not known to sustain long involvements with women. Usually he sought the company of prostitutes, those who could make no claim on him. And maybe he thought that as a married woman, neither would Mattie.

However, they continued to see each other, even as Mattie was pregnant with Ike’s third child.

This was too much for Ike. He waited until after she gave birth, and wanted to give her one last chance to come back to him, completely, before he did or said something he could not take back. However, she went back to Ransom and Ike made his decision.

My Brother Ransom
(F.D. Leone, Jr.)

My brother Ransom was older than me
He’d inherit Grandpa’s recipe
We both helped Pap make our shine
Ransom was ten, I was nine
Handed down, father to son
Our copper pot came all the way from Scotland
Family is everything to us
Blood is only thing you can trust
Ransom liked to hunt and fish
Chewed ginseng like licorice
He was rough and pretty wild
My brother Ransom was a mountain child

Each year I’d plow a patch of land
Squash and beans the work of my hands
Ransom might come back with a buck he’d killed
Drag that carcass through my plowed field
Ransom looked at my farmin’ with disdain
He and I were Abel and Cain
If I stayed I knew we’d come to fight
I had to move and did one night
For a few years I did fine
Worked the land and made it mine
I married Mattie and brought her home
But Ransom wouldn’t leave her alone

Mattie was a sweet, innocent child
Melt your heart with her mysterious smile
I was never sure what she saw in me
I guess for her I was security
But Ransom was always there
Like a shadow everywhere
Her softness was drawn to his strength
Her eyes followed wherever he went
Mattie changed bit by bit
She became remote and distant
I gave her time hoping it would pass
I didn’t know how or what to ask

Side by side in bed we lay like logs
I couldn’t name it but something was wrong
She told me it was all in my head
But I didn’t believe a word she said
It got so we would hardly talk
She spent time taking long walks
One day I thought I’d spy out where she went
And discover her devilment
There’s a river that borders my land
Where Ransom built a deer stand
Could that really be her destination
Why that place in all of creation?

The answer was soon to be known
Ransom drank her in like she was all his own
She ran and leapt into his arms
And offered him every one of her charms
I stood there rooted like a tree
Afraid of what I might see
I watched her walk into his shack
And with a bitter heart I turned back
Best place for thinking is behind a plow
I sure had things to think about now
How would I act, what could I ask?
Too late to stop her from slippin’ from my grasp

She came home to the same routine
Living the lie as if I’d never seen
What I saw was seared on my brain
When I close my eyes the images remain
Ransom needed me for a whiskey run
I wouldn’t let on I knew what they’d done
Knowing Ransom he’d not feel any guilt
He wasn’t one to cry over spilt milk
Back home I got my rat gun
I shot Mattie, that’s what I done
Sent for the sheriff and waited there
Never denied what I did to her

I was hanged in 1874
I killed my wife for acting a whore
Not Ransom; it was her I shot
Ransom was blood, and she was not

.© 2022 Frank David Leone, Jr./Highway 80 Music (ASCAP). The songs and stories on the Highway 80 Stories website are works of fiction. Names, characters, businesses, places, events, locales, and incidents are either the products of the author’s imagination or used in a fictitious manner. Any resemblance to actual persons, living or dead, or actual events is purely coincidental.

“Sing With th’ Devil in Hell”

Location: Farmland in Macon-Bibb County, Georgia
Period: 1872-1933
Dramatis personae: Bethuel “Buel” Sutton (1874-1956); May “Maysee” Sutton (1872-1879); Silas Sutton (1848-1924); Zachary Sutton (1823-1889); Richard McQuayle (1846-1933)

Richard “Slick Dick” McQuayle came from a prominent land-owning family in central Georgia. He was the heir of over 50,000 acres of rich farming land which he had partialed out to several sharecropping families. One of which was the Sutton family: Zachary (“Pap”), Silas (“Pa), and their five children/grandchildren, of four boys, Zach, Jr., Lucas, Levi, Bethuiel, and one daughter, Maysee, named for her mother’s family, the Mays.

The Sutton’s were distant kin to Pearl Robison (see songs “Between Here and Gone” and “Pearl and Jake“).

From all accounts Dick McQuayle was a bully and misanthrope, who ruled over his sharecroppers with an iron fist.

Zachary Sutton and McQuayle often butted heads, and this song is about a case where the Sutton’s were unable to pay the third of the harvest to McQuayle and he told them to get off his land if they couldn’t raise a decent crop. He underscored this command by saying that if they didn’t get off his land quick enough he’d burn them out.

The Suttons were hard scrabble folk and had no intention of abandoning the farm they’d worked for at least three generations under successive McQuayles. They didn’t put much stock in Slick Dick’s threat.

Their second youngest, Maysee, was a dreamy child. She loved to read books of adventure and fantasy, which she would do in her “secret place” in the hayloft of the barn. It was a quiet place where she could read unobserved and unbothered by her three older brothers. Her younger brother, Bethuel, was her favorite, and she often took him along with her into the woods for story-telling, and just poking around.

However, Dick McQuayle’s threat was not idle, and when the Suttons failed to pay him his share of the harvest, he did indeed pay a visit to the farm when he knew they would be out in the field and the barn (he thought) abandoned, which he proceeded to set ablaze. Not knowing that Maysee was reading in the loft, he pushed the door shut and closed the latch, making it harder to enter and save.

Bethuel grew up hating McQuayle for murdering his sister (a murder for which Dick McQuayle was never convicted) – swearing to himself that one day he would exact revenge. For thirty years, he lived with this oath, his passion for justice only getting stronger with each passing decade.

Sing With th’ Devil in Hell
(F. D. Leone, Jr.)

Shotgun shells
In my vest
Tonight Richard McQuayle
Will meet his death
Blood feud
Decades old
My resolve is shrewd
My blood is cold

His belly out
Thumbs in his bib
Wanted us out
Burnt the corn crib

Pap was a poor man
Him and Pa
Farmed McQuayle land
Who made their own law
My sister, Maysee
We’d run to the trees
Eyes wide with stories
Sacred mysteries

How hard we worked
The crop still failed
Didn’t pay the third
We owed to McQuayle

Might of been sincere
Claimed he didn’t know
The loft was where
Lil’ Maysee would go
A private nook
Away from the boys
With her book
Away from the noise

Burnt up
Along with the corn
McQuayle’ll know what
When you burn a barn

The start of a tale
Tonight it’ll end
Richard McQuayle
Will meet my friend
Pap’s 12 gauge
It’s old but it works
Buck shot sprayed
Across his night shirt

Tonight, I swear,
Richard McQuayle
Gonna send you there
To sing with th’ Devil in Hell

Night air blazes
Black powder smell
Justice for Maysee, and
Slick Dick McQuayle

.© 2023 Frank David Leone, Jr./Highway 80 Music (ASCAP). The songs and stories on the Highway 80 Stories website are works of fiction. Names, characters, businesses, places, events, locales, and incidents are either the products of the author’s imagination or used in a fictitious manner. Any resemblance to actual persons, living or dead, or actual events is purely coincidental.

“The Orphan Son”

Wyatt Raney (1874-1934) was the son of Isaac “Ike” Raney (1848-1874) and Martha “Mattie” McLemore (1848-1874).  He was orphaned when his father murdered his mother because of jealousy.

After being orphaned, Wyatt moved in with his uncle, Ransom Raney (1847-1929), and spent most of his time with his cousin, August Raney (1875-1898). They hunted in the Fannin County, Georgia hills, until they were old enough at which time they both enlisted and fought in the 1898 Mexican-American War.  At the Battle of San Juan Hill both cousins were wounded, Wyatt losing a leg, but August dying from his wound.

Wyatt went home to Georgia and married his sweetheart, Belinda Barnes (1880-1902) and they had two children, Charles and Charlotte. When Charles was old enough he joined up to fight in World War I, but by that time Wyatt had seen the folly in war, and did not understand his son’s desire to run off and fight.  Wyatt’s fears were fulfilled when Charles was killed, and buried along with other Raney dead.

After losing his wife during the birth of his daughter, Wyatt retreated from the world, until his death in 1934, using his last words and breath to curse God.

THE ORPHAN SON
(F.D. Leone, Jr.)

My name is Wyatt Raney
I’m an orphan son
They hanged my Pa for killing Ma
When I was a child of one
Raised by my uncle Ransom
Some said he was really my Pa
That talk made Pa angry
Was why he shot my Ma
I’m an orphan son

Grew up with my cousin August
In the Fannin County hills
Up and down the hollers
We honed our hunting skills
Spring we went for turkey
Deer in the fall
Summers we’d help wi’ th’ whiskey
Th’ most fun of all

I’m an orphan son
Orphaned by a gun
I am but one
An orphan son

1898 me and August
Fought at San Juan Hill
I lost my left leg
But August he was killed
I limped back to Georgia
To Belinda I’d left behind
Our first son Charles was born
In 1899
I’m an orphan son

Charles was just like Ransom
He was his grandpa’s son
Spending weeks out hunting
Always with his gun
That stubborn Raney streak
Just like Ransom and Pa
Brothers, fathers, ‘n’ bad blood
Like a natural law

I’m an orphan son
Orphaned by a gun
I am but one
An orphan son

Charles joined up in ’17
What was he was fighting for
After Vicksburg and Gettysburg
Where’s the glory in war
He’s buried there on the hill
Another Raney sacrifice
My forebears fought for honor
And were proud to pay the price
I’m an orphan son

When I came into this world
Death defined my life
When my daughter Charlotte was born
I lost my wife
1934 and I’m tired
Ready to leave this world behind
If there’s a god in heaven
He’s deaf, dumb, and blind

I’m an orphan son
Orphaned by a gun
I am but one
An orphan son

.© 2022 Frank David Leone, Jr./Highway 80 Music (ASCAP). The songs and stories on the Highway 80 Stories website are works of fiction. Names, characters, businesses, places, events, locales, and incidents are either the products of the author’s imagination or used in a fictitious manner. Any resemblance to actual persons, living or dead, or actual events is purely coincidental.

“Texarkana 1984”

1984, Texarkana, Shreveport, Dallas. Maxine “Maxie” Broussard was the younger sister of Mike “Sarge” Broussard. Mike and Maxie were born and grew up in Vivian Louisiana, but when their parents separated Maxie went with her mother to Texarkana, Arkansas. Lily was born, unplanned, the result of a one night stand with a guy, Rocky Rhodes, she hardly wanted, and never saw again, meaning she raised Lily by herself. When Lily was 15, they left Texarkana and went to Shreveport, then Dallas where this story takes place.

Texarkana 1984
(F.D. Leone, Jr.)

The shoulder pads from her mama’s jacket
Lily stuffed into her bra
Fixed her hair, and did her makeup
Left no trace of Arkansas
In a little black sequined clutch,
She had a condom she’d kept there f’months
She was fifteen, but so much more
Texarkana 1984

When her mama, Maxine, met Duane
She thought he might be her ticket out
He promised her Dallas, then claimed
“I wanna try Shreveport for now”
Maxine did the one thing she knew
She an’ Lily left in Duane’s Subaru
Hell bent for Dallas in a thunderstorm
Texarkana 1984

[interlude]

Jésus could mambo and cha-cha-cha
He had all the right moves
The salsa girls cooed ooh-la-la
Jésus was black satin smooth
He saw Lily swaying by the bandstand
Danced over and took her by the hand
They were magic on the disco floor
Texarkana 1984

Duane, who Maxine left behind
Came to Dallas for his Subaru
How hard could Maxine be to find?
Duane was nobody’s stooge
Maxine was workin’ at a Deep Ellum bar
That’s where Duane saw his car
His luck was improvin’ for sure
Texarkana 1984

[interlude]

Duane staked out Maxine
Tailed her everywhere she’d go
Took notes on her routine
Where she went, what she did, he’d know
He showed up at the salsa club
Drank too much to build his courage up
He wasn’t sure like he was before
Texarkana 1984

Jésus was standing in the way
This Latin guy might give him trouble
Duane was just about to make his play
When Maxine sat down at his table
She said “Duane, here, take your keys,
I’m sorry, but I just had to leave.
I dreamed of this and so much more.”
Texarkana 1984

[interlude]

Maxine dealt blackjack in Reno, Nevada
Jésus and Lily ran the salsa club
Duane had a car lot in Texarkana
Sold the Subaru for $500 bucks
Their dreams partly came true
Funny, how they sometimes do
One by one they knew the score
Texarkana 1984
They got about what they bargained for
Texarkana 1984

.© 2022 Frank David Leone, Jr./Highway 80 Music (ASCAP). The songs and stories on the Highway 80 Stories website are works of fiction. Names, characters, businesses, places, events, locales, and incidents are either the products of the author’s imagination or used in a fictitious manner. Any resemblance to actual persons, living or dead, or actual events is purely coincidental.

“Elegy for Dred Scot Lee”

From 1882 to 1968, 4,743 lynchings occurred in the U.S., according to records maintained by NAACP. Other accounts, including the Equal Justice Initiative’s extensive report on lynching, count slightly different numbers, but it’s impossible to know for certain how many lynchings occurred because there was no formal tracking. Many historians believe the true number is underreported.

The highest number of lynchings during that time period occurred in Mississippi, with 581 recorded. Georgia was second with 531, and Texas was third with 493. Lynchings did not occur in every state. There are no recorded lynchings in Arizona, Idaho, Maine, Nevada, South Dakota, Vermont, and Wisconsin.

Black people were the primary victims of lynching: 3,446, or about 72 percent of the people lynched, were Black. But they weren’t the only victims of lynching. Some white people were lynched for helping Black people or for being anti-lynching. Immigrants from Mexico, China, Australia, and other countries were also lynched. [Staff writer NAACP. “History of Lynching in America”. In NAACP History Explained. Web. Retrieved on May 9, 2023, from https://naacp.org/find-resources/history-explained/history-lynching-america.%5D

DRAMATIC PERSONAE
Joy Brown: teenage girl allegedly raped by a negro boy
Dred Scot Lee: Negro boy accused of raping Joy Brown
Gaither Motts: the perpetrator of her rape.
Earl “Dooky” Ford: pimp in Shreveport

Joy Brown met Dred Scot Lee in 1903 when they happen to share a Coke.  At this time it was prohibited to drink after a black person, hence the existence of separate water fountains, and so, drinking from the same bottle was quite rebellious. They began to see each other, meeting in secret and hiding their friendship. And, it was only a friendship.

However, Joy did experience sexual intercourse when she was raped by her maternal uncle, Gaither Motts. It was obvious to her parents that Joy had been attacked, and after some intense questioning Joy admitted to having been raped. But instead of accusing her uncle, her mother’s brother, she named Dred – a defenseless negro boy.

During the Jim row era, a negro was often lynched for merely looking at a white woman.  It was assumed any negro, even a boy, accused of rape was certain to be hung – which Dred was.

His body was left for two days. People took pictures, and some had post cards made up which were mailed to friends and family across the country. Until finally, his mama had him cut him down and buried in a nearby field behind her house. They put a wooden cross to mark his grave but after his mama died, no one tended the grave and it was not long before there was nothing left to mark his grave.

Feeling ashamed over being raped and guilty for accusing an innocent negro boy, Joy dropped out of school and began drinking and doing anything to blot the entire chain of events out of her mind. Her uncle too, regretted his crime and that an innocent black boy was killed for it. But kept his secret for nearly 70 years until his death in 1971.

Joy went to Shreveport, and found herself on Fannin Street and became a working girl and heroin addict. Joy was taken over by a pimp, Dooky Ford, who as was his custom, also raped her. But this time, Joy was already pregnant with Gaither’s child.

Dooky let her know that as long as she was pregnant, her duties in the brothel would not include seeing clients. But Dooky told her, “If you can’t fuck you got to clean and cook.” Which she did, happily. However, when the child was born, a boy, she decided that she had to get away from there. She drowned the boy in the bathtub and in remorse intentionally overdosed herself.

More than 100 years later, and after being petitioned for decades by his family, the governor of Louisiana pardoned Dred Scot Lee. Pardoned is not accurate since Dred had not actually been convicted of raping Joy Brown. But it was a long overdue attempt to wash the stain off Dred Scot Lee’s name, as well as trying to retrieve some dignity for the people of north Louisiana.

A slate plaque was erected at the site of his hanging, a nondescript field outside of Bossier on Highway 80. On the stone were carved these words: “Dred Scot Lee / Hung in 1896 / For something he never done / He was 15.”

ELEGY FOR DRED SCOT LEE
(F.D. Leone)

Bossier City nineteen-aught-three
Joy Brown met Dred Scot Lee
Forbidden love never seemed so right
They saw each other despite the risk
Only when they wouldn’t be missed
‘Cuz Dred was black and Joy was white

It began when they shared a Coke
The glacial ice was broke
They crossed a line and could not go back
When her lips touched where Dred’s had been
She felt a thrill, a first taste of sin
Their lives were changed with that one act

Joy was ashamed about who had raped her
Never said it was Uncle Gaither
She named the only negro boy she knew
Silhouetted in the setting sun
For two days Dred Scot Lee hung
And into a darkness Joy withdrew

Fannin Street, nineteen-aught-four
Dooky turned Joy into a whore
When her belly began to swell up
Dooky said, “if you can’t earn on your back,
You have to pick up the slack
Changin’ chamber pots, pushin’ a mop”

Gaither’s boy looked at Joy and laughed
Then she drowned him in his bath
Lit a candle and stared at the flame
The water was cold, the boy was blue
She boiled double junk in her spoon
Thought of what Gaither done and who she named

Before he died at age eighty-eight
Gaither had to set the record straight
Finally tell the truth about Joy
Slowly in a shaky scrawl
He wrote his story, told it all
“It was me who raped that girl, not that nigra boy”

Gaither despised the man he’d been
Did what he could to make amends
For the rape and his role in the mob
Donated the money he had saved
What he owed could not be paid
He did his best to get right with God

Bossier City twenty-twenty-three
A marker was placed beneath a tree
These words were carved into the slate:
“Here Dred Scot Lee was hung
For something he never done
Lynching Number 328

© 2023 Frank David Leone, Jr./Highway 80 Music (ASCAP). The songs and stories on the Highway 80 Stories website are works of fiction. Names, characters, businesses, places, events, locales, and incidents are either the products of the author’s imagination or used in a fictitious manner. Any resemblance to actual persons, living or dead, or actual events is purely coincidental.

“The Black Belt”

Time period: 1965
Location: Marengo County, Alabama
Dramatis personae: Lower class white share-cropper
THE BLACK BELT
(f.d. leone)

The Black Belt is known for the richest dirt
But it's drenched in a history of hurt
Cotton is king and defines life round here
Row after row under the gun of an overseer 
The Black Belt runs across this whole state
The Alabama River carries tons of freight
Down to Mobile and the markets cross the seas
The Black Belt reaches 360 degrees

The Black Belt got its name from the color of the soil
But also by the color of the skin of those who toil
Lincoln freed the slaves in 1863
But a hundred years later looks 'bout the same to me

I'm white and poor as they come
I ain't got nothin' but I ain't dumb
I know that just by being white I've have more
Than what a better black man can ever hope for

The Black Belt got its name from the color of the soil
But also by the color of the skin of those who toil
Lincoln freed the slaves in1863
But a hundred years later looks about the same to me
A hundred years later looks about the same to me
© 2022 Frank David Leone, Jr./Highway 80 Music (ASCAP). The songs and stories on the Highway 80 Stories website are works of fiction. Names, characters, businesses, places, events, locales, and incidents are either the products of the author’s imagination or used in a fictitious manner. Any resemblance to actual persons, living or dead, or actual events is purely coincidental.

“Magomry”

Time period: 1923
Location: Montgomery County, Alabama, along US 80
Dramatis personae: Maclin Hooper (1877-1955), Lamar Hooper (1907-1969)

Mac Hooper was a tenant farmer in Montgomery County, Alabama, growing cotton, corn, and sorghum. He depended upon his son, Lamar, to help with the farm work, but Lamar hated farm work and couldn’t wait to take off for the nearest city, Montgomery which was about 50 miles down Highway 80 East.

Lamar Hooper was Levi Hooper‘s grandfather.

MAGOMRY
(f.d. leone)

I been dreamin' about Magomry
This stinkin' farm is his, and he can have it
My hands are calloused, and ugly
I want my own life, that's all I'm askin'
I'm sixteen and I made a choice
It's branded on my heart, and in my soul
I've had my fill of my father's voice
There's a fire in me, I can't control

Magomry is just down the road 
Where I wanna be, where I need to go 
Gonna get out from under my old man
Magomry is the answer to who I am

I guess my dad once had dreams
Somewhere along the way he give up on them
Now he looks around for someone to blame
And I sure don't want to end up like him
In Magomry the first thing I'll do
I take a long walk down those wide sunny streets
I'm sure in a week or two
Get me a good job and it'll be sweet

Magomry is just down the road 
Where I wanna be, where I need to go 
Gonna get out from under my old man
Magomry is the answer to who I am
Gonna get out while I still can
Magomry is the answer to who I am

My father left all his dreams behind
He's doing his best to kill mine too
When I see that city limit sign
My dreams will start, coming true
© 2022 Frank David Leone, Jr./Highway 80 Music (ASCAP). The songs and stories on the Highway 80 Stories website are works of fiction. Names, characters, businesses, places, events, locales, and incidents are either the products of the author’s imagination or used in a fictitious manner. Any resemblance to actual persons, living or dead, or actual events is purely coincidental.

“Let Her Run”

Rosalie Broussard was a restless girl from a very young age. She would often wander off, not telling her parents anything, causing them to worry. Rosalie was precocious, sexually mature for her age. She got herself pregnant before she was sixteen and decided to have the baby, a boy, whom she chose to name James (b. 1985).

Rosalie married Tully Tate, and they went to live in Bellamy, Alabama, leaving James behind with Rosalie’s father. Rosalie and Tully had twin girls a few years later.

Throughout these early years of her marriage, Rosalie would run off from time to time, forcing Tully to find her and bring her back, only to run off again a few weeks later.

Finally, Tully just gave up on her and let Rosalie run.

LET HER RUN
(F.D. Leone, Jr.)

Rosalie Broussard just turned sixteen
She likes movie magazines
Spends hours in her room alone
But Rosalie’s barely hanging on

She hasn’t told her parents yet
Robert Abbott said it’s either him or it
Under her pillow there’s a list of names
She circled in red Jenny and James

Tully Tate drove a log truck
From Hosston to Bastrop
Rosalie met Tully one Friday night
For once everything felt just right

Tully was from Alabama
He and Rosalie left Louisiana
Got in his truck and drove all night
After leaving James with her daddy Mike

Rosalie’s restless as it gets dark
Listening to the wind outside and a dog bark
She’s stir crazy in that little town
Bellamy, Alabama’s all shut down

Tully works at the WestRock paper plant
Rosalie’ll wander off when she feels trapped
Leaving eggs frying in the pan
Tully just can’t understand

Rosalie don’t know why she has to roam
Tully always found her and brought her home
Later she hates the harm she’s done
One day Tully’s just gonna let her run 

© 2020 Frank David Leone, Jr./Highway 80 Music (ASCAP). The songs and stories on the Highway 80 Stories website are works of fiction. Names, characters, businesses, places, events, locales, and incidents are either the products of the author’s imagination or used in a fictitious manner. Any resemblance to actual persons, living or dead, or actual events is purely coincidental.
 

“Demopolis, Alabama”

James Matt Broussard (1985) is the grandson of Michael James “Sarge” Broussard (1948-2014), whose daughter Rosalie Broussard (1969) gave birth to James when she was sixteen (see song “James“).

Even though Rosalie Broussard was from Vivian, Louisiana, she had James in Shreveport, where she lived initially after giving birth. Eventually she left James with her parents and left for Alabama with a guy she ended up marrying, Tully Tate.

Once James turned 18 he also moved to Shreveport.  This song describes a two-year period, from 2016 to 2018, when James lived in Demopolis, Alabama.  He was interested in Alabama since that was where he thought his mother was.  He had taken up with a woman in Shreveport who was from Demopolis and she convinced him to move to Alabama with her.

That relationship didn’t last, but James didn’t immediately leave Demopolis. Maybe, he had in the back of his mind that he might get back together with the woman. But once James realized that he didn’t even want to get back together, he finally decides to leave Alabama and return to Shreveport.

James liked guns, and enjoyed shooting guns; something about shooting lifted his spirits. So, on his way out of town he stops at a pawn shop to see what kind of guns they had, but unbeknownst to James there was a robbery in progress. James instinctively tries to stop the holdup but the robber panics, takes a shot at James, missing by a wide margin.

That was enough for James, who runs to his truck and tears off on 80-W to Shreveport. The robber also exits the pawn shop, ignorant of the fact that his getaway car has a bad fuel pump. He doesn’t get very far before it breaks down and he is apprehended without much trouble by a Marengo County Sheriff’s Deputy.

DEMOPOLIS, ALABAMA
(F.D. Leone)

I was born in Shreveport, Louisiana
But for about the last two years now
Been living in Demopolis, Alabama
It ain’t never felt like home somehow

I came here on account of a woman
But we didn’t last too long
Stuck around, I guess, looking for something
Months ago I should’ve been gone

Gonna get my gun, get my gun
Wanna shoot some, shoot some
Buy some more, at the range
A pump shotgun, a thirty eight

There’s a market with a wooden Indian out front
An old man we called Shakespeare was the owner
It’s been there since the fifties, untouched
I put some pork rinds and a beer on the counter

Handed Shakespeare the cash for my provisions
I remarked that the Indian was a little weird
He said, “ain’t you ever heard of Hank Williams,
‘ Kaw-Liga’ was a pretty big hit ‘round here”

Gonna get my gun, get my gun
Wanna shoot some, shoot some
Gonna get my gun, change my mood
Wanna shoot some, improve my attitude

I’m sitting in my truck outside her house
She’s got a new boyfriend, from Alabama
I watch him take all her garbage out
Guess I’ll head on back to Louisiana

But before I do I stop at a pawn shop
A guy had a gun, “gimme all the cash,” he said
Without thinking I yell, “hey fella, stop”
He whirled around, threw a shot at at my head

Gonna get my gun, get my gun
Wanna shoot some, shoot some
Gonna get my gun, that’s what I’ll do
Put Demopolis, Alabama in my rear view

© 2020 Frank David Leone, Jr./Highway 80 Music (ASCAP). The songs and stories on the Highway 80 Stories website are works of fiction. Names, characters, businesses, places, events, locales, and incidents are either the products of the author’s imagination or used in a fictitious manner. Any resemblance to actual persons, living or dead, or actual events is purely coincidental.

“Miss Lucy Keith”

During the latter half of the 19th century shaped note singing became very popular.  Singing schools were found all though the South, and singing conventions would be held for three days at a time, or even as long as a week.  These events were part of what has been called The Great Awakening in which revivals or camp meetings were held where, along with the preaching, much singing would take place.

This song is about the great-great-grandparents of Lucy Cooper (1980-2015), Cowan “Dusty” Cooper (1843-1925) and Lucy Calhoun Keith (1859-1919).  They were an unlikely match since Cowan was a ne’er-do-well and more than 15 years older, while Miss Lucy Keith was a dignified young lady, the heir to her father’s banking fortune.  But they happened to meet at an opportune moment.

Because Lucy was a somewhat intimidating lady, suitors had never succeeded in winning her hand, and by now seven years had elapsed since she had attained marriageable age.  At the same time, it was 1885, Cowan Cooper had become dissatisfied with his life as an itinerant gambler and con-man and was ripe for change.

After becoming aware of Miss Lucy Keith, and seeing that she was strikingly beautiful, and destined to become rich, Cowan began to make himself available wherever she might be, including one of these camp meetings. Although at first his motives might not have been exactly honorable, that changed rather quickly.

They officially met at a group singing event held by the river in Vicksburg, Mississippi.  As he joined in the singing, Cowan felt himself being born again and from then on he and Lucy Keith began courting seriously. Cowan grew into a proper gentleman and eventually met with the approval of Old Man Keith, who took him on at the bank.

Cowan and Lucy married, raised three children, and lived happily together for 32 years.

MISS LUCY KEITH
(F.D. Leone)

I buried Lucy yesterday
After thirty-two years together
But I am getting ahead of myself
I mean to tell you how I met her

My name is Cowan Cooper
Been a grifter my whole life
I was making a pretty good living
With cards and dice

I come from Jackson, Mississippi
Born in 1843
But I cared nothing about
Preserving the Union or slavery

While other boys fought and died
I bought myself out of the war
Dealt poker in a Vicksburg saloon
And lived with a whore

I met Lucy in 1885
By then the war was twenty years gone
I was tired of the gambler’s life
But it’s all I’d ever known

Miss Lucy Keith was the talk of Vicksburg
Her flashing green eyes and long red hair
They said she can look right through you
Made you feel like you weren’t even there

I was intrigued by this young lady
And would appear wherever she went
Until one night I found myself
At a camp meeting, under a tent

Now I was raised up in the church
But learned more songs in less sacred places
There was a feeling in that tent
A light radiated from all the faces

I sat down next to Miss Lucy Keith
She kindly indicated to me the hymn
We shared a Sacred Harp
Leaned in close and sang “Jerusalem”

I can’t explain what came over me
The singing mixed with Miss Lucy Keith’s perfume
From the fragile scent of lilac
I felt myself rising up in the room

In the weeks after that night
I was often seen with Miss Lucy Keith
My former friends couldn’t understand
And stared at me with disbelief

I threw away my cards and dice
Having no use anymore for them
A wretch such as I had been saved
When Lucy Keith and I sang “Jerusalem”

So now you’ve heard my story
And it’s all I have to tell
I walked away that old hymn book
Somewhere, it's sitting on my shelf

Those shaped notes may be old-fashioned
I hope there’s still some power left in them
Save your old Sacred Harps
My life was changed when I sang “Jerusalem”

© 2020 Frank David Leone, Jr./Highway 80 Music (ASCAP). The songs and stories on the Highway 80 Stories website are works of fiction. Names, characters, businesses, places, events, locales, and incidents are either the products of the author’s imagination or used in a fictitious manner. Any resemblance to actual persons, living or dead, or actual events is purely coincidental.