What’s that word in “On the Road Again”?

Today we’ll address a commonly misunderstood word used by Alan Wilson in his lyrics. Louise R. wrote in with the following question:

“Do you know if Alan sings 'fairo' or 'payroll' in his song ‘On the Road Again’? …I believe he uses the word [fairo] in that song as well as in "An Owl Song", but some disagree.”

“On the Road Again” is composed using a number of traditional blues lines and phrases. It is based in part on a 1952 record called “Dark Road” or “Dark Road Blues” by Floyd Jones. The term “fairo”, however, can be traced back further than this in blues history. One example is Tommy Johnson, whose influence on Canned Heat was so significant that the band named itself after one of his songs. He used “fairo” on the 1928 record “Cool Drink of Water Blues”; it can be heard online here.

In blues tradition, “fairo” can be interpreted as lover. In his classic work of musicological scholarship, Big Road Blues, ethnomusicologist Dr. David Evans gives “sweetheart” as a meaning and cites several possible etymological derivations. Those interested in learning more about traditional blues lyrics and composition are strongly encouraged to read Dr. Evans' book.

In his “On the Road Again”, Alan sings: “…the first time I traveled out in the rain and snow… I didn’t have no fairo, not even no place to go.” To those who are unfamiliar with the blues tradition from whence “fairo” sprang, and who are also unfamiliar with “An Owl Song”, the interpretation of this word as “payroll” might have particular appeal. If you have never heard of a fairo, the ear may attempt to process this sound into a word that does make sense. Replace fairo with payroll in “On the Road Again”, and you’ll still get a lyric that makes sense.

Listening to “An Owl Song”, however, this hypothesis breaks down quickly. Here, Alan sings, “I want to thank you fairo, just for what you promise me… you know I trust you fairo and I tell the world I do.” Insert the word payroll here, and you get something completely nonsensical.

In summary, sources citing this word as “payroll” are likely to be uneducated about blues vocabulary. Newcomers to Alan’s music, or to blues, may be confused by this kind of language and the misunderstanding of other listeners. Therefore it is important for Alanologists and Canned Heat scholars to study the blues, particularly the early rural blues of the 1920s, and examine the roots of Alan’s music before attempting lyric analysis.

Extant Alan Wilson-sung recordings: The Ash Grove 1967, Part 1

This exciting new Alanological series will discuss and analyze all extant Alan Wilson-sung recordings, recorded both solo and with Canned Heat. These include some items that might not be available commercially at this time. When available, dates will be given for songs, but they will not necessarily be analyzed in chronological order. Songs including vocals by both Wilson and Bob Hite will also be discussed.

In this installment, Wilson biographer Rebecca Davis Winters summarizes several recordings from the Ash Grove club in Los Angeles, 1967.

GOT MY MOJO WORKIN’

Recorded live at the Ash Grove club, Los Angeles, CA January 14, 1967

Not available commercially in the US

This song, associated with Muddy Waters and performed in his Chicago blues style, features Alan doing some intense harmonica playing including exciting upper-register runs. Bob Hite sings lead, with Alan providing backup vocals.

It can probably be safely said that Alan’s voice is heard to best effect when he sings lead vocals instead of providing backup for Hite on this kind of item; however, the song is interesting to hear just because it is so different. A similar kind of vocal interplay would eventually be recorded as “Boogie Music”, but this approach eventually would seem to have been phased out of the bands’ repertoire.

YOU’RE SO FINE

Recorded live at the Ash Grove club, Los Angeles, CA January 14, 1967

Not available commercially in the US

Unfortunately, only a portion of this Little Walter cover tune survives. The tape begins a verse or two into the song. However, what we have is well worth listening to and contains some of Alan’s most intriguing and evocative recorded singing. His range varies throughout, mostly in a true falsetto not heard on extant records, but sometimes dipping down into the high tenor range most fans are accustomed to hearing on his hit songs.

It is also unfortunate that the audio quality is so poor on this series of live tapes. The vocals and harmonica almost completely drown out the rest of the band. Tapes as preserved contain one channel and it seems likely that the other channel – possibly containing lead guitar and rhythm section – exists on a separate tape and has yet to be unearthed.

DEALING WITH THE DEVIL

Recorded live at the Ash Grove club, Los Angeles, CA January 14, 1967

Not available commercially in the US

This item is in the same vein as “Got My Mojo Workin’”, in Canned Heat’s repertoire at the same time. Bob Hite sings lead; Wilson provides backup and plays harmonica.

Much like “Mojo”, this is interesting if not the idea setting for Alan’s pure vocal tone, and the harmonica work is nice.

61 HIGHWAY (fragment)

Recorded live at the Ash Grove club, Los Angeles, CA January 14, 1967

Not available commercially in the US

It is most unfortunate that this traditional item is recorded only in part. Only the first few verses, with Alan singing lead vocals and playing harmonica, are recorded. It is done in an uptempo style and features his high tenor style, sounding very confident overall.