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All That Meat and No PotatoesLouis Armstrong

A man works hard then comes on home
Expects to find stew with that fine ham bone
He opens the door, then start to lookin'
Says, Woman, what's this stuff you're cookin'?

Now all that meat and no potatoes
Just ain't right, like green tomatoes
Here I'm waiting, palpitatin'
With all that meat and no potatoes

All that meat and no potatoes
All that food to the alligators
Now hold me steady. I am really ready
Now all that meat and no potatoes

I don't think that peas are bad
With me most anything goes
I look into the pot. I'm fit to fight
'Cause, woman, you know that mess just ain't right

All that meat and no potatoes
Just ain't right, like green tomatoes
Woman, I'm steamin'. yeah really screamin'
All that meat and no potatoes

I don't t think that beans are bad
With me most most anything goes
(that's what I like about you)
Looked in the pot, what a sight
Cause woman you know without rice beans just ain't right

All that meat and no potatoes
Just ain't right, like green tomatoes

Now woman, I'm steamin'. yeah really screamin'
(it ain't rationed)
All that meat and no potatoes

Where is my fry and ham bone? Where is it?

Louis Armstrong

Louis Armstrong, known throughout his lengthy career by nicknames like “Satchmo”, “Pops” and simply “Louie”, was a trumpeter, composer, singer and occasional actor, as well as one of the most influential figures in the history of jazz.

Born and raised in New Orleans, where jazz itself is alleged to have began, Armstrong started his career in 1918, playing the cornet in brass bands and riverboats along the Mississippi River. There, he caught the attention of his future mentor, King Oliver, joining his band in Chicago, where he networked with other popular jazz musicians like Hoagy Carmichael and his first wife Lil Hardin Armstrong.

In 1924, Louie relocated to New York City playing for the Fletcher Henderson Orchestra. It was at this time he switched over from cornet to trumpet in order to blend in better with the other musicians in his section. It was also when he developed his emotional playing style, which included singing and telling tales of his life back in New Orleans.

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