Happy Birthday Keith Richards- *The Hoochie Coochie Man- The Blues of Muddy Waters - Muddy Becomes Muddy

Click on title to link to YouTube's film clip of Muddy Waters in performance mode.

CD Review

Muddy Becomes Muddy

Muddy Waters: First Recording Sessions, 1941-1946, In Chronological Order, Document Records, 1991

I have spent very little ink over the past year as I go through some of the great acoustic and electric blues guitars and performers on the iconic Muddy Waters. I have explained elsewhere some of my reasoning for this as well as other personal preferences that I wanted to highlight first. Nevertheless when all is said and done no one who loves the blues in its various incantations can avoid the influence and importance of Muddy’s work.

I will argue here that this little compilation of early, mainly pre-Chicago electric blues Muddy is a worthy historical document on two counts. First, because it is in chronological order it shows the evolution of Muddy’s style from the traditional country blues sound of the Delta that was becoming passé. Secondly, because some of this pre-Chicago sound is, to this reviewer’s ear at least, better than many of his later pieces. As evidence I would point to the pure jam efforts on the classic “Joe Turner’s Blues” and “Pearlie May Blues”. Then move down to “Mean Spider Blues” and “Come To Me Baby”. None of these are in the league of “Mannish Boy” when he got it going but I think this is worthy Muddy. The argument continues.

Happy Birthday Keith Richards- *"I Am The Blues”- The Music Of Blues Man Willie Dixon

Click On Title To Link YouTube's Film Clip Of Willie Dixon Performing " Blues You Can't Lose".


DVD Review

Willie Dixon: I Am The Blues, Willie Dixon, Quantum Leap Productions, 2002


Readers of this space will, probably, already be familiar with the name of Willie Dixon if one is the slightest bit familiar with Chicago blues, Chess Records, Muddy Waters, Howlin’ Wolf or even The Rolling Stones’ cover of his “Little Red Rooster”. In this one hour presentation you get a very quick overview of his major songs, his take on the ups and downs of the blues as a genre and his performance of a number of his classics written while at Chess and at other venues. Outstanding is his classic “I’ve Got The Blues” and the song that Koko Taylor and Howlin’ Wolf made famous, “Wang Dang Doodle”. This is a serious piece of blues, especially Chicago blues, history by a man at, or near, the center of it in its hey day as he nears the end of his own career (1984).

*Etta James Is In The House- One More Time

Click on the title to link to YouTube's film clip of Etta James performing "I'd Rather Go Blind". Sorry, I could not find ""Please, No More" except by Joe Cocker.

CD Review

Let’s Roll, Etta James, Sony BMG Europe, 2003



The name Etta James goes back in my memory to associations with my first listening to rock music on the old transistor radio in the late 1950’s. At that time, I believe, her music was in the old doo wop tradition of the late 1950’s, a music that I was fairly soon to dismiss out of hand as the ‘bubble gum’ music that was prevalent in that period between the height of Elvis/Jerry Lee/Carl Perkins classic rock & rock and the Beatles and The Rolling Stones. That is where things were left until a dozen years ago or more when Etta ‘stole the show’ at the Newport Folk Festival. Well, we live and learn.

The stand outs here include: the rocking “Business Is Good,” the saucy “Lie No Better,” and Etta at her gospelly, bluesy best on “Please, No More”. Wow on that last one. That is worth the price of admission here.

"Please No More"- Joe Cocker Lyrics

We start a fight, who knows what for
Who knows who's winning, or who's keeping score
You say it's all right, as you slam the door
All I can say is, "Please no more, please no more."

I've had enough after how I swore
I'd never give you up
Loving you was easy, but one thing's for sure
It ain't me, it ain't me, you're trying to please no more.

Passions will burn, burn endlessly
All that's left behind are these broken dreams
While I still got some pieces laid out on the floor
I'm asking you baby, "Please no more, please no more."

I've had enough, after how I swore
I'd never give you up
Loving you was easy, but one thing's for sure
It ain't me, it ain't me, you're trying to please no more.

*Etta James Is In The House- Again

Click on the title to link to YouTube's film clip of Etta James performing "Born Under A Bad Sign".

CD Review

Life, Love And The Blues, Etta James, Sbme Special Mkts., 1998



The name Etta James goes back in my memory to associations with my first listening to rock music on the old transistor radio in the late 1950’s. At that time, I believe, her music was in the old doo wop tradition of the late 1950’s, a music that I was fairly soon to dismiss out of hand as the ‘bubble gum’ music that was prevalent in that period between the height of Elvis/Jerry Lee/Carl Perkins classic rock & rock and the Beatles and The Rolling Stones. That is where things were left until a dozen years ago or more when Etta ‘stole the show’ at the Newport Folk Festival. Well, we live and learn.

The stand outs here include: the blues rocker “Born Under A Bad Sign,” Willie Dixon’s classic “Spoonful,” and Etta’s own version of the Dixon/Muddy Waters classic, “Hoochie Goochie Gal”. Not her best album, by any means, but solid.


Born Under A Bad Sign
by Booker T. Jones / William Bell

Born under a bad sign
I been down since I begin to crawl
If it wasn't for bad luck,
I wouldn't have no luck at all

Hard luck and trouble is my only friend
I been on my own ever since I was ten
Born under a bad sign
I been down since I begin to crawl
If it wasn't for bad luck,
I wouldn't have no luck at all

I can't read, haven't learned how to write
My whole life has been one big fight
Born under a bad sign
I been down since I begin to crawl
If it wasn't for bad luck,
I wouldn't have no luck at all

I ain't lyin'
If it wasn't for bad luck
I wouldn't have no kind-a luck
If it wasn't for real bad luck,
I wouldn't have no luck at all

Wine and women is all I crave
A big legged woman is
gonna carry me to my grave
Born under a bad sign
I been down since I begin to crawl
If it wasn't for bad luck,
I wouldn't have no luck at all

Yeah, my bad luck boy
Been havin' bad luck all of my days, yes

*Etta James Is In The House- Yet One More Time

Click on the tile to link to "YouTube"'s film clip of Etta James performing her famous hit, "At Last". Sorry, I could not find her performing "Purple Rain" on "YouTube".

CD Review

All The Way, Etta James, RCA Victor, 2006



The name Etta James goes back in my memory to associations with my first listening to rock music on the old transistor radio in the late 1950’s. At that time, I believe, her music was in the old doo wop tradition of the late 1950’s, a music that I was fairly soon to dismiss out of hand as the ‘bubble gum’ music that was prevalent in that period between the height of Elvis/Jerry Lee/Carl Perkins classic rock & rock and the Beatles and The Rolling Stones. That is where things were left until a dozen years ago or more when Etta ‘stole the show’ at the Newport Folk Festival. Well, we live and learn.

The stand outs here, which are almost all covers of other artists, include: the title track “All The Way,” John Lennon’s “Imagine,”, her version of James Brown’s classic soul song, “It’s A Man’s, Man’s, Man’s World,” and the best cover I have ever heard of Prince’s “Purple Rain”.

Purple Rain lyrics-Prince

I never meant to cause you any sorrow
I never meant to cause you any pain
I only wanted one time to see you laughing
I only wanted to see you laughing in the purple rain

Purple rain, purple rain
Purple rain, purple rain
Purple rain, purple rain
I only wanted to see you bathing in the purple rain

I never wanted to be your weekend lover
I only wanted to be some kind of friend, hey
Baby, I could never steal you from another
It's such a shame our friendship had to end

Purple rain, purple rain
Purple rain, purple rain
Purple rain, purple rain
I only wanted to see you underneath the purple rain

Honey, I know, I know, I know times are changin'
It's time we all reach out for something new, that means you too
You say you want a leader, but you can't seem to make up your mind
And I think you better close it and let me guide you to the purple rain

Purple rain, purple rain
Purple rain, purple rain
If you know what I'm singin' about up here, come on raise your hand
Purple rain, purple rain
I only want to see you, only want to see you in the purple rain


© CONTROVERSY MUSIC;

*Etta James Is In The House- Back In The Day

Click on the title to link to "YouTube"'s film clip of Etta James performing "I Just Want TO Make Love To You".

CD Review

Etta James Rocks The House, Etta James, Chess Records, 1964

The name Etta James goes back in my memory to associations with my first listening to rock music on the old transistor radio in the late 1950’s. At that time, I believe, her music was in the old doo wop tradition of the late 1950’s, a music that I was fairly soon to dismiss out of hand as the ‘bubble gum’ music that was prevalent in that period between the height of Elvis/Jerry Lee/Carl Perkins classic rock & rock and the Beatles and The Rolling Stones. That is where things were left until a dozen years ago or more when Etta ‘stole the show’ at the Newport Folk Festival. Well, we live and learn.

The stand outs here include: the rocking “I Just Want To Make Love To You,” the saucy “Something’s Got A Hold Of Me,” and an inspired “Sweet Little Angel”. The real stroy here though this is five star Etta.

Artist: Etta James lyrics
Album: At Last!
Year: 1961
Title: I Just Want To Make Love To You

Lyrics to I Just Want To Make Love To You :

I don't want you to be no slave;
I don't want you to work all day;
But I want you to be true,
And I just wanna make love to you.
...Love to you...
...Love to you...Ooooohhooh...
...Love to you...

All I want to do is wash your clothes;
I don't want to keep you indoors.
There is nothing for you to do
But keep me makin' love to you.
...Love to you...
...Love to you...Ooooohhooh...
...Love to you...
And I can tell by the way you walk that walk;
I can hear by the way you talk that talk;
I can know by the way you treat your girl
That I can give you all the lovin' in the whole wide world!
All I want you to do is make your bread!
Just to make sure you're well-fed!
I don't want you sad and blue!
And I just wanna make love to you.
...Love to you...
...Love to you...Ooooohhooh...
...Love to you...Ooooh.

And I can tell by the way you walk that walk;
And I can hear by the way you talk that talk;
And I can know by the way you treat your girl
That I could give you all the lovin' in the whole wide world!
Oh, all I wanna do - All I wanna do is cook your bread!
Just to make sure that you're well-fed!
I don't want you sad and blue,
And I just wanna make love to you.
...Love to you...
...Love to you...Ooooohhooh...
...Yeah, love to you...Ooooh.
...Love to you...

*Etta James Is In The House- An Encore

Click on the title to link to YouTube's film clip of Etta James performing her classic "I'd Rather Go Blind".

CD Review

Etta James: Her Best- The Chess Records 50th Anniversary Edition, Etta James, MCA UK, 1997

The name Etta James goes back in my memory to associations with my first listening to rock music on the old transistor radio in the late 1950’s. At that time, I believe, her music was in the old doo wop tradition of the late 1950’s, a music that I was fairly soon to dismiss out of hand as the ‘bubble gum’ music that was prevalent in that period between the height of Elvis/Jerry Lee/Carl Perkins classic rock & rock and the Beatles and The Rolling Stones. That is where things were left until a dozen years ago or more when Etta ‘stole the show’ at the Newport Folk Festival. Well, we live and learn.

The stand outs here include: the classic Etta song “I’d Rather Go Blind,” the saucy “Tell Mama,” and “All The Way Down”. Overall this is a lesser Etta compilation, especially for a Chess 50th Anniversary edition item that usually has higher quality copies of the tracks.

Etta James - I'd Rather Go Blind Lyrics

Something told me it was over
When I saw you and her talkin'
Something deep down in my soul said, 'Cry, girl'
When I saw you and that girl walkin' around

Whoo, I would rather, I would rather go blind, boy
Then to see you walk away from me, child, no

Whoo, so you see, I love you so much
That I don't wanna watch you leave me, baby
Most of all, I just don't, I just don't wanna be free, no

Whoo, whoo, I was just, I was just, I was just
Sittin here thinkin', of your kiss and your warm embrace, yeah
When the reflection in the glass that I held to my lips now, baby
Revealed the tears that was on my face, yeah

Whoo and baby, baby, I'd rather, I'd rather be blind, boy
Then to see you walk away, see you walk away from me, yeah
Whoo, baby, baby, baby, I'd rather be blind...

*Going Back Home To The Blues- The Early Ike Turner

Click On Title To Link To YouTube's Film Clip Of Ike Turner And His Kings Of Rhythms Performing "Thinking Black" From 1969.

CD Review

Here is a little taste of Ike Turner's early work. Some of the comments used here have been used in other reviews of the late Ike Turner's work.

Blues King Plus, Ike Turner, Capitol Records, 2003

I have mentioned the recently departed Ike Turner’s rough and tumble drug-induced later lifestyle and his problems with ex-wife Tina Turner elsewhere in this space so there is no need to repeat that here. I have also mentioned Ike’s key role as ‘talent spotter’ in the 1950’s for Chess Records (and Sun Records' Sam Phillips, I believe) and his pivotal role in the early move from R&B to rock & roll with the super-classic hit “Rocket 88”. Thus, his place in musical history (with the appropriate asterisks) is secure. And should be.

This early effort "Blues King Plus" like a late Turner effort “Risin’ with the Blues” (2006) is a place where Ike goes out in front and does many of the lead vocals, some successfully, some not. The instrumental work is excellent, as is to be expected on a Turner platter. But, to be honest, not all of the vocals made me want to jump, which I assume was Ike’s intention here since some of the works are tributes to those like Louis Jordan who influenced the young Ike Turner. That said, his versions of “Trouble And Heartache ”, " You're Driving Me Insane" and a jumping "Looking For My Baby" are , as is “Night Howler" and "Cubano Jump". We part company, however, on “Early Times", "The World Is Yours" and a couple of others where his voice cannot carry the song.

You know what, go out and get some early Ike and the Rhythm Kings. Then you will be sure to get what Ike was all about and why he has a secure place in musical history. And remember that seminal “Rocket 88”. I went crazy when I listened to it recently after not hearing it for a long time.

*******

Songfacts:

In 1991, after a great deal of debate, the Rock and Roll Hall of Fame recognized this as the first Rock and Roll song ever recorded. Turner was in jail at the time for cocaine possession, so his daughter accepted the award.

The song is about a car. The Oldsmobile "Rocket 88" just came out and was the fastest car on the road at the time. It was advertised as having a V-8 "Rocket" engine.

This was produced by Sam Phillips, who formed Sun Records in 1954. Phillips discovered Elvis in 1955.

Jackie Brenston, who was a member of Ike Turner's Rhythm Kings, sang lead. The single was credited to "Jackie Brenston and His Delta Cats" because Phillips wanted to release a different record credited to Turner.

This was a #1 R&B hit. There were no rock charts at the time.

Turner and his band were playing black clubs in the American South when B.B. King set up a recording session for them in Memphis with Phillips. They wrote most of this on the way to the session.

On the drive to the session, the band's amplifier fell out of the car and broke the woofer. Turner shoved paper in it at the studio to cover the problem, which ended up providing a more distinct sound. The sounds that came from the damaged amp resulted in this being cited as one of the first songs to feature guitar distortion.

Brenston was credited with writing this, although he admitted he stole the idea from a 1947 song called "Cadillac Boogie."

General Motors gave Brenston a Rocket 88 to thank him for the publicity this generated for the car.

Brenston did not handle success well. He quickly spent the money he made from this, became an alcoholic, went broke, and died in 1979.

Turner played piano on this. It was a huge influence on Little Richard, who used the piano intro on his 1958 hit, "Good Golly Miss Molly."

There were other songs recorded before this that could be considered Rock and Roll, but this was unique in that it appealed to a white audience.

Turner recorded a new version of this in 2000.

In an interview with Rolling Stone magazine (issue 93) in 1971, Ike Turner recalled how despite this being a local hit, he made little from it: "Some dude at the record company beat me, and I only got $40 for writing, producing, and recording it. And the lead singer (Jackie Brenston) took the band from me and went on his own."

Rocket '88 lyrics

You may have heard of jalopies,
You heard the noise they make,
Let me introduce you to my Rocket '88.
Yes it's great, just won't wait,
Everybody likes my Rocket '88.
Gals will ride in style,
Movin' all along.(Guitar solo, leading into steel guitar solo.)
V-8 motor and this modern design,
My convertible top and the gals don't mind
Sportin' with me, ridin' all around town for joy.(
Spoken) -- Blow your horn, Rocket, blow your horn!(Horn sound effect leading into guitar solo.)
Step in my Rocket and-a don't be late,
We're pullin' out about a half-past-eight.
Goin' on the corner and-a havin' some fun,T
akin' my Rocket on a long, hot run.
Ooh, goin' out,Oozin' and cruisin' along.(Guitar solo.)
Now that you've ridden in my Rocket '88,
I'll be around every night about eight.
You know it's great, don't be late,Everybody likes my Rocket '88.
Gals will ride in style,
Movin' all along.(Fade out, ending with sound effect of a car driving away.)
Labels: chess records, drugs and rock and roll, ike turner,

*A Taste Of The Later Career Of R&B's Ike Turner

Click On To Title To Link To YouTube's Film Clip Of Bill Haley Performing Ike Turner's "Rocket 88". Wow!

CD Review

Here is a little taste of Ike Turner's later work.

Risin’ With The Blues, Ike Turner, Zoho Roots, 2006

I have mentioned the recently departed Ike Turner’s rough and tumble drug-induced later lifestyle and his problems with ex-wife Tina Turner elsewhere in this space so there is no need to repeat that here. I have also mentioned Ike’s key role as ‘talent spotter’ in the 1950’s for Chess Records (and Sun Records' Sam Phillips, I believe) and his pivotal role in the early move from R&B to rock & roll with the super-classic hit “Rocket 88”. Thus, his place in musical history (with the appropriate asterisks) is secure. And should be.

“Risin’ with the Blues” is a late effort (2006) where Ike goes out in front and does many of the lead vocals, some successfully, some not. The instrumental work is excellent, as is to be expected on a Turner platter. But, to be honest, not all of the vocals made me want to jump, which I assume was Ike’s intention here since some of the works are tributes to those like Louis Jordan who influenced the young Ike Turner. That said, his version of “Eighteen Long Years” (usually five in most versions but the number is used as a dig at Tina) is fine, as is “Big Fat Mama” and “Rockin’ Blues”. We part company, however, on “Jesus Loves Me” his musical retort to Tina’s charges in her book and in the movie.

You know what, go out and get some early Ike and the Rhythm Kings. Then you will be sure to get what Ike was all about and why he has a secure place in musical history. And remember that seminal “Rocket 88”. I went crazy when I listened to it recently after not hearing it for a long time.

*******

Songfacts:

In 1991, after a great deal of debate, the Rock and Roll Hall of Fame recognized this as the first Rock and Roll song ever recorded. Turner was in jail at the time for cocaine possession, so his daughter accepted the award.

The song is about a car. The Oldsmobile "Rocket 88" just came out and was the fastest car on the road at the time. It was advertised as having a V-8 "Rocket" engine.

This was produced by Sam Phillips, who formed Sun Records in 1954. Phillips discovered Elvis in 1955.

Jackie Brenston, who was a member of Ike Turner's Rhythm Kings, sang lead. The single was credited to "Jackie Brenston and His Delta Cats" because Phillips wanted to release a different record credited to Turner.

This was a #1 R&B hit. There were no rock charts at the time.

Turner and his band were playing black clubs in the American South when B.B. King set up a recording session for them in Memphis with Phillips. They wrote most of this on the way to the session.

On the drive to the session, the band's amplifier fell out of the car and broke the woofer. Turner shoved paper in it at the studio to cover the problem, which ended up providing a more distinct sound. The sounds that came from the damaged amp resulted in this being cited as one of the first songs to feature guitar distortion.

Brenston was credited with writing this, although he admitted he stole the idea from a 1947 song called "Cadillac Boogie."

General Motors gave Brenston a Rocket 88 to thank him for the publicity this generated for the car.

Brenston did not handle success well. He quickly spent the money he made from this, became an alcoholic, went broke, and died in 1979.

Turner played piano on this. It was a huge influence on Little Richard, who used the piano intro on his 1958 hit, "Good Golly Miss Molly."

There were other songs recorded before this that could be considered Rock and Roll, but this was unique in that it appealed to a white audience.

Turner recorded a new version of this in 2000.

In an interview with Rolling Stone magazine (issue 93) in 1971, Ike Turner recalled how despite this being a local hit, he made little from it: "Some dude at the record company beat me, and I only got $40 for writing, producing, and recording it. And the lead singer (Jackie Brenston) took the band from me and went on his own."

Rocket '88 lyrics

You may have heard of jalopies,
You heard the noise they make,
Let me introduce you to my Rocket '88.
Yes it's great, just won't wait,
Everybody likes my Rocket '88.
Gals will ride in style,
Movin' all along.(Guitar solo, leading into steel guitar solo.)
V-8 motor and this modern design,
My convertible top and the gals don't mind
Sportin' with me, ridin' all around town for joy.(
Spoken) -- Blow your horn, Rocket, blow your horn!(Horn sound effect leading into guitar solo.)
Step in my Rocket and-a don't be late,
We're pullin' out about a half-past-eight.
Goin' on the corner and-a havin' some fun,T
akin' my Rocket on a long, hot run.
Ooh, goin' out,Oozin' and cruisin' along.(Guitar solo.)
Now that you've ridden in my Rocket '88,
I'll be around every night about eight.
You know it's great, don't be late,Everybody likes my Rocket '88.
Gals will ride in style,
Movin' all along.(Fade out, ending with sound effect of a car driving away.)

*Etta James Is In The House-“At Last”

Click on title to link to YouTube's film clip of Etta Jame performing "At Last"

CD Review

At Last, Etta James, MCA, 1999



The name Etta James is no stranger to this space. Whether it is in reference to the classic Chicago blues label Chess Records, Chicago blues as a genre, or just Etta rockin’ the house I have found time to place her in that rather small (unfortunately) number of great modern female blues singers. That said, this CD has plenty of that, but also showcases her other talents. Although this album started life as a Chess production (of some sort) there are ballads and other old time tunes here to show that in her prime there was nothing Etta couldn’t cover with gusto. Some of it like “Trust In Me” is just a little too sweet for me. I called it “bubblegum" music in the old days. But compare that to her covers of famous classic Lena Horne “Stormy Weather” or “Sunday Kind of Love” and you have an approximation of what the songs were that we listened to when thoughts of love were first bubbling up around 1960. And easy music to ask a girl or guy to slow dance too. Ah, well.

Stormy Weather lyrics

Don't know why there's no sun up in the sky, stormy weather
Since my gal and I ain't together, keeps raining all the time
Life is bare, gloom and misery everywhere, stormy weather
Just can't get my poor old self together
I'm weary all the time, the time
So weary all the time
When she went away the blues walked in and they met me
If she stays away, that old rocking chair's gonna get me
All I do is pray the Lord above will let me
Walk in the sun once more
Can't go on, everything I have is gone, stormy weather
Since my gal and I ain't together
Keeps raining all the time
Keeps raining all the time
Can't go on, everything I have is gone, stormy weather
Since my gal and I ain't together
Keeps raining all the time, the time
Keeps raining all the time

When The Blues Was The Dues- Chess Records

CD REVIEW



Chess Records 50th Anniversary Tribute, various artists, Chess 1997



I have recently done a few commentaries on the legendary Sun Records that produced more than its share of both black blues and white rockabilly stars as well as a galaxy of early rock and roll idols ands classic songs. If one were to ask what other record company might have had such influence in those days the natural response should be Chicago’s Chess Records that caught many of the black blues artists as they headed North to reach their own stardom once the limits of what Memphis had to offer a black recording artist gave out. This album is a 50th Anniversary tribute to many of those who made stardom or at least were one-shot johnnies (and janes) on that label.

No Chess Record tribute can be complete, can even be considered as such, unless the name Howlin’ Wolf is mentioned. He is represented here by one of the all time great blues songs (and maybe rock and roll, as well) Little Red Rooster. I know I flipped out the first time I heard it covered by Mick Jagger and The Rolling Stones in the early 1960’s. When I heard the Wolf do it I went crazy. Others who stand out here are a litany of blues greats- Etta James, Koko Taylor, Little Milton, and on and on. But here is the tip of the day. What you are getting this CD for is the Wolf’s Little Red Rooster and that is just fine.

*Once More,The Boogie Chillen” Man- The Boogie Blues Of John Lee Hooker

Click On Title To Link To YouTube's Film Clip Of John Lee Hooker Doing "I'm Bad Like Jesse James"".

John Lee Hooker: The Definitive Collection, John Lee Hooker, Union Square Music, 2000

So given the above comments what is classic here, according to my tastes. Well, hell “Boogie Chillen” is one of those here or there songs Hooker songs I mentioned above that I liked. How about the power of “Boom Boom” and “Hard Headed Woman” and the classic Hooker lines of “She’s Long, “She’s Tall”.

*The Boogie Chillen” Man- The Boogie Blues Of John Lee Hooker

Click On Title To Link To YouTube's Film Clip Of John Lee Hooker Doing "Boogie Chillen".

CD REVIEW

John Lee Hooker: The Real Folk Blues, Chess Records, 1987

I have poured out kudos to the likes of Howlin’ Wolf, Skip James, Son House, Bukka White and an assortment of other legendary male acoustic and electric blues guitar players in this space. I have not, until now, mentioned the name of the legendary blues artist John Lee Hooker, although he belongs up there with those other above-mentioned names. Why? Well, frankly, it is a question of tastes. Other than an occasional song here or there John Lee Hooker does not “speak” to me, a term that means something to me in the blues context. Sure his guitar smokes when he is on. He always had more than enough black and white bands (Canned Heat, for one) clamoring to back him up and certainly his lyrics (with a few “politically incorrect” exceptions common to the genre) drove his message home. But we never connected at that “soul” level the way Wolf, Son House or the recently discovered (by me) Bukka White do. This happens. But I know enough about the blues to know that John Lee Hooker will “speak” to others. Legends are like that.

So given the above comments what is classic here, according to my tastes. Well, hell “Stella Mae” is one of those here or there songs Hooker songs I mentioned above that I liked. Others may like the much covered “One Bourbon, One Scotch, One Beer”. (This may be the best way to state my case- George Thorogood’s version “speaks” to me.) “Peace Lovin’ Man” and “I’m In The Mood” are exemplars of Hooker’s boogie guitar style.

*Again, The Boogie Chillen” Man- The Boogie Blues Of John Lee Hooker

John Lee Hooker: The Definitive Collection, John Lee Hooker, Union Square Music, 2000

So given the above comments what is classic here, according to my tastes. Well, hell “Boogie Chillen” is one of those here or there songs Hooker songs I mentioned above that I liked. How about the power of “Boom Boom” and “Hard Headed Woman” and the classic Hooker lines of “She’s Long, “She’s Tall”.


*Once More,The Boogie Chillen” Man- The Boogie Blues Of John Lee Hooker

The Very Best Of John Lee Hooker, John Lee Hooker, Rhino Records, 1995

So given the above comments what is classic here, according to my tastes. Well, hell just the lyrics alone to “I’m Bad Like Jesse James” rates as one of those here or there songs Hooker songs I mentioned above that I liked. Others may like the much covered “One Bourbon, One Scotch, One Beer”. (This may be the best way to state my case- George Thorogood’s version “speaks” to me.) “Boogie Chillen” and “I’m In The Mood” are exemplars of Hooker’s boogie guitar style.


"Boogie Chillen'" : John Lee Hooker

(John Lee Hooker)

Well my mama she didn't 'low me, just to stay out all night long, oh Lord
Well my mama didn't 'low me, just to stay out all night long
I didn't care what she didn't 'low, I would boogie-woogie anyhow

When I first came to town people, I was walkin' down Hastings Street
Everybody was talkin' about, the Henry Swing Club
I decided I drop in there that night
When I got there, I say, "Yes, people"
They was really havin' a ball!
Yes, I know
Boogie Chillen'!

One night I was layin' down,
I heard mama 'n papa talkin'
I heard papa tell mama, let that boy boogie-woogie,
It's in him, and it got to come out
And I felt so good,
Went on boogie'n just the same


"Tupelo Blues"

(John Lee Hooker)

[Spoken:]
Did you read about the flood?
It happened long time ago, in a little country town, way back in Mississippi
It rained and it rained, it rained both night and day
The people got worried, they began to cry,
"lord have mercy, where can we go now?"
There were women and there was children, screaming and crying,
"lord have mercy and a great disaster, who can we turn to now, but you?"
The great flood of Tupelo, Mississippi
It happened one evenin', one Friday evenin', a long time ago,
It rained and it started rainin'
The people of Tupelo, out on the farm gathering their harvest,
A dark cloud rolled, way back in Tupelo, Mississippi, hmm, hmm

Wasn't that a mighty time,
Wasn't that a mighty time?
Wasn't that a mighty time,
A mighty time, that evenin'?
It rained, both night and day
The poor people that had no place to go, hmm,hmm
A little town, called Tupelo, Mississippi
I never forget it and I know you won't either

"I'm In The Mood"

(John Lee Hooker / Bernard Bessman)

I'm in the mood baby, I'm in the mood for love
I'm in the mood baby, I'm in the mood for love
I'm in the mood, I'm in the mood, baby, I'm in the mood for love

I said night time is the right time, to be with the one you love
You know when night come baby, God know, you're so far away
I'm in the mood, I'm in the mood baby, I'm in the mood for love
I'm in the mood, in the mood, baby, in the mood for love

I said yes, my mama told me, to leave that girl alone
But my mama didn't know, God know, girl was puttin' down
I'm in the mood, I'm in the mood baby, in the mood for love
I'm in the mood, I'm in the mood, baby, in the mood for love

One Bourbon, One Scotch, One Beer lyrics

One bourbon, one scotch, and one beer
One bourbon, one scotch, and one beer
Hey mister bartender come here
I want another drink and I want it now

My baby she gone, she been gone two night
I ain't seen my baby since night before last
One bourbon, one scotch, and one beer

"I'm Mad Again"

(John Lee Hooker)

I had a friend one time, at least I thought I did
Taken that man in my house, give him my food,
Over my table, that I couldn't afford

He come to me, he said 'Johnny, ain't got no place to stay'
I said 'Yes man, come to my house'
I get you a place to stay, and a bed to sleep in,
That I couldn't afford

When I found out, you with my wife,
Now I'm mad, like Al Capone
Well I warned you one time,
Next time I warn you,
I'm gonna use my gun on you
'cause I'm mad with you, hahaha
I'm mad with you, like Al Capone

Look man, I told you one time before
But this time, I'm gonna teach you,
A little lesson, you won't forget
Take this man, right down by, the riverside
I might drown you,
I might shoot you,
I don't know
Gonna tie your hands, gonna tie your feet
Gag you so you can't talk to nobody
I'm mad, rrrrr, I'm mad with you
You're sinkin', I'm mad


"It Hurts Me So"

(John Lee Hooker / Bernard Besman)

That man don't love you, he told me so
He's only doin' that, baby, to break up your home

When things go wrong, so wrong with you,
It hurts me so, it hurts me so

That man don't love you, no he don't
He's only jivin' you little girl, lovin' the girl next door

When things go wrong, so wrong with you,
It hurts me so, it hurts me so Yeah!.

You know you don't love him, you know you don't
Go ahead and leave me baby, don't make me cry

When things go wrong, so wrong with you,
It hurts me so, it hurts me so

That man don't love you, he told me so
Only jivin' you, baby, breaking up your home

When things go wrong, so wrong with you,
It hurts me so, it hurts me so

When things go wrong, so wrong with you,
It hurts me so, it hurts me so

So long, baby, I've got to go
Because you don't love me now, darlin', I know you don't

When things go wrong, so wrong with you,
It hurts me so, it hurts me so

"How Long Blues"

(Leroy Carr, arranged by John Lee Hooker)

Standin' at the station when the train come by
Deep down in my heart, baby, feel an achin' pain
How long, oh, baby how long?
Baby how long, baby how long,
Has that evenin' train been gone,
How long, oh, baby how long?

If I could holler like a mountain jack,
I'd go up on the mountain, call my baby back
How long, oh, baby how long?

I could see the green grass,
Growin' up on the hill
But you can't see a green-black drawin' on a,
On a dollar bill
Baby, how long?
Baby how long?

How long, baby how long,
Has that evenin' train been gone?
Baby how long, oh baby how long?
Baby how long, oh baby how long?

*In The Shadow Of The Great Blues Guitarists- Joe Louis Walker & His Bosstalkers

Click on title to link to YouTube's film clip of Joe Louis Walker's cover of the Big Joe Turner sassy classic "Rebecca".


DVD Review

Joe Louis Walker & His Bosstalkers: In Concert, Joe Louis Walker and various sidemen, Gema Productions, 2003



I have gone through the repertoire of blues great-John Lee Hooker, Muddy Waters, Freddie King, Lightnin’ Hopkins and so on in this space over the last period. I have not included the artists under review, Joe Louis Walker & His Bosstalkers and with reason. Although Joe Louis played with all of the above named artists of the electric blues pantheon he, off of this performance, does not belong there. On the second or third level, yes. No question that he is a virtuoso guitar player-behind someone else. Nothing wrong with that, right? Here in this 1991 concert the stick outs are “I Didn’t Know”, “The Gift’ and “One Time Around”. Good solid blues but nothing to turn your head or stop what you are doing like Howlin’ Wolf, Muddy or John Lee REQUIRE you to do.

***********

Blues Survivor
This is the title track from his Verve/Gitanes CD, recorded in 1992 in California. In this funky song he tells of the obstacles he had to overcome in his career; keeping the blues alive, as it were, while the blues were keeping him alive.

True blues survivor

I'm a true blues survivor, I'm proud I am
I tried a little bit of this and a little bit of that
Searching for something that would be right for me
Tryin' to find some place where I belong at
I tried a little rock, I tried a little roll
I tried a little top hit(?) and I tried a little soul
Hey hey you don't know what it's like
Fightin' the powers all of my life
I've got my own way of walkin'
My own way of talkin'
I'll do what I want and I'll do what I like
Yeah yeah

Sixteen years old, I'm fresh outa school
Tryin' to figure out what I wanna do
I couldn't find no work and I couldn't stay at home
The only thing to do was to sing the blues
I practise every day, go travellin' every night
Tryin' not to get it wrong, I'm still tryin' to get it right
Hey hey you don't know what I've done
All my life I've beren under the gun
I wanna do my own drivin'
I'm true blues survivin'
And that's what's keepin' me strong strong strong
Yeah yeah

(solo)

(I'm a true blues survivor)
I've been left in distress up sky high
(I'm a true blues survivor)
I've been busted and mistrusted, left by myself
(I'm a true blues survivor)
I've been up, I've been down, left all around
(I'm a true blues survivor)
I been busted, mistrusted, I been up, I been down,
locked in, left out, kept me hangin' around
(I'm a true blues survivor)
(I'm a true blues survivor)
(I'm a true blues survivor)




Mama Didn't Raise No Fool
This song can be found on the CD "The Gift" (Hightone Records, 1988)

Mama didn't raise no fool (D. Walker - J. L. Walker)


If I was a fool, it would sure be easy
I could fall, oh baby, for your wicked smile
Buy you a drink, whisper some lie, oh no
And we could go somewhere quiet, for a little while

But my mama she didn't raise no fool
She said, you be careful what you do
Don't let no-one take advantage of you
But my mama she didn't raise no fool
No fool

If I was a fool, I'd forget those promises I already have made
Wipe my woman from my mind, so we could play, oh baby
If I was a fool, I'd follow you home
I would hug you, kiss you and squeeze you, all night long

But no...
My mama she didn't raise no fool
She said, you be careful what you do
Don't let no-one take advantage of you
Cause my ma she didn't raise no fool


Moanin' News
From his Hightone Records CD "Cold Is The Night", a J. L. Walker composition with an intriguing, suggestive title.

There once was a man, who loved to sing the blues
He'd two pair of pants and just one pair of shoes
But when he's moan that lowdown dirty blues
People come a-runnin' from miles around
Just to hear what he was puttin' down
That is why they call him
The moanin' news
The moanin' news

Late at night, when he start to make his move
He irons his pants, and shines those pair of shoes
And then he moan that gutbucket downhome blues
People would begin to jump and shout
After they had heard what he was talkin' about
That is why they call him
The moanin' blues
The moanin' blues

He starts to moan
He said "A-hoo... A-hoo..."
He start to moan
He said "A-hoo... A-hoo..."
People come a-runnin' from far away
Just to hear what the man had to say
That is why they call him
The moanin' blues
The moanin' blues

Later on, when he finally found success
He come back home, and tried to get some rest
And he could moan, that funky urban blues
Now that you're in, you turn on your TV
You never guessed who you might see
The man they used to call
The moanin' blues
The moanin' blues
The moanin' blues
The moanin' blues


Shade Tree Mechanic
This song was written by Henry Oden, Joe Louis' long-time bass player. It's on the CD "The Gift".

I want you to put me under your shade tree
Please get me out of the sun
I want you to put me under your shade tree
Please get me out of the sun
Cause I'm your shade tree mechanic
And heaven knows that I'm the one

I can oil and lube you
And not lose a single drop, no no
I can cool you down
When you start to runnin' hot
I'm your shade tree mechanic
I never leave my shady spot

I can check your battery baby
With my special pressure gage
My work is guaranteed
Guaranteed for thirty days
I want you to put me under your shade tree
Please get me out of the sun
Cause I'm your shade tree mechanic
And heaven knows I'm the one

(guitar solo)

I want you to put me under your shade tree
Please get me out of the sun
I want you to put me under your shade tree
Please get me out of the sun
Cause I'm your shade tree mechanic
And heaven knows I'm the one

You say your drive shaft may misfire
Your piston rod is running flat
Don't you worry about a thing
I got the tools for that
I want you to put me under your shade tree
Please get me out of the sun
My work is guaranteed
I've got just what you need
You can call me day or night
I'll always treat u right
I am the one

Ten More Shows To Play
Another blues about being a blues singer, from the CD "Cold Is The Night" (Hightone Records, 1986)

Ten More Shows To Play (D. Walker - L. Fulson)

Tonight I'm in Houston, then Dallas and L.A.
My woman need me with her but I got ten more shows to play
How long 'fore she'll ask me to choose
Between her lovin' and these ever lovin' blues

I've hit the road before, she never once complained
This time she was cryin' when I got on the plane
I'm hopin' and I'm prayin' she can wait and be true
And not be discouraged without the things we used to do
How long 'fore she'll ask me to choose
Between her lovin' and these ever lovin' blues
All right...

I'm sittin' here in misery, you know I'm on the spot
That woman and this guitar is all I've really got
How long 'fore she'll ask me to choose
Between her lovin' and these ever lovin' blues

Tonight I'm in Houston, then Dallas and L.A.
My woman need me with her but I got ten more shows to play

*The Godfather Of The Chicago Blues- Willie Dixon Lights Up The Room

Click On Title To Link To Willie Dixon Webpage.

CD REVIEW

I Am The Blues, Willie Dixon, Sony Music Entertainment, 1993

Muddy Waters. Check. Howlin' Wolf. Check. Koko Taylor. Check. Etta James. Check. And on and on. What do they all have in common? Well, they have all covered the music created by the subject of this review, Willie Dixon. Now Mr. Dixon does not spring to mind when one is discussing the classic blues artists that I have filled this space with over the past year or so. In some senses that is right. But there is always the question, and it is posed most sharply here, about the roots of any musical genre, how it was put together and who did that leg work. Now we are in Mr. Dixon's territory. In reviewing a series of DVDs on the "American Folk Blues Concerts" that were performed in Europe in the early 1960's I mentioned his name in passing. I have also mentioned his name as the writer in connection with Howlin' Wolf's classic rendition of "The Little Red Rooster" (later covered by The Rolling Stones) that was my first conscious exposure to electric blues. Here, old Willie is front and center.

Okay, so lets' sum up. Willie wrote great songs, he played a mean bass, and he produced for Chicago's Chess Records some of the most memorable blues recordings of all times. And never got his full recognition or full compensation for that fact. However the treatment of musical artists, and especially blues artists is a subject for another time. Yet, there is no denying his claim as the 'godfather of the blues'. But how does he stand up as a performer in his own right? Well, frankly so-so. On this CD he has a very good back up house band but his vocals fail to carry the effect of his great songs that others have been able to cover so memorably. This is one of those cases where the cover artist is better than the song writer. Still it is nice to see his interpretation of the songs that have been hits for so many others. "Back Door Man", "Spoonful", I'm Your Hoochie Goochie Man" and the above-mentioned "The Little Red Rooster". I can hear Muddy and Wolf now. Ya, but Willie, stand tall; you ARE 'the godfather of the electric blues'. Kudos.


"The Red Rooster" by Willie Dixon

I have a little red rooster, too lazy to crow for day
I have a little red rooster, too lazy to crow for day
Keep everything in the barnyard, upset in every way

Oh the dogs begin to bark, and the hound begin to howl
Oh the dogs begin to bark, hound begin to howl
Ooh watch out strange kind people, cause little red rooster is on the prowl

If you see my little red rooster, please drag him home
If you see my little red rooster, please drag him home
There ain't no peace in the barnyard, since the little red rooster been gone

Wang Dang Doodle
Howlin' Wolf, Koko Taylor

Tell Automatic Slim , tell Razor Totin' Jim
Tell Butcher Knife Totin' Annie, tell Fast Talking Fanny
A we gonna pitch a ball, a down to that union hall
We gonna romp and tromp till midnight
We gonna fuss and fight till daylight
We gonna pitch a wang dang doodle all night long
All night long, All night long, All night long

Tell Kudu-Crawlin' Red, tell Abyssinian Ned
Tell ol' Pistol Pete, everybody gonna meet
Tonight we need no rest, we really gonna throw a mess
We gonna to break out all of the windows,
we gonna kick down all the doors
We gonna pitch a wang dang doodle all night long
All night long, All night long, All night long

Tell Fats and Washboard Sam, that everybody gonna to jam
Tell Shaky and Boxcar Joe, we got sawdust on the floor
Tell Peg and Caroline Dye, we gonna have a time
When the fish scent fill the air, there'll be snuff juice everywhere
We gonna pitch a wang dang doodle all night long
All night long, All night long etc.

by Willie Dixon


SPOONFUL

Could fill spoons full of diamonds,
Could fill spoons full of gold.
Just a little spoon of your precious love
Will satisfy my soul.

Men lies about it.
Some of them cries about it.
Some of them dies about it.
Everything's a-fightin' about the spoonful.
That spoon, that spoon, that spoonful.
That spoon, that spoon, that spoonful.
That spoon, that spoon, that spoonful.
That spoon, that spoon, that spoonful.

Could fill spoons full of coffee,
Could fill spoons full of tea.
Just a little spoon of your precious love;
Is that enough for me?

Chorus

Could fill spoons full of water,
Save them from the desert sands.
But a little spoon of your forty-five
Saved you from another man.

by Willie Dixon

*The "Earthshaker" Is In The House- The Blues Of Koko Taylor

Click On Title To Link To YouTube's Film Clip Of Koko Taylor Doing "Wang Dang Doodle". Wow!

CD REVIEW

Koko Taylor: The Earthshaker, Koko Taylor, Alligator Records, 1978.

In the modern era of blues, mainly electric blues, say from the post-World War II period women blues singers, especially black women blues singers, are probably underrepresented. One thinks of “Big Mama” Thornton, Ruth Brown, Etta James, and the artist under review, Koko Taylor. There are other lesser lights but not nearly the numbers that I can, and have, recounted in this space from the 1920’s and 1930’s. Nevertheless for sheer energy, volume and flat out “good time” dancing blues Ms. Taylor will do quite well, against male or female. The title of this CD, “The Earthshaker” is not mistaken or out of place.

That said, I remember in one of the segments of Martin Scorsese six-part PBS tribute to the blues a few years back that when Ms. Taylor was interviewed concerning the influence that Chicago’s Chess Records and its management, the Chess brothers (the guys that discovered her), had on the blues scene she was less that complimentary with the “shake” that that pair had given her. The whole question of the exploitation of black blues talent (and not only of that musical genre) deserves separate coverage and is beyond what I want to look at in this CD. However, I would point out, there is probably more truth that meets the eye concerning the Koko’s gripes about proper promotion, accreditation and payment (in short, the correct distribution of the dough, okay) and that Koko was not just being abstruse in the matter. That may also explain, a little at least, the dearth of women blues singers that come readily to mind.

But enough of that, for now. Here Koko belts out her standards, accompanied by a fine back up band made up of well-known, and in the case of “Pinetop” Perkins on keyboards legendary, musicians including Johnny Moore and Sammy Lawhorn on the guitars. Nice right, for those who know those names? Hits here include the Willie Dixon classic “Spoonful” that Howlin’ Wolf ripped up. Well, Koko does the same here. My favorite on this CD is the slow mournful blues “Walking the Back Streets” (needless to say crying in those back streets about a two-timing man). But so much for my favorite because the reason you get this CD is Koko’s signature Willie Dixon classic “Wang Dang Doodle”. Howlin’ Wolf covered that tune as well. Koko wins that duel though. Listen up.

Wang Dang Doodle
Howlin' Wolf, Koko Taylor

Tell Automatic Slim , tell Razor Totin' Jim
Tell Butcher Knife Totin' Annie, tell Fast Talking Fanny
A we gonna pitch a ball, a down to that union hall
We gonna romp and tromp till midnight
We gonna fuss and fight till daylight
We gonna pitch a wang dang doodle all night long
All night long, All night long, All night long

Tell Kudu-Crawlin' Red, tell Abyssinian Ned
Tell ol' Pistol Pete, everybody gonna meet
Tonight we need no rest, we really gonna throw a mess
We gonna to break out all of the windows,
we gonna kick down all the doors
We gonna pitch a wang dang doodle all night long
All night long, All night long, All night long

Tell Fats and Washboard Sam, that everybody gonna to jam
Tell Shaky and Boxcar Joe, we got sawdust on the floor
Tell Peg and Caroline Dye, we gonna have a time
When the fish scent fill the air, there'll be snuff juice everywhere
We gonna pitch a wang dang doodle all night long
All night long, All night long etc.

by Willie Dixon


SPOONFUL

Could fill spoons full of diamonds,
Could fill spoons full of gold.
Just a little spoon of your precious love
Will satisfy my soul.

Men lies about it.
Some of them cries about it.
Some of them dies about it.
Everything's a-fightin' about the spoonful.
That spoon, that spoon, that spoonful.
That spoon, that spoon, that spoonful.
That spoon, that spoon, that spoonful.
That spoon, that spoon, that spoonful.

Could fill spoons full of coffee,
Could fill spoons full of tea.
Just a little spoon of your precious love;
Is that enough for me?

Chorus

Could fill spoons full of water,
Save them from the desert sands.
But a little spoon of your forty-five
Saved you from another man.

by Willie Dixon

Let The Good Times Roll

Hey everybody, let's have some fun
You only live for once
And when you're dead you're done
So let the good times roll, let the good times roll
And live a long long
I don't care if you are young or old no no,
\get together and let the good times roll

Don't stand there moaning, talking trash
If you wanna have some fun,
You'd better go out and spend some cash
And let the good time roll
Let the good time roll
I don't care if you young or old,
Get together and let the good times roll

Don't stand there moaning, talking trash
If you wanna have some fun,
You'd better go out and spend some cash
And let the good time roll
Let the good time roll
I don't care if you young or old,
Get together and let the good times roll

Hey mister landlord, lock up all the doors
When the police comes around,
Tell them Johnny's coming down
Let the good times roll
Let the good times roll
And Lord I don't care if you young or old,
That's good enough to let the good times roll

Hey everybody!
Tell everybody !
That B.B. and Bobby's in town
I got a dollar and a quarter
And I'm just raring to clown
Don't let nobody play me cheap
I got fifty cents to know that I'm gonna keep
Let the good times roll
I don't care if you young or old
Let's get together and let the good times roll

*The "Wang Dang Doodle" Lady Passes On- The Chicago Blues Queen Koko Taylor Is Gone

Click on the title to link to "The New York Times" obituary for legendary Chicago Blues Queen Koko Taylor.


Markin comment:

This is a belated tribute to Koko, although I have done a review of her work in thi space previously. The raw energy that she brought to a blues song probably will not be equaled again. She is also probably the last of that incredible crowd, like Muddy Waters and Howlin' Wolf, that headed north out of the South and gave Chicago, and Chess Records, that great 1950s blues sound. They will be crying on Maxwell Street on this one. Hell, I am crying too.

Wang Dang Doodle
Howlin' Wolf, Koko Taylor

Tell Automatic Slim , tell Razor Totin' Jim
Tell Butcher Knife Totin' Annie, tell Fast Talking Fanny
A we gonna pitch a ball, a down to that union hall
We gonna romp and tromp till midnight
We gonna fuss and fight till daylight
We gonna pitch a wang dang doodle all night long
All night long, All night long, All night long

Tell Kudu-Crawlin' Red, tell Abyssinian Ned
Tell ol' Pistol Pete, everybody gonna meet
Tonight we need no rest, we really gonna throw a mess
We gonna to break out all of the windows,
we gonna kick down all the doors
We gonna pitch a wang dang doodle all night long
All night long, All night long, All night long

Tell Fats and Washboard Sam, that everybody gonna to jam
Tell Shaky and Boxcar Joe, we got sawdust on the floor
Tell Peg and Caroline Dye, we gonna have a time
When the fish scent fill the air, there'll be snuff juice everywhere
We gonna pitch a wang dang doodle all night long
All night long, All night long etc.

by Willie Dixon

*A Blues Piano Treat- The Blues Of Mr. Memphis Slim

Click On Title To Link To YouTube's Film Clip Of Memphis Slim Doing "Beer Drinking Woman".

DVD REVIEW

Memphis Slim: Live At Ronnie Scott’s, Memphis Slim, 1986

If you listen to enough blues. If you watch enough films about the blues. If you read enough blues liner notes you not only will become “educated” about this genre but will be able to separate the wheat from the chaff. In other words who’s paid the dues to the blues, and who hasn’t. I have spilled plenty of ink in this space discussing the various personalities, who formed that great post-World War II electric blues explosion centered on Chicago and its environs. I have extolled Howlin’ Wolf, Muddy Waters, Magic Slim, John Lee Hooker and the like. And rightly so. However, every once in a while one needs to freshen up the list as one reviews more material. That was the case with my recent “discovery” of the legendary country blues master, Bukka White. I now add Memphis Slim to the electric blues side.

It is not as if I did not know the name Memphis Slim. And heard his work in various blues compilations, especially from his Chess Record days and on the American Folk Blues series from the 1960's. As noted above once you are immersed in the blues genre and begin to find out who the blues greats acknowledge as their own these things get sorted out quickly. I kept hearing the name Memphis Slim uttered from their lips, as companion and influence. Strangely, after the golden age of the barrel house piano player in the 1920’s and 1930’s there was something of a hiatus in the blues piano as the electric guitar began to dominate. Memphis Slim carries that blues piano tradition forward to the “new age”.

Frankly, every once in awhile a blues piano is the kind of thing that you need to while away your own blues. It provides a more evocative, cleaner sound that the hyper-energetic electric guitar of late Saturday nights. As Memphis Slim himself mentions in between songs in the film, when discussing what he believes the blues are all about, the blues are about hunger, sorrow, longing for love, lost loves and the like. But they are also about happier events as well. Both lyric renditions and piano styles are on display here as Memphis goes through his paces to an appreciative British audience (Ronnie Scott’s is, or was, a famous night spot in London) in 1986. So if you want to watch a master at the blues piano and no mean blues vocal stylist this is your address.

"Rack 'em Back Jack"

You know I'm gonna pray
Lord, never let me love, again
I'm gonna pray
Lord, never let me love, again
They tell me love is a gamble
But I've never been able to win

Blue an' disgusted
That's the way I feel
Feel like a broken spoke
In some farmer's wagon wheel
My baby walked out on me
You know she gave me a raw, raw deal
(piano &

I come home ev'ry night
My baby goes out about ten
Come home ev'ry night
My baby goes out about ten
An' when I go to work ev'ry mornin'
My baby, she's just comin' in

That's why I'm blue an' disgusted
An' that's the way I feel
So blue an' disgusted
People, that's the way I feel
Feel like a broken spoke
In some farmer's wagon wheel

"Beer Drinking Woman"

(piano 'Dragnet' intro)

Spoken:

The story's true ladies and gentlemen.
All the names have been changed to
protect the innocent.
The year 19 hundred and forty.
The city, Chicago. The place, Rubin's Tavern
The story goes something like this:

I walked into a beer tavern
To give a girl a nice time
I had forty-five dollars when I enter
When I left I had one dime

Wasn't she a beer drinkin' woman?
Don't ya know, man don't ya know?
She was a beer-drinkin' woman
And I don't want to see her no more

Now, when I spend down to my last dime
She said, 'Darlin' I know you're not through'
I said, 'Yes, baby doll
And the trophy belongs to you'

Wasn't she a beer drinkin' woman?
Don't you know, man don't you know?
She was a beer-drinkin' woman
And I don't wanna see her no more

Now she'd often say, 'Excuse me a minute
I've got to step around here'
And ev'ry time she came back
She had room for another quart of beer

Wasn't that a beer drinkin' woman?
Don't ya know, man, don't ya know?
She was a beer drinkin' woman
And I don't want to see her no mo'.

"I.c. Blues"

(harmonica & piano)

Gonna catch that Illinois Central
Gonna ride around the bend
I'm gonna catch that Illinois Central
I'm gonna ride around the bend
Well, and the Lord only know
Just when I'll be back again
I'm goin' back home
Where I know I have a friend
Well, I'm goin' back home
Where I know I have a friend
They'll be so glad to see me
They won't even ask me where I've been

Conductor, raise your hand
So the engineer can ring the bell
Conductor, raise your hand
So the engineer can ring the bell
When those wheels start turnin' over
I wanna be at the north, farewell

(harmonica & piano)

This time, tomorrow
There's no tellin' where I'll be
This time, tomorrow
There's no tellin' where I'll be, Lord
But you can bet your bottom dollar
I'll be somewhere down on the I. C.


"Baby Doll"

What's wrong, baby doll?
We can't get along
What's wrong, baby doll?
We can't get along
We'll have fun together
Now baby, tell me what's wrong
Have your mind made up
Before you walk out that door
Have your mind made up
Before you walk out that door
Because one woman, one chance
You don't get back no mo'

(guitar & instrumental)

I've been good to you
As I intend to be
I've been good to you
As I intend to be
Now, it seem like, baby doll
You tryin' to run out on me.

"Blue And Disgusted"

You know I'm gonna pray
Lord, never let me love, again
I'm gonna pray
Lord, never let me love, again
They tell me love is a gamble
But I've never been able to win

Blue an' disgusted
That's the way I feel
Feel like a broken spoke
In some farmer's wagon wheel
My baby walked out on me
You know she gave me a raw, raw deal
(piano &

I come home ev'ry night
My baby goes out about ten
Come home ev'ry night
My baby goes out about ten
An' when I go to work ev'ry mornin'
My baby, she's just comin' in

That's why I'm blue an' disgusted
An' that's the way I feel
So blue an' disgusted
People, that's the way I feel
Feel like a broken spoke
In some farmer's wagon wheel.


"When Your Dough Roller Is Gone"

Did you ever wake up an' find
Your dough roller, gone?
Did you ever wake up an' find
Your dough roller, gone?
Well, an' you hang your head
You cry all night long

I've got the blues so bad
It hurt my feet to walk
I've got the blues so bad
It hurt my feet to walk
People, I've got the blues so bad
It hurt my tongue to talk
(piano)

Lord, I told my dough roller
Before I left that town
Well, I told my dough roller
Before I left that town
'Baby, don't let nobody
Tear my playhouse down.

*In The Prime Of The Chicago Blues Explosion- The Film "Cadillac Records"

Click On Title To Link To Chess Records site.

DVD Review

Cadillac Records, starring Adrian Brody as Leonard Chess, Jeffrey Wright as Muddy Waters, Mos Def as Chuck Berry and Beyonce Knowles as Etta James, Sony Music Film, 2008

It seems almost anti-climatic to be reviewing this particular film, Cadillac Records, about the rise of Chess Records and its driving force, owner Leonard Chess, in the maelstrom of the Chicago blues explosion of the 1940's and 1950's. Why? Over the past year or so, along with the usual left wing political books by the likes of Leon Trotsky and James P. Cannon that are the core items that I review in this space, I have been fervently doing a personal search for, and reflection on, the roots of American music. And nothing is more central to an exploration of the American songbook than the various expressions of the blues from its roots in the black quarters of plantation society down South, through to the immense process of black urbanization in the mid-20th century and with it the electrification of the blues and further on the use of that genre to form the basis for Rock `n' Roll that was central to much of the musical history of the last half of that century.

Muddy Waters, Little Walter, Jimmy Reed, Howin'Wolf, Chuck Berry and the divine Ms. Etta James are all names that should be familiar to knowledgeable blues fan and whose fame and fortune, rises and falls form the core of this film. They are also names prominent among those that have been reviewed in this space so this is a real treat. The Chess Record saga is narrated by the actor who plays the producer, "talent hunter", songwriter and musician Willie Dixon, a huge force in the expansion of Chess Records and Chicago blues in general. And this is as it should be. Willie Dixon wrote for both Muddy Waters (the classic "Hoochie Coochie Man", among others) and Howlin' Wolf (the most famous being "The Red Rooster", a song later covered by The Rolling Stones, enthusiastic blues aficionados, and one of my first exposures to the raw electric blues sound. Thanks, Willie). He was also at Chess when the music shifted away from the Chicago blues to the `jump' of rock `n' roll driven by the likes of Chuck Berry who could "crossover" to all those white teenagers like me trying to break out of the music of our parents' generation. He was also there when Ms. Etta James came on the scene with her R&B style that also was an attempt to do that same crossover with a black woman singer.

According to the notes to this film it is based on a true story, that of Leonard Chess and the blues stars mentioned above. How much truth there actually is included in the script is beyond the scope of this review. I would note that one of the segments of Martin Scorsese's PBS multi-part Blues homage in 2003 dealt with the role of Chess Records as part of the total blues picture and featured Leonard Chess's son, Marshall, a record producer in his own right. Some of his comments do not exactly jibe with the presentation of the facts in this film. That is a subject for further research and discovery.

Some important themes, nevertheless, are explored in the film, even if obliquely. The relationship between a young hustling Jew (and his brother, not noted in the film) from Poland trying to make a buck in America and young blacks trying to get out from under the rural "Jim Crow" South in mid-20th century America. The question of interracial sex, both male and female when that was very, very taboo. Martial infidelity, a constant problem in the music industry (and elsewhere). Exploitation of blacks, both financially and musically, by the white-dominated music power structure, including Leonard Chess. The touchy question of black identity and self-respect, addressed very nicely in the tensions between Muddy, as a representative "Uncle Tom", and Howlin' Wolf (or Chuck Berry), as the "New Black Man", coming out of new black consciousness of the civil rights struggle blazing away during that period. Addressing those issues should keep us busy for a while.

Let's finish up with a few kudos, though. A musical tribute to a record company and a famous record producer could have been a piece of fluff. While, as noted above, the film raised a number of questions about what really went on back then the heart of the movie is driven by the blues and the need to express oneself in that genre, whether as a job or a way of life. The performers carried the day. The camaraderie and falling out between Muddy and Little Walter is worked nicely. The struggle's of Etta James (Beyonce is rather fetching here, by the way, as Etta) to break through as an artist works. And so on.

The Cadillac automobile formed a symbol for Americans, black and white, back in these days. The artists presented here deserved their Cadillacs. More enduring though, as noted at the end of the film, all the main players here have been inducted into the Rock And Roll Hall of Fame. I challenge anyone to argue against those inclusions. Watch this film and then get on the Internet and download the music. Yes, that's the ticket.


"The Red Rooster" by Willie Dixon

I have a little red rooster, too lazy to crow for day
I have a little red rooster, too lazy to crow for day
Keep everything in the barnyard, upset in every way

Oh the dogs begin to bark, and the hound begin to howl
Oh the dogs begin to bark, hound begin to howl
Ooh watch out strange kind people, cause little red rooster is on the prowl

If you see my little red rooster, please drag him home
If you see my little red rooster, please drag him home
There ain't no peace in the barnyard, since the little red rooster been gone

Wang Dang Doodle
Howlin' Wolf, Koko Taylor

Tell Automatic Slim , tell Razor Totin' Jim
Tell Butcher Knife Totin' Annie, tell Fast Talking Fanny
A we gonna pitch a ball, a down to that union hall
We gonna romp and tromp till midnight
We gonna fuss and fight till daylight
We gonna pitch a wang dang doodle all night long
All night long, All night long, All night long

Tell Kudu-Crawlin' Red, tell Abyssinian Ned
Tell ol' Pistol Pete, everybody gonna meet
Tonight we need no rest, we really gonna throw a mess
We gonna to break out all of the windows,
we gonna kick down all the doors
We gonna pitch a wang dang doodle all night long
All night long, All night long, All night long

Tell Fats and Washboard Sam, that everybody gonna to jam
Tell Shaky and Boxcar Joe, we got sawdust on the floor
Tell Peg and Caroline Dye, we gonna have a time
When the fish scent fill the air, there'll be snuff juice everywhere
We gonna pitch a wang dang doodle all night long
All night long, All night long etc.

by Willie Dixon


SPOONFUL

Could fill spoons full of diamonds,
Could fill spoons full of gold.
Just a little spoon of your precious love
Will satisfy my soul.

Men lies about it.
Some of them cries about it.
Some of them dies about it.
Everything's a-fightin' about the spoonful.
That spoon, that spoon, that spoonful.
That spoon, that spoon, that spoonful.
That spoon, that spoon, that spoonful.
That spoon, that spoon, that spoonful.

Could fill spoons full of coffee,
Could fill spoons full of tea.
Just a little spoon of your precious love;
Is that enough for me?

Chorus

Could fill spoons full of water,
Save them from the desert sands.
But a little spoon of your forty-five
Saved you from another man.

by Willie Dixon