When The Blues Was Dues-Howling At
The Moon-When Howlin’ Wolf Held Forth
From
The Pen Of Bart Webber
One night when Sam Eaton and Ralph
Morris were sitting in the now long gone Johnny D’s over in Somerville, over near the
Davis Square monster Redline MBTA stop sipping a couple of Anchor Steam beers,
a taste acquired by Sam out in Frisco town in the old days on hot nights like
that one waiting for the show to begin Ralph mentioned that some music you
acquired naturally, you know like kids’ songs learned in school. (The Farmer
in the Dell, which forced you a city kid although you might not have
designated yourself as such at that age to learn a little about the dying
profession of family farmer and about farm machinery, Old MacDonald, ditto
on the family farmer stuff and as a bonus the animals of the farm kingdom, Humpty
Dumpty, a silly overweight goof who couldn’t maintain his balance come hell
or high water although you might not have thought of that expression or used it
in the high Roman Catholic Morris household out in Troy, New York where Ralph
grew up and still lives, Jack and Jill and their ill-fated hill
adventure looking for water like they couldn’t have gone to the family kitchen
sink tap for their needs showing indeed whether you designated yourself as a
city kid or not you were one of the brethren, etc. in case you have forgotten.)
Music embedded in the back of your
mind, coming forth sometimes out of the blue even fifty years later (and maybe
relating to other memory difficulties among the AARP-worthy but we shall skip
over that since this is about the blues, the musical blues and not the day to
day getting old blues).
Or as in the case of music in junior
high school as Sam chimed in with his opinion as he thought about switching
over to a high-shelf whiskey, his natural drink of late, despite the hot night
and hot room beginning to fill up with blues aficionados who have come to
listen to the “second coming,” the blues of James Montgomery and his back-up
blues band. That “second coming” referring to guys like Montgomery and Eric
Clapton, now greying guys, who picked up the blues, especially the citified electric
blues after discovering the likes of Muddy Waters, Howlin’ Wolf, Magic Slim and
James Cotton back in their 1960s youth, made a decent living out of it and were
still playing small clubs and other venues to keep the tradition alive and to
pass it on to the kids who were not even born when the first wave guys came out
of the hell-hole Delta south of Mister James Crow sometime around or after
World War II and plugged their guitars into the next gin mill electric
outlet in places off of Maxwell Street in Chicago, nursing their acts, honing
their skills.
Yeah, that hormonal bust out junior
high weekly music class with Mr. Dasher which made Sam chuckle a bit, maybe
that third bottle of beer sipping getting him tipsy a little, as he thought
about the old refrain, “Don’t be a masher, Mister Dasher” which all the kids
hung on him that time when the rhyming simon craze was going through the
nation’s schools. Thinking just then that today if some teacher or school
administrator was astute enough to bother to listen to what teenage kids say
amongst themselves, an admittedly hard task for an adult, in an excess of
caution old Mister Dasher might be in a peck of trouble if anyone wanted to be
nasty about the implication of that innocent rhyme. Yeah, Mr. Dasher, the
mad monk music teacher, who wanted his charges to have a well-versed knowledge
of the American and world songbooks so you were forced to remember such songs
as The Mexican Hat Dance and Home On The Range under penalty of
being sent up to the front of the room songbook in hand and sing the damn
things. Yes, you will remember such songs unto death. (Sam and his corner boys
at Doc’s Drugstore found out later that Dasher was motivated by a desperate rear-guard action
to wean his charges away from rock and roll, away from the devil’s music
although he would not have called it that because he was too cool to say stuff
like that, a struggle in which he was both woefully overmatched by Elvis, Jerry
Lee, Chuck, Bo, and the crowd and wasting his breathe as they all lived for
rock and roll at Doc’s Drugstore after school where he had a jukebox at his
soda fountain.)
Ralph agreed running through his own
junior high school litany with Miss Hunt (although a few years older than Sam
he had not run through the rhyming simon craze so had no moniker for the old
witch although now he wished he had and it would not be nice either). He added
that some of the remembered music reflected the time period when you were
growing up but were too young to call the music your own like the music that
ran around in the background of your growing up house on the mother housewife
radio or evening record player which in Ralph’s case was the music that got his
parents through his father’s soldierly slogging on unpronounceable Pacific
islands kicking ass and mother anxiously waiting at home for the other shoe to
fall or the dreaded military officer coming up to her door telling her the bad
news World War II. You know, Frank (Sinatra, the chairman of the board, that
all the bobbysoxer girls, the future mothers of Sam and Ralph’s generation
swooned over), The Andrew Sisters and their rums and coca colas, Peggy Lee
fronting for Benny Goodman and looking, looking hard for some Johnny to do
right, finally do right by her, etc. Other music, the music of their own
generation, classic rock and rock came more naturally since that is what they
wanted to hear when they had their transistor radios to their ear up in their
bedrooms.
That mention of transistor radios got
them yakking about that old instrument which got them through many a hard
teenage angst and alienation night. That yakking reflecting their both getting
mellow on the sweet beer and Ralph thinking that they had best switch to
Tennessee sipping whisky when the wait person came by again if they were to
make it through both sets that night. This transistor thing by the way for the
young was small enough to put in your pocket and put up to your ear like an
iPod or MP3 except you couldn’t download or anything like that. Primitive
technology okay but life-saving nevertheless. Just flip the dial although the
only station that mattered was WJDA, the local rock station (which had
previously strictly only played the music that got all of our parents through
their war before the rock break-out made somebody at the station realize that
you could made more advertising revenue selling ads for stuff like records,
drive-in movies, drive-in restaurants, and cool clothes and accessories than
refrigerators and stoves to adults).
Oh yeah, and the beauty of the transistor
you could take it up to your bedroom and shut out that aforementioned parents’
music without hassles. Nice, right. So yeah, they could hear Elvis sounding all
sexy according to one girl Sam knew even over the radio and who drove all the
girls crazy once they got a look at him on television, Chuck telling our
parents’ world that Mr. Beethoven and his crowd, Frank’s too, that they all had
to move over, Bo asking a very candid question about who put the rock in rock
and roll and offering himself up as a candidate, Buddy crooning against all
hope for his Peggy Sue (or was it Betty Lou), Jerry Lee inflaming all with his
raucous High School Confidential from the back of a flatbed truck,
etc. again.
The blues though, the rarified country
and electric urban blues of the likes of Son House, Robert Johnson, Muddy
Waters, James Cotton, and Howlin’ Wolf was an acquired taste. Acquired by Sam
through listening to folk music programs on that very same transistor radio in
the early 1960s after flipping the dial one Sunday night once he got tired of
what they claimed was rock music on WJDA and caught a Boston station. The main
focus was on other types of roots music but when the show would take a break
from down home mountain music, western swing ballads, and urban protest music
the DJ would play some cuts of country or electric blues. See all the big
folkies, Dylan, Tom Rush, Dave Van Ronk, people like that were wild to cover
the blues in the search for serious roots music from the American songbook. So
somebody, Sam didn’t know who, figured if everybody who was anybody was
covering the blues in that folk minute then it made sense to play the real
stuff. (Sam later carried Ralph along on the genre after they had met
down in Washington, D.C. in 1971, had been arrested and held in detention at
RFK Stadium for trying to shut down the government if it did not shut the
Vietnam War, had become life-long friends and Ralph began to dig the blues when
he came to Cambridge to visit).
The real stuff having been around for a
while, having been produced by the likes of Muddy and Howlin’ Wolf going back
to the 1940s big time black migration to the industrial plants of the Midwest
during World War II when there were plenty of jobs just waiting. But also
having been pushed to the background, way to the background with the rise of
rock and roll (although parts of rock make no sense, don’t work at all without
kudos to blues chords, check it out). So it took that combination of folk
minute and that well-hidden from view electric blues some time to filter
through Sam’s brain.
What
did not take a long time to do once Sam got “religion” was going crazy over
Howlin’ Wolf when he saw him perform. Once Sam had seen him practically eat
that harmonica when he was playing that instrument on How Many More Years.
There the Wolf was all sweating, running to high form and serious
professionalism (just ask the Stones about that polished professionalism when
he showed them how to really play Little Red Rooster which they had
covered early on in their career as they had covered many other Chess Records
blues numbers, as had in an ironic twist a whole generation English rockers in
the 1960s) and moving that big body to and fro to beat the band and playing
like god’s own avenging angel, if those angels played the harmonica, and if
they could play as well as he did. They both hoped that greying James
Montgomery, master harmonica player in his own right, blew the roof off of the
house as they spied the wait person coming their way and James moving onto the
stage getting ready to burn up the microphone. Yes, that blues calling is an
acquired taste and a lasting one.