Showing posts with label Chicago Blues. Show all posts
Showing posts with label Chicago Blues. Show all posts

Thursday, February 13, 2020

Poet's Corner- Langston Hughes- Black Liberation Fighter, "Pre-Mature Anti-Fascist" and Poet

Poet's Corner- Langston Hughes- Black Liberation Fighter, "Pre-Mature Anti-Fascist" and Poet

Commentary

February Is Black History Month


The name Langston Hughes is forever linked to the poetic form of the blues, the Harlem Renaissance and the struggle for black liberation. Less well know is his role an "pre-mature anti-fascist" volunteer with the American Abraham Lincoln Battalion of the 15th International Brigade in Spain, organized by the Communist International to defend republican Spain. That is why he is honored in this space today. That he later distanced himself from his earlier attachment to communism, as he saw it, does not negate that when it counted he was counted in. Hughes was hardly the first, nor would he be the last, to break from his radical past. We honor that past and fight against the politics of his later turn.

This article by Langston Hughes is from the newspaper of the Abraham Lincoln Battalion in Spain

"Negroes in Spain," from The Volunteer for Liberty (1937)

In July, on the boat with me coming from New York, there was a Negro from the far West on his way to Spain as a member of the 9th Ambulance Corps of the American Medical Bureau. He was one of a dozen in his unit of American doctors, nurses, and ambulance drivers offering their services to Spanish Democracy.

When I reached Barcelona a few weeks later, in time for my first air-raid and the sound of bombs falling on a big city, on of the first people I met was a young Porto Rican of color acting as interpreter for the Loyalist troops.
A few days later in Valencia, I came across two intelligent, young colored men from the West Indies, aviators, who had come to give their services to the fight against Fascism.

ALL FIGHT FASCISM

And now, in Madrid, Spain's besieged capital, I've met wide-awake Negroes from various parts of the world -- New York, our Middle West, the French West Indies, Cuba, Africa -- some stationed here, others on leave from their battalions -- all of them here because they know that if Fascism creeps across Spain, across Europe, and then across the world, there will be no more place for intelligent young Negroes at all. In fact, no decent place for any Negroes -- because Fascism preaches the creed of Nordic supremacy and a world for whites alone.

In Spain, there is no color prejudice. Here in Madrid, heroic and bravest of cities, Madrid where the shells of Franco plow through the roof-tops at night, Madrid where you can take a street car to the trenches, this Madrid whose defense lovers of freedom and democracy all over the world have sent food and money and men -- here to this Madrid have come Negroes from all the world to offer their help.

"DELUDED MOORS"

On the opposite side of the trenches with Franco, in the company of the professional soldiers of Germany, and the illiterate troops of Italy, are the deluded and drive Moors of North Africa. An oppressed colonial people of color being used by Fascism to make a colony of Spain. And they are being used ruthlessly, without pity. Young boys, mean from the desert, old men, and even women, compose the Moorish hordes brought by the reactionaries from Africa to Europe in their attempt to crush the Spanish people.

I did not know about the Moorish women until, a few days ago I went to visit a prison hospital here in Madrid filled with wounded prisoners. There were German aviators that bombarded the peaceful village of Colmenar Viejo and machine-gunned helpless women as they fled along the road. One of these aviators spoke English. I asked him why he fired on women and children. He said he was a professional soldier who did what he was told. In another ward, there were Italians who joined the invasion of Spain because they had no jobs at home.

WHAT THEY SAID

But of all the prisoners, I was most interested in the Moors, who are my own color. Some of them, convalescent, in their white wrappings and their bandages, moved silently like dark shadows down the hall. Other lay quietly suffering in their beds. It was difficult to carry on any sort of conversation with them because they spoke little or no Spanish. But finally, we came across a small boy who had been wounded at the battle of Brunete -- he looked to be a child of ten or eleven, a bright smiling child who spoke some Spanish.

"Where did you come from?", I said.

He named a town I could not understand in Morocco.

"And how old are you?"

"Thirteen," he said.

"And how did you happen to be fighting in Spain?"

BRING MOORISH WOMEN

Then I learned from this child that Franco had brought Moorish women into Spain as well as men -- women to wash and cook for the troops.

"What happened to your mother", I said.

The child closed his eyes. "She was killed at Brunete," he answered slowly.
Thus the Moors die in Spain, men, women, and children, victims of Fascism, fighting not for freedom -- but against freedom -- under a banner that holds only terror and segregation for all the darker peoples of the earth.

A great many Negroes know better. Someday the Moors will know better, too. All the Franco's in the world cannot blow out the light of human freedom.



The Weary Blues

Droning a drowsy syncopated tune,
Rocking back and forth to a mellow croon,
I heard a Negro play.
Down on Lenox Avenue the other night
By the pale dull pallor of an old gas light
He did a lazy sway ....
He did a lazy sway ....
To the tune o' those Weary Blues.
With his ebony hands on each ivory key
He made that poor piano moan with melody.
O Blues!
Swaying to and fro on his rickety stool
He played that sad raggy tune like a musical fool.
Sweet Blues!
Coming from a black man's soul.
O Blues!
In a deep song voice with a melancholy tone
I heard that Negro sing, that old piano moan--
"Ain't got nobody in all this world,
Ain't got nobody but ma self.
I's gwine to quit ma frownin'
And put ma troubles on the shelf."

Thump, thump, thump, went his foot on the floor.
He played a few chords then he sang some more--
"I got the Weary Blues
And I can't be satisfied.
Got the Weary Blues
And can't be satisfied--
I ain't happy no mo'
And I wish that I had died."
And far into the night he crooned that tune.
The stars went out and so did the moon.
The singer stopped playing and went to bed
While the Weary Blues echoed through his head.
He slept like a rock or a man that's dead.


Dream Deferred

What happens to a dream deferred?
Does it dry up
Like a raisin in the sun?
Or fester like a sore--
And then run?
Does it stink like rotten meat?
Or crust and sugar over--
like a syrupy sweet?
Maybe it just sags
like a heavy load.
Or does it explode?

Langston Hughes

Freedom Road

written by: Langston Hughes, sung by:Josh White


Hand me my gun, let the bugle blow loud
I’m on my way with my head up proud
One objective I’ve got in view
Is to keep ahold of freedom for me and you

That’s why I’m marching, yes, I’m marching
Marching down Freedom’s Road
Ain’t nobody gonna stop me, nobody gonna keep me
From marching down Freedom’s Road

It ought to be plain as the nose on your face
There’s room in this land for every race
Some folks think that freedom just ain’t right
Those are the very people I want to fight . . .

United we stand, divided we fall
Let’s make this land safe for one and all
I’ve got a message and you know it’s right
Black and white together, unite and fight!

Wednesday, July 31, 2019

Happy Birthday To You-*A Mixed Bag Musical Potpourri-Jazz, Blues, Gospel, Rock And Rockabilly- The BlueGrass Gospel Project





Happy Birthday To You-

By Lester Lannon

I am devoted to a local folk station WUMB which is run out of the campus of U/Mass-Boston over near Boston Harbor. At one time this station was an independent one based in Cambridge but went under when their significant demographic base deserted or just passed on once the remnant of the folk minute really did sink below the horizon.

So much for radio folk history except to say that the DJs on many of the programs go out of their ways to commemorate or celebrate the birthdays of many folk, rock, blues and related genre artists. So many and so often that I have had a hard time keeping up with noting those occurrences in this space which after all is dedicated to such happening along the historical continuum.

To “solve” this problem I have decided to send birthday to that grouping of musicians on an arbitrary basis as I come across their names in other contents or as someone here has written about them and we have them in the archives. This may not be the best way to acknowledge them, but it does do so in a respectful manner.    




Click On Title To Link To YouTube's Film Clip Of The Bluegrass Gospel Project Doing "Take Me In Your Life Boat".


CD Review

“The Heavenly Choir”

Wander On, the Bluegrass Gospel Project, Vital Records, 2005



At first blush it would not appear that a somewhat secular bluegrass tradition and the very definitely religious-oriented gospel tradition would be a good mix. Silly me though. Of course they mix if one thinks about the roots of both genre then, while not a ‘match made in heaven”, the two traditions share at least a common isolated mountain Saturday night partying- Sunday repentance connection. That said, this group composed mainly of denizens of Vermont (although I do not believe most of them are natives) has caught the essence of both traditions, complete with mandolin, fiddle, banjo, guitar and the like. A remarkable group of talented musicians and with the vocals of Patti Casey they have everything they need to lead a ‘heavenly choir” (or musically set the barn on fire).

I have actually heard this group in person and between the two their live performance gives a better take on how good they really are. For those not so fortunate this CD will be a fine substitute though. Feast on “Angel Band” and the classic Tommy Dorsey (the old time Blind Willie McTell blues companion turned gospel singer not the 1940’s band leader) song “Come, Let Us Go Back To God”. I just wish “Poughkeepsie” was included here. Patty Casey “amped it up” on that one at the live performance I mentioned above.

Stanley Brothers
Angel Band lyrics


My latest sun is sinking fast
My race is nearly run
My longest trials now are past
My triumph has begun

Chorus
Oh come angel band
Come and around me stand
Bear me away on your snow white wings
To my immortal home
Bear me away on you snow white wings
To my immortal home

Oh bear my longing soul to him
Who bled and died for me
Whose blood now cleanses from all sins
And brings me victory

[chorus]

I know I'm near the holy ranks
Of friends and kindred dear
I brush the dew on Jordan's banks
The crossing must be near

I've almost gained my heavenly home
My spirit loudly sings
The holy ones, behold they come
I hear the noise of wings

Wednesday, May 15, 2019

*Happy Birthday Robert Johnson- The King Of The Slide Guitar- Elmore James

Click on to the title to link to a "YouTube" film clip of Elmore James performing his classic rendition of "The Sky Is Crying".

CD REVIEW

The History of Elmore James: The Sky Is Crying, Elmore James, Rhino Records, 1993


When one thinks of the classic blues tune “Dust My Broom” one tends to think of the legendary Robert Johnson who along with his “Sweet Home, Chicago” created two of the signature blues songs of the pre-World War II period. However, my first hearing of “Dust My Broom” was on a hot LP vinyl record (the old days, right?) version covered and made his own by the artist under review, Elmore James. I have heard many cover versions since then, including from the likes of George Thorogood and Chris Smithers, and they all reflect on the influence of Elmore’s amazing slide guitar virtuosity to provide the "heat" necessary to do the song justice. Moreover, this is only the tip of the iceberg as such blues masters and aficionados as B.B. King and The Rolling Stones have covered other parts of James’ catalog.

Perhaps because Elmore died relativity young at a time when blues were just being revived in the early 1960’s as part of the general trend toward “discovering” roots music by the likes of this reviewer he has been a less well-known member of the blues pantheon. However, for those who know the value of a good slide guitar to add sexiness and sauciness to a blues number James’ is a hero. Hell, Thorogood built a whole career out of Elmore covers (and also, to be sure, of the late legendary Bo Didderly). I never get tired of hearing these great songs. Moreover, it did not hurt to have the famous Broomdusters backing him up throughout the years. As one would expect of material done in the pre-digital age the sound quality is very dependent on the quality of the studio. But that, to my mind just makes it more authentic.

Well, what did you NEED to listen to here? Obviously,” Dust My Broom". On this CD though you MUST listen to Elmore on "Standing At The Crossroads". Wow, it jumps right out at you. "Look On Yonder Wall" (a song that I used to believe was a key to early rock 'n' rock before I gravitated to Joe Turner's "Shake, Rattle and Roll" as my candidate for that role), "It Hurts Me Too" and the classic "The Sky is Crying" round out the minimum program here. Listen on.


Lyrics To "Dust My Broom"

I'm gonna get up in the mornin',
I believe I'll dust my broom (2x)
Girlfriend, the black man you been lovin',
girlfriend, can get my room

I'm gon' write a letter,
Telephone every town I know (2x)
If I can't find her in West Helena,
She must be in East Monroe, I know

I don't want no woman,
Wants every downtown man she meet (2x)
She's a no good doney,
They shouldn't 'low her on the street

I believe, I believe I'll go back home (2x)
You can mistreat me here, babe,
But you can't when I go home

And I'm gettin' up in the morning,
I believe I'll dust my broom (2x)
Girlfriend, the black man that you been lovin',
Girlfriend, can get my room

I'm gon' call up Chiney,
She is my good girl over there (2x)
If I can't find her on Philippine's Island,
She must be in Ethiopia somewhere

Robert Johnson

Wednesday, December 26, 2018

Happy Birthday Keith Richards *Stonesmania-The Stones Live- The Urban Jungle World Tour, 1989

Click on title to link to YouTube's film clip of The Rolling Stones performing "Little Red Rooster".

CD Review

RollingStonesFlashpoint: The Urban Jungle World Tour, The Rolling Stones, Virgin Records, 1989


I will repeat here what I have mentioned in other reviews of the early work of The Rolling Stones…. “Hey, in 2009 no one, including this reviewer, NEEDS to comment on the fact that The Rolling Stones, pound for pound, have over forty plus years earned their place as the number one band in the rock ‘n’ roll pantheon.”

Previously in this space I have reviewed various Stones compilations that featured one or more combination of their “greatest hits”. In this world tour CD we get those well-known and deservedly-covered hits and a few new pieces composed for the tour but mainly we get The Stones live, which is always a treat when one see the group in person or, as here, through a recording made up of tracks, presumably the best ones, from various stops on this 1989 tour. Stands out here are the Willie Dixon classic made famous by Howlin’ Wolf, "Little Red Rooster”, their “Factory Girl” and “Sympathy For The Devil” and a couple of new (at least to me) tunes, “Highwire” and “Sex Drive”.

Saturday, December 22, 2018

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.

Friday, December 21, 2018

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).

Sunday, July 08, 2018

*When The Sun Goes Down, Indeed!- The Blues Back In The Days

Click On The Title To Link To YouTube's Film Clip Of Tommy Johnson Performing The Politically Incorrect (Right?)"Big Fat Mama Blues".

CD Review

When The Sun Goes Down: The First Time I Met The Blues, various artists, BMG Music, 2002


In the course of the past year or so I have highlighted any number of blues CD compilations as I have tried to search for the roots of the American musical experience, and in the process retraced some of the nodal points of my own musical interests. I never tire of saying that I have been formed, and reformed by the blues so that when I came upon this “When The Sun Goes Down” series (a very apt expression of the right time for playing the blues) I grabbed each copy with both hands. In one series, the producers, as an act of love without question, have gathered up the obscure, the forgotten, the almost forgotten and the never to be forgotten voices that “spoke” to me in my youth and started me on that long ago love affair with the blues. I have hardly been alone on that journey but it is nice to see that some people with the resources, the time, money and energy have seen fit to honor our common past. Each CD reviewed here, and any future ones that I can get my hands on for there are more than the three I am reviewing today, is chock full of memorable performances by artists who now will, through the marvels of modern high technology, gain a measure of justified immortality.

Here is the cream. I swear, if I have some time, I will do real justice to the influence of one Victoria Spivey. For now though feast upon her youthful version of her composition “Telephoning The Blues”. Today the phrasing would probably require “Text-messaging The Blues” but anyway you put it old Victoria’s got them, and got them bad. The name Tommy Johnson should be more widely known today than it is. Blues performer and archivist Rory Block had covered a few of his songs many years ago but he deserves ‘re-discovery’, especially on this alcohol-related topical number “Canned Heat Blues”. This is the real stuff from the edges of society down in the hobo jungles. It is a tough dollar there, and that ain't no lie.

I only need to mention Blind Willie McTell here slightly as he is one of the few old voices that has not been forgotten, especially on the much covered, and deservedly so, “Statesboro Blues”. I have recently gotten back into that hybrid blues/folk sound produced by jug band music in reviews of Jim Kweskin, Maria Muldaur and Geoff Muldaur from the 1960’s Jim Kweskin and the Jug Band. Well, where do you think they got some of their material from? Natch, the Memphis Jug Band here doing the old classic “Stealin’, Stealin'” (ya, I love that phrase “stealin' back to my used-to-be” too) and “Cocaine Blues” (when it was legal, of course).

Anything done by Texas bluesman Furry Lewis is good (think of those “Cassie Jones”’, parts one and two, masterpieces of the slide guitar). Here is a whimsical one, “Judge Harsh Blues”. Same goes for Sippy Wallace, a blues singer who I have reviewed individually in this space, with her youthful rendition of “I’m A Mighty Tight Woman”. For comparison purposes her version done later when she was ‘discovered’ in the 1960’s is better. By the way, as an interesting example of how the old time country blues and the folk revival of the early 1960’s linked up, The Jim Kweskin Jug Band members mentioned above and Sippy shared many a stage together in those days. Nice, right? Texan Jimmy Rodgers demonstrates his incredible yodel work on “Blue Yodel #9” although I will argue, a little, about his inclusion here. He belongs in the pantheon of some genre but I do not think that it is the blues. Finally, a tip of the hat to the title tune “The First Time I Met The Blues” by Little Brother Montgomery. I rest my case.

Lyrics to Canned Heat Blues :

Crying, canned heat, canned heat, mama, crying, sure, Lord, killing me.
Crying, canned heat, mama, sure, Lord killing me.
Takes alcorub to take these canned heat blues.

Crying, mama, mama, mama, you know, canned heat killing me.
Crying, mama, mama, mama, crying, canned heat is killing me.
Canned heat don't kill me, crying, babe, i'll never die.

I woke up, this morning, crying, canned heat 'ourn my bed.
Run here, somebody, take these canned heat blues.
Run here, somebody, and take these canned heat blues.

[ Canned Heat Blues Lyrics on http://www.lyricsmania.com/ ]

*Has He Got His Mojo Workin'? - The Blues Harmonica Of The Late James Cotton

Click On Title To Link To YouTube's Film Clip Of James Cotton Doing "Slow Blues". Yes, now you know why he played with Muddy Waters.

Has He Got His Mojo Workin'? - The Blues Harmonica Of James Cotton

CD REVIEW

Got My Mojo Workin’, James Cotton and his band, Blu Mountain Records, 2003

I have, over the past year or so, spent some time tracing the roots of the blues from its southern country home, mainly on the plantations, farms and small towns that surround them, through its transition into the larger cities of the South where the crowds and hence the lyrics got more sophisticated and, ultimately, to the blues Mecca, Chicago, and other Northern cities where blacks migrated en masse between the two world wars and in the immediate post World War II period. As part of that exposition I have discussed not only the differences in the lyrics reflecting the changeover from the moaning and groaning of the plantation life to the hyper-intensity of city life. I have also mentioned the key change in the guitar going from some old acoustic instrument to the electric guitar of the cities.

Along the way I have failed to mention, or not mentioned enough, some of the other changes in instrumentation. For one, and this is relevant here, the harmonica. This instrument, as an accompanying sound, has a long history beyond its key place in the blues saga. However, with the citification of the blues its role in a blues band as back up to those electric guitars and drums became more central. In short, a strong harmonica player became necessary to fill in the spaces left by the reverberating guitar. Correspondingly, virtuosity on the harmonica brought its own rewards. I would argue that Sonny Boy Williamson's role in this change was key in the 1920's and 1930's followed by Lil' Walter of the early Muddy Waters Band. And who followed Walter - well, the artist under review here, James Cotton.

Like all talented musicians with any sense of leadership James Cotton, after serving his long apprenticeship with Muddy Waters, went on to form his own band. This CD is one of the results of those efforts. James, as always, plays the bejesus out of the harmonica. His backup band is a little more than adequate. The gruff-voiced Cotton does so-so a job on the vocals. However, this album left me drifting in and out. Some tracks are very fine like "Fanny Mae", "Good Morning Little Schoolgirl" and the title track "Got My Mojo Workin'". However, such numbers as "Goodbye My Lady", "Teenie Weenie Bit" and Help Me" seemed forced. I confess this is the only CD of Cotton's that I have reviewed but off of this performance I sure wish he had been back with Muddy wailing out on something like "Hootchie Gootchie Man".
Got My Mojo Working

by Preston Foster / McKinley Morganfield a.k.a. Muddy Waters

Got my mojo working, but it just won't work on you
Got my mojo working, but it just won't work on you
I wanna love you so bad till I don't know what to do

I'm going down to Louisiana to get me a mojo hand
I'm going down to Louisiana to get me a mojo hand
I'm gonna have all you women right here at my command

Got my mojo working
Got my mojo working
Got my mojo working
Got my mojo working
Got my mojo working, but it just won't work on you

Play on!

Got my mojo working
Got my mojo working
Got my mojo working
Got my mojo working
Got my mojo working, but it - uh uh - just won't work on you

__________
Note: the original version of Got My Mojo Working was sung in a jump blues style by Ann Cole. She performed the song on stage in 1956, which was how Muddy Waters found the song!. Muddy Waters adapted it to his style but the bassline is still the same. The song can be found on the 1999 Rhino Records anthology album Jump, Jive & Swing. These are the lyrics to the original version as sung by Ann Cole and written by Preston Foster:

FANNIE MAE

Well I want somebody to tell me what's wrong with me
I want somebody to tell me what's wrong with me
Oh I ain't in any trouble and so much misery
Now Fannie Mae, baby won't you please come home
Fannie Mae ae ae, baby won't you please come home
Yeah I ain't been in debt baby since you been gone
I can hear your name a ringin on down the line
I can hear your name a ringin on down the line
I want to know pretty love how do I win my time

MUSICAL INTERLUDE

I no o o o for me, I no-o-o-o for me
Well I ain't been in trouble and so much misery

Song Lyrics: Good Morning Little School Girl

Written and Recorded by: Sonny Boy Williamson II (1937)

--------------------------------------------------------------------------------
Good mornin' 'lil school girl,
can I go home, can I go home with you?
Tell your mother and your father,
I'm a little school boy too

Woke up this mornin',
woke up this mornin',
I didn't know what to,
I didn't know what to do
I didn't have no blues,
baby, bit I couldn't be satisfied

I'm gettin' me an airplane,
I'm gettin' me an airplane,
get in my airplane
Gon' fly all oh-oh, gon' fly all over this land
I'm gonna find my little school girl,
find her in the world somewhere

Good mornin' 'lil school girl,
good mornin' 'lil school girl
Can I go home with, can I go home with,
can I go home with you?
Tell your mother and your father,
Johnny little school boy too

Come be my baby, come be my baby,
I buy you a diamond, I buy you a diamond ring
You don't be my little baby,
I ain't gonna buy you a doggone ring

Monday, June 04, 2018

When Studs Terkel Spoke Truth To Power In A Sullen World -A Tribute From NPR’s Christopher Lydon’s “Open Source”-"Working"-Retired Stage- The Studs Terkel Interview Series

When Studs Terkel Spoke Truth To Power In A Sullen World -A Tribute From NPR’s Christopher Lydon’s “Open Source”


Link to Christopher Lydon's Open Source program on the late "people's  journalist" Studs Terkel

http://radioopensource.org/sound-of-studs-terkel/ 

By Si Lannon

It was probably Studs Terkel via a series of book reviews of his interviews trying to get a feel for the soul of the American from Sam Lowell that I first heard the expression “speaking truth to power.” Spoke that message to a sullen world then. Unfortunately since that time the world had not gotten less sullen. Nor has the need to speak truth to power dissipated since Studs passed from this mortal coil of a world that he did so much to give ear and eye to. The problem, the real problem is that we in America no longer produce that pied piper, that guy who will tell the tale the way it has to be told. Something about those gals and guys who waded through the Great Depression, saw firsthand in the closed South Side Chicago factories that something was desperately wrong with the way society operated and slogged through World War II and didn’t go face down in the post-war dead ass could war night spoke of grit and of a feeling that the gritty would not let you down when the deal went down. When Mister (Peabody, James Crow, Robber Baron you name it) called the bluff and you stood there naked and raw.        

Fellow Chicagoan writer Nelson Algren (he of The Man With The Golden Arm and Walk On The Wild Side) put the kind of gals and guys Studs looked around for in gritty urban sinkhole lyrical form but Studs is the guy who found the gritty unwashed masses to sing of. (It is not surprising that when Algren went into decline, wrote less lucid prose Stud grabbed him by the lapels and did a big time boost on one of his endless radio talks to let a candid world know that they missing a guy who know how to give voice to the voiceless, the people with small voices who are still getting the raw end of the deal, getting fucked over if you really want to nitty-gritty truth to power). So check this show out to see what it was like when writers and journalists went down in the mud to get to the spine of society.     


Click On Title To Link To Studs Terkel’s Web Page.

BOOK REVIEW

Coming Of Age, Studs Terkel, The New Press, New York, 1995


As I have done on other occasion when I am reviewing more than one work by an author I am using some of the same comments here, where they are pertinent, as I did in earlier reviews. In this series the first Studs Terkel book reviewed was that of his “The Good War”: an Oral History of World War II.

Strangely, as I found out about the recent death of long time pro-working class journalist and general truth-teller "Studs" Terkel I was just beginning to read his "The Good War", about the lives and experiences of, mainly, ordinary people during World War II in America and elsewhere, for review in this space. As with other authors once I get started I tend to like to review several works that are relevant to see where their work goes. In the present case the review of "Coming Of Age" serves a dual purpose- to reflect on the working lives of working people (mainly) after they have made their mark and moved out of the work force and as a reflection of one of Studs’ preoccupations- the fate of his generation- the so-called “greatest generation”.

Probably Terkel’s most famous oral history is his “Working” which chronicles the thoughts of working people and others, circa 1980, about their lives their aspirations and their inspirations. That book was weighted a bit toward the experiences of those who came of age in the Great Depression of the 1930’s , fought World War II and gained a measure of security in the dizziness of the post World War II Cold War. His “The Good War”, of necessity, takes dead aim at that population. Here we have those same recollections (in some case literally as previous interviewees get to have their say once again), circa 1995, from the perspective of “retirement”. Some of the material is interesting but, frankly, as I know from personal experience running through a litany of life’s physical, mental and social ailments gets a little thin on the ground after a while.

Moreover, while I found "Working" to be very interesting as a sociological study and as a means of giving voice to the preoccupations of “working stiffs” this present volume “does not speak to me”. As a member of the generation after the above-mentioned one, "the Generation of ’68", my preoccupations are not the same and so those experiences expressed here of retirement and the “great awakening” do not feel right. In short, this book turns solely as a last homage by Studs to the so-called “greatest generation”, his generation. While I am painfully aware of the shortcomings of my own "Generation of ’68" as a catalyst for social change I have long argued that the World War II generation, my parents’ generation, sold its heritage out for a mess of pottage. So that feeling has to be factored in here, as well.

Studs personal fate as a victim of the “red scare” in the 1950’s is only the most vivid example at hand for my belief that his generation sold out for a security blanket- and not a very good one. The virtual “civil war” between the generations during most of the Vietnam period of the 1960's and beyond (remember those Reagan Democrats of the 1980’s were, for the most part, those self-same ‘greatest generation’ types) graphically speaks to that difference in values. Nevertheless read Studs’ take on his generation's swansong here and read all of Studs’ oral histories, good, bad or indifference to get a snapshot of what America, and Americans liked, disliked or didn’t know a thing about in the 20th century. Kudos, Brother Terkel.

Sunday, December 18, 2016

'Big Mama' Thornton Is In The House- Blues Raw and Unchained





CD REVIEWS

The Original Hound Dog Album, Big Mama Thornton, Vanguard, 1964







Yes, Big Mama sang the original "Hound Dog" well before Elvis made it a classic rock & roll hit. Yes, he went on to make millions (although not off of that song as such but as a fresh sex symbol at a time when the youth of my generation were in desperate need of our own icons) while she made about five hundred dollars off of it. But that is not the whole story. Big Mama had a career of her own beyond that song that while not as financially rewarding (due in part to her race but also to her drinking problem) as Elvis's nevertheless placed her in the pantheon of female blue singers like Bessie Smith and Memphis Minnie- no little accomplishment in itself.

That is what is being celebrated here. Other classics in this CD collection include "How Come", "Nightmare", "They Call Me Big Mama" and "I Smell a Rat". Is this her best compilation? No, I believe that the "Ball and Chain" CD is but this has a nice selection. Big Mama belts out the tunes but, as a rule, does not try to overpower them with that big voice. But, big or small, Mama means the electric blues raw and unchained and that ain't no lie.

Friday, December 16, 2016

*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

Thursday, December 15, 2016

*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;

Wednesday, December 14, 2016

*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...

Tuesday, December 13, 2016

*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...

Saturday, December 10, 2016

*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

Monday, July 18, 2016

***Again,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 "Boom Boom".


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.

Thursday, June 09, 2016

*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

Wednesday, June 08, 2016

*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

Thursday, June 02, 2016

*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