*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/ ]

On Memphis Minnie's Birthday ***A Blues Potpourri-The Blues Is Dues, Part II-The Sky May Be Crying But You Won’t Be

Click on the headline to link to a "YouTube" film clip of "Big Mama" Thornton performing "Hound Dog." Elvis step back, way back, on this one.

CD REVIEW

February Is Black History Month

As those familiar with this space know I have spent a good amount of ink touting various old time blues legends that I ‘discovered’ in my youth. My intention, in part, is to introduce a new generation to this roots music but also to demonstrate a connection between this black-centered music and the struggle for black liberation that both blacks and whites can appreciate. Like virtually all forms of music that lasts more than five minutes the blues has had its ups and downs. After becoming electric and urbanized in the immediate post-World War II period it was eclipsed by the advent of rock&roll then made a comeback in the mid- 1960's with the surge of English bands that grew up on this music, and so on. Most recently there was mini-resurgence with the justifiably well-received Martin Scorsese PBS six-part blues series in 2003. A little earlier, in the mid-1990’s, there had also been a short-lived reemergence spearheaded by the ‘discovery’ of urban blues pioneer Robert Johnson’s music.

The long and short of this phenomenon is that commercial record production of this music waxed and waned reflecting that checkered history. I have, in the interest of variety for the novice, selected these CDs as a decent cross-section of blues (and its antecedents in earlier forms of roots music) as to gender, time and type. The following reviewed CDs represent first of all an attempt by record companies to meet the 1990’s surge. They also represent a hard fact of musical life. Like rock&roll the blues will never die. Praise be. Feast on these compilations.

The Sky May Be Crying But You Won’t Be

Living The Blues: Blues Masters, MCA Records, 1995

Many of the artists on this compilation have received individual attention by this reviewer elsewhere in this space. Thus I will highlight some of the lesser known artists who were either one hit johnnies (or janies) and for some reason did not make the blues pantheon. First, however, I must note that any compilation that starts off with “I’m Your Hoochie Goochie Man” by Muddy Waters, an incredible version of “Hound Dog” by “Big Mama” Thornton and “Back Door Man” by Howlin’ Wolf is has already paid its way. Add in a laid back Jimmy Reed on “Baby What Do You Want Me To Do”, a ripping slide guitar by Elmore James on “The Sky Is Crying”, a young and hungry John Lee Hooker flailing away on “Boogie Chillun” and “So Many Roads, So Many Trains” by the smooth Otis Rush and you have not been cheated.

Now for the lesser lights that make this a virtually complete compilation of masters. How about a young but soon to be immortal Etta James on her classic “I’d Rather Go Blind”. Or the harmonica player extraordinaire, Little Walter, on “You’re So Fine”. And “The Things That I Used To Do” by the virtuoso guitarist Guitar Slim. And Lowell Fulsom rocking away on “Reconsider Baby. And…. Well, you get the picture. With the possible exception of Slim Harpo (who had a small body of work due to an early untimely death) all of these masters will be getting fuller treatment in this space later. For now this will give you an idea of what it was like when men and women played electric blues for real.

BIG MAMA THORNTON HOUND DOG LYRICS

You ain't nothing but a hound dog
Been snoopin' round my door
You ain't nothing but a hound dog
Been snoopin' round my door
You can wag your tail
But I ain't gonna feed you no more
You told me you was high class
I could see through that
You told me you was high class
I could see through that
And baby I know
You ain't no real cool cat
You ain't nothing but a hound dog
Been snoopin' round my door
You ain't nothing but a hound dog
Been snoopin' round my door
You can wag your tail
But I ain't gonna feed you no more
You made me feel so blue
You made me weep and moan
You made me feel so blue
You made me weep and moan
'Cause I'm looking for a woman
All your lookin' for is a home
You ain't nothing but a hound dog
Been snoopin' round my door
You ain't nothing but a hound dog
Been snoopin' round my door
You can wag your tail
But I ain't gonna feed you no more

Yes, You Better Boot That Thing- Early Women Blues Singers From The 1920s

Click on title to link to YouTube's film clip of Victoria Spivey performing "TB Blues". Wow.

CD REVIEW

Better Boot That Thing: Great Women Blues Singers Of The 1920’s, BMG Music, 1992

One of the interesting facts about the development of the blues is that in the early days the recorded music and the bulk of the live performances were done by women, at least they were the most popular exponents of the genre. That time, the early 1920's to the 1930's, was the classic age of women blues performers. Of course, when one thinks about that period the name that comes up is the legendary Bessie Smith. Beyond that, maybe some know Ethel Waters. And beyond that-a blank.

I have tried elsewhere in this space to redress that grievance by reviewing the works of the likes of Memphis Minnie, Ida Cox and Ivy Anderson, among others. I also have scheduled a separate appreciation of one of the four women featured on this CD, Alberta Hunter. This CD format thus falls rather nicely in line with my overall intention to continue to highlight some of these lesser known women artists. Moreover, as fate would have it, this compilation included the work of Victoria Spivey, a singer that I have mentioned elsewhere and have wanted to discuss further. Finally, the conception of the producers here is enhanced by breaking up the CD into two parts-the urban blues part represented by Hunter and Spivey and the country blues part represented by Bessie Tucker and Ida May Mack. While both this trends have always shared some common roots and musicality they also represent two distinct trends in blues music as reflected in the increasing urbanization of the American black population in the 20th century.

Let’s use the urban/country divide as a frame of reference. The smoother style of Hunter and Spivey obviously reflected the need to entertain a more sophisticated audience that was looking for music that was different from that country stuff down home. And that laid back style was seemingly passé in the hectic urban world. Tucker and Mack reflect that old time country hard work on the farm, hard scrabble for daily existence found, as well, in the songs of their country blues male counterparts. What unites the two strands is the personal nature of the subject matter- you know, mistreating’ men, cheatin’ guys, two-timing fellas, money taking cads, squeakin’ man-stealing women friends, the dusty road out of town, and just below the surface violence and mayhem, threaten or completed. And that is just an average day’s misery.

So what is good here? I won’t spend much time on Alberta because I have looked at her work elsewhere but please give a listen to “My Daddy’s Got A Brand New Way To Love,” the title tells everything you need to know about this song and is classic Alberta. Of course for Bessie Tucker you need, and I mean need, to hear the title track “Better Boot That Thing” and then you will agree that you, man or woman, best stay home and take care of business. As for Ida May I flipped when I heard her saga of a fallen woman as she moans out on “Elm Street Blues” and her lament on “Wrong Doin’ Daddy”. However, what you really want to do is skip to the final track and listen to “Good-bye Rider” which for the nth time concerns the subject of that previously mentioned advice about “not advertising your man.” to your friends.

Victoria is just too much on “Telephoning The Blues,” again on that two timing man, wronged woman theme. “Blood Hound Blues” demonstrates that she was not afraid to tackle some thorny issues, including a reverse twist here about a woman driven to kill her hard-hearted physically abusive man, was jailed, escaped and is on the lam as she sings this song. The song that knocked me out on this more socially-oriented theme is her “Dirty Tee Bee Blues” about the tragic suffering of a gal who went the wrong way looking for love and adventure and now must pay the price. Powerful stuff.

A special note on Victoria Spivey. I have mentioned, in a review of some film documentaries (four altogether) entitled “American Folk Blues Festival, 1962-1966” that were retrieved a few years ago by German Cinema and featured many of the great blues artist still alive at that time on tour in Europe, that Victoria Spivey had a special place in the blues scene not only as a performer and writer (of songs and goings-on in the music business) but that she was a record producer as well (Spivey Records).

Back in the days when music was on vinyl (you remember them, right?) I used to rummage through a second hand- record store in Cambridge (talk about ancient history). One of my treasured finds there was a Spivey Records platter featuring Victoria, the legendary Otis Spann (of Muddy Waters’ band), Luther “Guitar” Johnson, and a host of other blues luminaries. She, like her black male counterpart impresario Willie Dixon (who she occasionally performed with), was a pioneer in this business end of the blues business, a business that left more than its fair share of horror stories about the financial shenanigans done to “rob” blues performers of their just desserts. That, however, is a tale for another day.

***Yes, You Better Boot That Thing- Early Women Blues Singers From The 1920s Be-Bop Night

Click on title to link to YouTube's film clip of Victoria Spivey performing "TB Blues". Wow.

CD REVIEW

Better Boot That Thing: Great Women Blues Singers Of The 1920’s, BMG Music, 1992

One of the interesting facts about the development of the blues is that in the early days the recorded music and the bulk of the live performances were done by women, at least they were the most popular exponents of the genre. That time, the early 1920's to the 1930's, was the classic age of women blues performers. Of course, when one thinks about that period the name that comes up is the legendary Bessie Smith. Beyond that, maybe some know Ethel Waters. And beyond that-a blank.

I have tried elsewhere in this space to redress that grievance by reviewing the works of the likes of Memphis Minnie, Ida Cox and Ivy Anderson, among others. I also have scheduled a separate appreciation of one of the four women featured on this CD, Alberta Hunter. This CD format thus falls rather nicely in line with my overall intention to continue to highlight some of these lesser known women artists. Moreover, as fate would have it, this compilation included the work of Victoria Spivey, a singer that I have mentioned elsewhere and have wanted to discuss further. Finally, the conception of the producers here is enhanced by breaking up the CD into two parts-the urban blues part represented by Hunter and Spivey and the country blues part represented by Bessie Tucker and Ida May Mack. While both this trends have always shared some common roots and musicality they also represent two distinct trends in blues music as reflected in the increasing urbanization of the American black population in the 20th century.

Let’s use the urban/country divide as a frame of reference. The smoother style of Hunter and Spivey obviously reflected the need to entertain a more sophisticated audience that was looking for music that was different from that country stuff down home. And that laid back style was seemingly passé in the hectic urban world. Tucker and Mack reflect that old time country hard work on the farm, hard scrabble for daily existence found, as well, in the songs of their country blues male counterparts. What unites the two strands is the personal nature of the subject matter- you know, mistreating’ men, cheatin’ guys, two-timing fellas, money taking cads, squeakin’ man-stealing women friends, the dusty road out of town, and just below the surface violence and mayhem, threaten or completed. And that is just an average day’s misery.

So what is good here? I won’t spend much time on Alberta because I have looked at her work elsewhere but please give a listen to “My Daddy’s Got A Brand New Way To Love,” the title tells everything you need to know about this song and is classic Alberta. Of course for Bessie Tucker you need, and I mean need, to hear the title track “Better Boot That Thing” and then you will agree that you, man or woman, best stay home and take care of business. As for Ida May I flipped when I heard her saga of a fallen woman as she moans out on “Elm Street Blues” and her lament on “Wrong Doin’ Daddy”. However, what you really want to do is skip to the final track and listen to “Good-bye Rider” which for the nth time concerns the subject of that previously mentioned advice about “not advertising your man.” to your friends.

Victoria is just too much on “Telephoning The Blues,” again on that two timing man, wronged woman theme. “Blood Hound Blues” demonstrates that she was not afraid to tackle some thorny issues, including a reverse twist here about a woman driven to kill her hard-hearted physically abusive man, was jailed, escaped and is on the lam as she sings this song. The song that knocked me out on this more socially-oriented theme is her “Dirty Tee Bee Blues” about the tragic suffering of a gal who went the wrong way looking for love and adventure and now must pay the price. Powerful stuff.

A special note on Victoria Spivey. I have mentioned, in a review of some film documentaries (four altogether) entitled “American Folk Blues Festival, 1962-1966” that were retrieved a few years ago by German Cinema and featured many of the great blues artist still alive at that time on tour in Europe, that Victoria Spivey had a special place in the blues scene not only as a performer and writer (of songs and goings-on in the music business) but that she was a record producer as well (Spivey Records).

Back in the days when music was on vinyl (you remember them, right?) I used to rummage through a second hand- record store in Cambridge (talk about ancient history). One of my treasured finds there was a Spivey Records platter featuring Victoria, the legendary Otis Spann (of Muddy Waters’ band), Luther “Guitar” Johnson, and a host of other blues luminaries. She, like her black male counterpart impresario Willie Dixon (who she occasionally performed with), was a pioneer in this business end of the blues business, a business that left more than its fair share of horror stories about the financial shenanigans done to “rob” blues performers of their just desserts. That, however, is a tale for another day.

Blues In The Night

DVD REVIEWS

The First Time I Met The Blues, various artists, When The Sun Goes Down Series, RCA Victor Records, 2002

As one can tell by the title of this series "When The Sun Goes Down", a series that has also included the work of Blind Willie McTell an artist that I have reviewed in this space previously, this is going to be a bedrock example of a thoughtful way to preserve our blues history. As in the McTell case it does not fail us here. What the folks who have produced this series and this particular CD have done is gone to the old RCA Victor vaults and selected some very nice and very representative songs (and a few obscure one, as well) from the early 1920’s on. For those not aware of this history RCA and other record companies in the 1920’s sent out agents throughout this country scouring the streets and byways for new sound- the foothills of Appalachia, the cotton field of the South, the honky-tonks of the Texas Panhandle. Wherever. Here they have gotten hold of some golden blues material. Listen up.

I will merely summarize this who’s who of early, basically, country blues. Even the barrel house blues of the cities and juke joints has that country flavor during this period. It is not until later when the blues moved north to Memphis and Chicago with the black migration away from the farms and, more importantly got electrified, that we get a bit of a different sound. The tunes here depend on piano, harmonica and acoustic guitar for the most part. Here is what you need to hear- Victoria Spivey (an extremely important figure in the blues business in her own who deserves an entry of her own) on "Telephoning The Blues"; of course, Blind Willie McTell on the classic, no, super classic "Statesboro Blues"; Memphis Jug Band of "Cocaine Habit Blues" (before it was illegal); Sippy Wallace- "The Texas Nightingale"-on "I’m A Mighty Tight Woman"; Jimmie Rodgers on "Blue Yodel#9" (hard to do by the way on a blues number); Little Brother Montgomery on the title cut; and, Blind Willie Reynolds on "Married Woman Blues". You can find your own favorites out of the 25 that you have to choose from here. Nice, just very nice.