*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

Happy Birthday *The "Mac Daddy" Of Modern Blues- Robert Johnson

Click on title to link to YouTube's film clip of early Robert Johnson work.

CD REVIEW

Martin Scorsese Presents; The Blues, Robert Johnson, Sony Records, 2003

I have heard the name Robert Johnson associated with country blues as long as I have been listening to the blues, and believe me that is a long time. I would venture to guess that if an average blues (or just music) fan was asked to name one blues artist the name that would, more probably than not, come up is Robert Johnson. Partially that is because his influence on later artists has been nothing short of fantastic, particularly the English blues aficionados like Eric Clapton. That said, Brother Johnson’s work leaves me cold. While I can appreciate some of his lyrics his guitar playing is ordinary, his singing can be tedious and his sense of momentum over the course of an album is very mundane.

His contemporaries, or near contemporaries like Charlie Patton, Howlin’ Wolf or Son House, to name just a few, are better in one or all these categories . Needless to say there is an element of subjectivity here but when the occasion arises I am more than willing to gush over a talent that makes me jump. Brother Johnson just does not do so. The source of his fame as an innovator is centered on his role of breaking the pattern of country blues established by Son House and other and giving the first hints of a city blues idiom, particularly as a forerunner to the Chicago blues. Okay, we will give the ‘devil’ his do on that score. Still, on any given day wouldn’t you give your right arm to see and hear Howlin’ Wolf croon "The Red Rooster" (and practically eat the microphone) or any of his other midnight creeps rather than Johnson on "Sweet Home, Chicago"? Here I will rest my case.

So what do you have to hear here? Obviously, “Sweet Home, Chicago". Beyond that “32-20 Blues” is a must listen as is his version of “Dust My Broom” (but isn’t Elmore James’ slide guitar souped-up version much better?) and “Hellhound On My Trail”. Keb’ Mo' (who I will review separately at a later time) does a nice cover here of “Last Fair Deal Gone Down”.


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

'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.

***On Sugar Mountain"- The Musak Of James Taylor

DVD MUSICAL REVIEW

James Taylor Live At The Beacon Theater, James Taylor and various artists, Columbia Music Video, 1998

Strangely, as a youth caught up in the fervor of the early 1960's folk revival and its aftermath James Taylor the subject of this review was never on my personal radar. I knew the name, knew people who knew him, and had many chances to hear him perform in the old days. I passed. And with the exception of a couple of songs here that remains true. Somehow he is, however, the perfect performer for aging `baby boomers' who have lost the taste for hard-driving, edgy music but still love the old tunes-and memories. Moreover, Taylor is the perfect performer for Public Broadcasting System fundraisers. The PBS fundraising moguls know their demographics.

Oh yes, I listened to Fire and Rain and You Can't Close Your Eyes back in the days like everyone else. That is not the question. I listened to tons of stuff in those days (and now, as well). However, those songs lacked pathos for me then and off of Taylor's performance here at New York's Beacon Theater in 1998 that condition still prevails. Moreover, the covers here like Jimmy Jones' Handy man and Buddy Holly's Not Fade Away point to my problem with Taylor's work. Generally, good workmanlike performances but no "soul". And to these eyes and ears no real stage presence despite the blurb accolades that accompanied the DVD to the contrary. Unless you are a die hard Taylor fan pass this by.


Bonnie Raitt-Road Tested, Bonnie Raitt and various artists, Capitol Records, 1997

Let us take a trip down memory lane to the Boston Common in the summer of that fateful year, 1968. A bunch of us were sitting (on the ground, no less) fairly far back in that locale and then suddenly a woman’s voice came booming through the air. Moreover, she was playing not the female de rigueur acoustic guitar but an electric one. Just like the guys! That, my friends was my introduction to Bonnie Raitt and she has been rockin’, bluesin’ and folkin’ ever since. This San Francisco concert from 1995 brings all those trends together. For Bonnie Raitt fans, or just the casual blues/folk/rock fan this is a treat. When I occasionally call back memories of the 1960’s and say that that was a time when men (and women) played Rock ‘n’ Roll for keeps it is Bonnie that I have in mind as one of the women.

Honestly, after that early introduction to Bonnie on that long ago summer day I did not follow her career that closely for a time although I knew she learned here craft later at the feet of Mississippi Fred McDowell and would catch her at various Cambridge night spots. However, this concert brings all that back. Not only that but the added attractions of Jackson Browne and the legendary blues singer Ruth Brown (a favorite of mine from way back) round out a very nice concert. What’s good here: John Prine’s Angel From Montgomery; Never Make Your Move Too Soon (with Brown); Chris Smither’s Love Me Like A Man and Rock Steady. Nice stuff, well performed with her band and guest artists.


John Prine At Sessions At West 54th, John Prine with Iris Dement and various artists, OnBoy Records, 2001

Over the last several months I have done more musically-oriented reviews that I had expected. One of the themes that keep cropping up is that for some folk/blues-oriented musical artists like Bob Dylan my attachment was immediate, long time and on-going. For other artists like John Prine it has been more of a recently acquired taste. I had, obviously, heard Bonnie Raitt do his Angel From Montgomery but I never associated his name with that song. Then a couple of years ago I happened to listen to his Hello In There and Sam Stone. Yes, this guy has something to say that I wanted to (on some songs, needed to) hear.

This concert represents a small selection of some of his work, although with the exception of Sam Stone, Lake Marie and Hello in There not much in the way of classics, at least that I am familiar with. This concert would thus only rate as a pretty fair performance except that on a few songs like When Two World Collide he is accompanied by Iris Dement (wife of the folksinger/songwriter Greg Brown). Iris is also a recent acquisition. I would travel very far to hear that voice of hers (and have done so). Incidentally, I have seen both these performers in person over the past couple of years- they still have it. Still this is not the DVD that YOU need to understand either talent, but you may want it.

When The Blues Was The Dues- Chess Records

CD REVIEW



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



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

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

*Roosevelt Sykes Is In The House- The "Honey Dripper" Plays His Boogie-Woogie Piano

Click On Title To Link To YouTube's Clip Of Roosevelt Sykes doing "Gulfport Boogie"

DVD REVIEW

Roosevelt Sykes and Big Bill Broonzy, Roosevelt Sykes and Big Bill Broonzy, Yazoo Productions, 200

The last time that the name Roosevelt Sykes was mentioned in this space was to highlight his boogie-woogie piano performances in a country blues compilation entitled “Rural Blues’, Volume 3. There I mentioned the following- “However, the ‘king of the hill’ on this one is Roosevelt Sykes’s piano work and vocals on “Hush Oh Hush” and “I’m Tired”. Roosevelt Sykes is one of those guys you keep hearing about if you listen to enough blues. Now I know why. Needless to say you will be seeing a separate individual review of his work in this space later.” And here it is.

In this documentary film you get to see Roosevelt in person with old soft hat on his head (I think that’s what they call that kind of hat. Being a child of the hatless Kennedy era I am not up on the sartorial distinctions on this question.), cigar in his mouth, keeping time with his foot and stretching his fingers all across the keyboard just like the way that you would think that the old time boogie-woogie guys would do it if you had to describe what they were up to in words. The smoked-filled 1950’s jazz club atmosphere of the film gives just the right feel to Sykes’ work. Outstanding here is his version of “The Nighttime Is The Right Time”.

I should note that the reason I got this film was to get a look at Roosevelt. As an added treat there is footage of Big Bill Broonzy doing a separate nightclub act in the same kind of atmosphere as that of the Sykes segment. And maybe just a little bit more provocative with a white hipster ‘dame’ in the picture. Dangerous stuff. Moreover, there are added segments of Big Bill wailing his acoustic guitar in practice that, I believe, came from one of Stefan Grossman’s “Legends of The Country Blues” volumes. Nice.

“Night Time Is The Right Time”

You know the night time, darling
(night and day)
Is the right time
(night and day)
To be
(night and day)
With the one you love, now
(night and day)
Say now oh baby
(night and day)
When I come home baby, now
(night and day)
I wanna be with the one I love, now
(night and day)
You know what I'm thinking of
(night and day)
I know the night time
(night and day, oh)
Whoa, is the right time
(night and day, oh)
To be with the one you love, now
(night and day)
I said to be with the one you love
(night and day)
You know my mother, now
(night and day)
Had to die, now
(night and day)
Umm, and my father
(night and day)
Well he broke down and cry
(night and day)
Whoah! whoa baby
(night and day)
When I come home baby now
(night and day)
I want you to hold my hand
(night and day)
Yeah, tight as you can
(night and day)
I know the night time
(night and day, oh)
Whoah is the right time
(night and day, oh)
To be with the one you love
(night and day)
You know what I'm thinking of
(night and day)
Whoah! sing your song, Margie
Baby
(night and day)
Baby
(night and day)
Baby
(night and day)
Oh, Baby
(night and day)
Do I love you?
(night and day)
No one above you
(night and day)
Hold me tight
(night and day)
And make everything all right
(night and day)
Because the night time
(night and day)
Oh, is the right time
(night and day)
To be with the one you love now
(night and day)
Oh yeah
(night and day)
Tease me
(night and day)
Squeeze me
(night and day)
Leave me
(night and day)
Ah, don't leave me
(night and day)
Lawdy baby
(night and day)
Take my hand, now
(night and day)
I don't need
(night and day)
No other man
(night and day)
Because the night time
(night and day)
Ow, is the right time
(night and day)
To be with the one you love
(night and day)
Oh yeah
(night and day)
I said baby
(night and day)
Baby
(night and day)
Baby
(night and day)
Baby
(night and day)
Whoah! baby now
(night and day)
Oh come on baby
(night and day)
You know I want you by my side
(night and day)
I want you to keep
(night and day)
Oh keep me satisfied
(night and day)
I know the night time
(night and day)
Everyday is the right time
(night and day)
Yeah to be with the one you love now
(night and day)
Well you know it's all right

Roosevelt Sykes
Ice Cream Freezer lyrics

My baby owns a ice cream freezer
She let's me put my milk in her can
Mercy!
My baby owns a ice cream freezer
She let's me put my milk in her can
Her freezer ain't to be churned
By no other man

Some people crave vanilla or strawberry
But-a black walnut is all I love
Mercy!
Some people crave vanilla or strawberry
But-a black walnut is all I love
When I put my spoon in her freezer
Man, it fits just like a rubber glove
Mercy!

Now, she turns her freezer
So slow an easy
She said, 'Daddy can you hold back
And stick around? ' (I'll try, ha-ha)
As she turn her freezer
So slow an easy
She say, 'Now, daddy can you jus hold back
And stick around? '
I'll say, I b'lieve you spoke jus a little too late
Pretty mama
I gotta let that flavor come runnin' down

'Mercy, mercy, man, yeah'
Ho, yeah!

'Let it roll on a while in the night'

'Ho, til the break of day'

'Ho, til the break of day'
'My, my, my, my'

'Ho while'

She said, 'Now, you done used my freezer
You said, 'Daddy, you look like
You gettin' ready to leave' (quite natural)
My, my
She said, 'Now, you done uses my freezer
'Look like you gettin' ready to leave'
She said, 'But you're still welcome to my can
When you have more cream to freeze'

More cream to freeze.

Roosevelt Sykes
She's Got It lyrics

Worked the gulf port from Memphis, Tennessee
Help me find Mrs. Mercy Dee
I just found a girl, she's got
Just found a girl and she's got
She's got the kind of lovin' I've been lookin' for

Well, she looks so fine
All dressed up in plaid
She start in to makin' love
She goes ravin' mad

I just found a girl an she's got
Just found a girl, she's got
Just found a girl got
The lovin' I've been lookin' for
My, my, my

Whoa (alittle right here)

Let it ride a while (roll another one right here)

Oh yeah
My, my (another one left)

She's no virgin but she's outta sight
She say I can suit her appetite
I just found a girl, she's got a
I just found a girl, and she's got
She's got the kind of lovin' I've been lookin' for
My, my (add a little)

'Let it rock now' (another, another all the way)

'Oh yeah' (another there)

Hurry up, baby
I'm gon' be in here quiet as a mouse
Come on baby, in this house
Cause I just found a girl and
She's got a, I just found that girl
And she's got, she's got
The kind of lovin' I've been lookin' for
My, my, my, my

'Ride now' (right here)
'Roll' (roll it)
'Let it ride a while'
My, my (right here)
'Gonna shake a little while now' (right here a little)
'Ho, yeah' (alright boys, right there)
'Oh, yeah'
My, my (outta here)

Well, I just found a girl and she's got
Just found a girl and she's got
Just found a girl and she's got
Just found a girl and she's got it
Just found a girl and she's got it
Just found a girl
She's got the love I've been lookin' for
Oh, my.

*"I’d Rather Be The Devil That Be A Woman To That Man"- The Blues Of Rory Block

CD REVIEW

Gone Woman Blues: The Country Blues Collection, Rory Block, Rounder Records, 1997

I owe Rory Block one. Here is why. During the recently completed misbegotten American presidential campaign season I took more heat that one could shake a stick at for using the title of one of country blues master Skip James’ songs, “I’d Rather Be A Devil That To Be That Woman’s Man”, for some political blogs that I wrote in regard to the Hillary Clinton Democratic Party candidacy. For months I took it on the chin from my feminist friends as exhibiting some form of latent hostility to women, especially women candidates for president. (By the way, that was a totally false accusation. I would have been more than willing to vote for Victoria Woodhull on the Woman’s Equality ticket in 1872.) There one day I remembered through the mist of time singer/songwriter Rory Block’s change up rendition of the James’ classic which forms the headline to this entry. Thanks, Rory.

But more than that, thanks for this great album of country blues classics some famous, some a little obscure and known only to serious aficionados but all well worth placing in the album with the quirky little Rory Block treatment that makes many of the songs her own. Oh, did I also mention her virtuoso strong guitar playing. Well, that too. I have gone on and on elsewhere in this space about the old time women blues singers, mostly black, like Bessie Smith, Victoria Spivey and Ida Cox. I have also spilled some ink on more modern, mainly white, women blues singers like Bonnie Raitt, Maria Muldaur and a local talent here in Boston, Les Sampou, and their admirable (and necessary) efforts to carry on this proud tradition. Rory belongs right up there with these women.

But, enough homage. You get the drift. So what is good here? Of course the above-mentioned tune (named “Devil Got My Man” here). Thanks, again Rory. A couple of nice covers of the legendary Robert Johnson’s “Terraplane Blues’ and “Hellhound On My Trail”. I have mentioned in reviewing Johnson's work that his vocals are reedy and thin. Here Rory gives full-bodied treatment to the songs. Of course one must pay respects, as well, to her own CD title track "Gone Woman Blues”.

A couple of other Skip James tunes also deserve mention, “Be Ready When He Comes” (remember Skip turned to preaching after his very short first blues career) and “Cypress Grove”. Ms. Block also does a very sexy version of Hattie Hart’s double entendre “I Let My Daddy Do That”. Here is the kicker though. Bessie Smith made “Do Your Duty” rattle the house back in the day. I like Rory’s cover better. That, my friends, is high praise indeed as I was practically spoon-fed on Bessie back in my youth.

Skip James
Devil Got My Woman lyrics

You know, I'd rather be the ol' devil
Well, I'd rather be the devil
Then to be that woman' man
You know, rather be the devil
Than to be that woman' man

You know, I'm so sorry
You know, so sorry
That I ever fell in love wit' you-ooo-hoo-oo
Because you know you don't treat me
Baby, like you used ta do-hoo

You know, I laid down last night
You know, I laid down last night
And I thought to take me some rest
But my mind got to rambling
Like a wild geese from the west

You know the woman that I love
The woman that I love
I stol't her from my best friend
But you know he done got lucky
An he done got her back, again

You know, I used to cut your kindleing
You know, I used to cut your kindleing
Baby, then I made you some fire
Then I would tote all your water
Way, way, way, from the bogy brier

You know, my baby she don't drink whiskey
My baby, she don't drink no whiskey
An I know she ain't crazy about wine
Now, it was nothin' but the ol' devil
He done changed my baby's mind

You know, I could be right
You know, I could be right
Then again, I could be wrong
But it was nothin' but the ol' devil
He done got my baby
Now he done gone.

Skip James
Cherry Ball Blues lyrics

I love my little cherry ball
Better than I love myself
I love my cherry ball
Better than I love myself
Then if she don't love me
She can't love nobody else

Cherry ball, she quit me
Quit me in a nice, good way
Cherry ball, she quit me
Quit me in a nice, good way
You know, what it take to get her back
I carries it ev'ryday

Now, I left cherry ball standin'
Standin' in the back do' cryin'
Now, I left cherry ball
Standin' in the back do' cryin'
Of course, I feel her condition
But her trouble ain't none a-mine

She's just like a spider
She's hangin' on the wall
She's like a spider
She's hangin' on the wall
You know, she done quit me
She quit me without a cause

Now, when she left me
She left tears in my eye
Now, when she left me
She left tears in my eye
You know, that I love her
But her disposition I do dispise

Now, you can take the Southern
I'm 'on take the Sante Fe
Now, you take the Southern
I'm 'on take the Sante Fe
I'm gon' ride an gon' ramble
'Till cherry ball come back to me

She got to come on back home to me-ee-ee.

I Let My Daddy Do That lyrics
I've got a long black hair
I'll say very tall
I'm just about set to have my ashes hauled

I Let My Daddy Do That,
I Let My Daddy Do That

I Let My Daddy Do That,
Cause it satisfies my worried mind

I got a range in my kitchen
got a straightened door
when it get to hot,
I want my oven to cool
I Let My Daddy Do That
I Let My Daddy Do That

I Let My Daddy Do That
Cause it satisfies my worried mind

You can drink my liquor
wear my clothes
when it comes to time
to pay my dow
I Let My Daddy Do That
I Let My Daddy Do That

I Let My Daddy Do That
Cause it satisfies my worried mind

You can milk my cow
use the cream
when it comes to lovin that's just a dream
I Let My Daddy Do That
I Let My Daddy Do That

I Let My Daddy Do That
Cause it satisfies my worried mind

"Oh Janet you're on bar-b-que..."


You can crank my car
shift my gears
But when any easy ridin's gonna go on here
I Let My Daddy Do That
I Let My Daddy Do That

I Let My Daddy Do That
Cause it satisfies my worried mind


Have Mercy, Rory

Angel Of Mercy, Rory Block, Rounder Records, 1994

I recently, in reviewing Rory Block’s fine “Gone Woman’s Blues CD, noted that I owed her one. Here is why. During the recently completed misbegotten presidential campaign season I took more heat that one could shake a stick at for using the title of one of country blues master Skip James’ “I’d Rather Be A Devil That To Be That Woman’s Man” for some political blogs that I wrote in regard to the Hillary Clinton’s Democratic Party candidacy. For months I took it on the chin from my feminist friends as exhibiting some form of latent hostility to women, especially woman candidates for president. (By the way, that was a totally false accusation. I would have been more than willing to vote for Victoria Woodhull on the Woman’s Equality ticket in 1872.) There one day I remembered through the mist of time singer/songwriter Rory Block’s rendition of the James’ classic and which forms the headline to this entry. Thanks, Rory.

But thanks and kudos can only go so far. The present CD, “Angel Of Mercy”, leaves me cold. Rory, I believe, has always had two speeds. The natural blues one and the contemporary folk stylist one. That latter style is on display here and not to her benefit. Probably, and here I may get back into “hot water” politically, the main problem is that the lyrics of these songs do not “speak” to me. It could be age, it could be gender, it could be the wayward subjects but they just do not resonant with me. Not to worry though there are other Rory CDs that do “speak” to me and will get more a more positive review like the one given to “Gone Woman Blues”.

Pure Rory

CD Review

“I’ve Got A Rock In My Sock”, Rory Block, Rounder Records, 1989

Apparently I am to have a love/hate “relationship’ in reviewing the CDs of Ms. Rory Block. I have thus far expressed my gratitude for her fine work in her “Gone Woman’s Blues” album (as well as ‘saving’ me, see that review in this space for the details). I, however, had to pan her 1994 effort, “Angel Of Mercy”, as it did not “speak” to me. In that review I made the following point:

“… Rory, I believe, has always had two speeds. The natural blues one and the contemporary folk stylist one. That latter style is on display here and not to her benefit. Probably, and here I may get back into “hot water” politically, the main problem is that the lyrics of these songs do not “speak” to me. It could be age, it could be gender, it could be the wayward subjects but they just do not resonant with me. Not to worry though there are other Rory CDs that do “speak” to me and will get more a more positive review like the one given to “Gone Woman Blues”.”

Well, with this CD we are back on the positive side that I mentioned in that review. Partially it is due to the point above about letting her natural bluesy side show, as exemplified here by her own title track song” I’ve Got A Rock In My Sock”, Charley Patton’s “Moon’s Goin’ Down” and the Willie Brown classic “M&O Blues”. That tips it to the positive side, no matter what else is here. However, even her folk stylist persona is ratcheted up a notch on this one. “Love and Whiskey” is evocative and rings true as coming from someone having taken a few blows from life’s sometimes mysterious doings. And “Send The Man Back Home” is well; just good advise under the terms of the song's scenario. Kudos.

Ain't She A Woman

CD Review

Ain’t I A Woman, Rory Block, Rounder Records, 1992

Apparently I am to have a love/hate “relationship’ in reviewing the CDs of Ms. Rory Block. I have thus far expressed my gratitude for her fine work in her “Gone Woman’s Blues” album (as well as ‘saving’ me, see that review in this space for the details). The same for “I’ve Got A Rock In My Sock”. I, however, had to pan her 1994 effort, “Angel Of Mercy”, as it did not “speak” to me. In that review I made the following point:

“… Rory, I believe, has always had two speeds. The natural blues one and the contemporary folk stylist one. That latter style is on display here and not to her benefit. Probably, and here I may get back into “hot water” politically, the main problem is that the lyrics of these songs do not “speak” to me. It could be age, it could be gender, it could be the wayward subjects but they just do not resonant with me. Not to worry though there are other Rory CDs that do “speak” to me and will get more a more positive review like the one given to “Gone Woman Blues”.”

Well, with this CD we are back on the positive side that I mentioned in that review. Partially it is due to the point above about letting her natural bluesy side show, as exemplified here by her own title track song” Ain’t I A Woman”, the legendary blues man Robert Johnson’s “Come On In My Kitchen” and the little known (but should be) Lottie Kimbrough’s “Rolling Log”. That tips it to the positive side, no matter what else is here. However, even her folk stylist persona is ratcheted up a notch on this one. “Faithless World” like “Love and Whiskey” from the CD “I’ve Got A Rock In My Sock” is evocative and rings true as coming from someone having taken a few blows from life’s sometimes mysterious doings. A couple of Tommy Johnson songs round this one out. Kudos, again.

Once Again, Rory Have Mercy

CD REVIEW

Tornado, Rory Block, Rounder Records, 1996

Damn, apparently I really am to have a love/hate “relationship’ in reviewing the CDs of Ms. Rory Block. I have thus far expressed my gratitude for her fine work in her “Gone Woman’s Blues” album (as well as ‘saving’ me, see that review in this space for the details). The same for “I’ve Got A Rock In My Sock” and “Ain’t I A Woman”. I, however, had to pan her 1994 effort, “Angel Of Mercy”, as it did not “speak” to me. In that review I made the following point:

“… Rory, I believe, has always had two speeds. The natural blues one and the contemporary folk stylist one. That latter style is on display here and not to her benefit. Probably, and here I may get back into “hot water” politically, the main problem is that the lyrics of these songs do not “speak” to me. It could be age, it could be gender, it could be the wayward subjects but they just do not resonant with me. Not to worry though there are other Rory CDs that do “speak” to me and will get more a more positive review like the one given to “Gone Woman Blues”.”

Here we are “Angel Of Mercy’ turf again despite some good material and various all-star back up performers. That Block folk stylist nexus is on display here, as well as a bit of overall overproduction on most of the songs. Again, maybe it is that the lyrics just do not “speak” to me but something is off here. I will make one great exception for her inclusion of “Gone Woman Blues” from a previous CD mentioned above. I will make an even greater exception for an incredible cover of Andy Barnes “The Last Leviathan” (that’s right, about the fate of the whales, and us). Wow. That said, two out of eleven do not a great CD make.

*Ma Rainey's Black Bottom- The Blues Of Gertrude "Ma" Rainey

Click On Title To Link To YouTube's Film Clip Of Ma Rainey Doing "Booze And Blues"

CD Review

February Is Black History Month. March Is Women's History Month

Ma Rainey’s Black Bottom, Ma Rainey, Yazoo Records, 1990

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 that of the legendary Bessie Smith. Beyond that, maybe some know Ethel Waters. And beyond that-a blank.

Except maybe I have to take that back a little in the case of Gertrude "Ma" Rainey, at least as to her name recognition if not her music that has gotten more recent publicity through the work of playwright August Wilson's Century Cycle play "Ma Rainey's Black Bottom". Notwithstanding that possibility, in the CD compilation under review we have what amounts to the best of Ma Rainey during her short but productive recording career in the 1920's. Upon hearing her on this CD women's blues aficionados are going to want to know how she stacks up against the heavy competition of Bessie Smith.

In many ways they are comparable since they worked much the same milieu but, in the end Bessie's wider range and more heartfelt `feel' for a song wins out. A case in point is the classic "Oh Papa Blues" (also known as "Down-Hearted Blues") done by both. There is absolutely nothing wrong with Ma's version as entertainment but Bessie's version comes out as if she had just been shot in the heart by some two-timin' man. That difference is reflected throughout the material they both covered.

As is highlighted in Wilson's play Ma however was no fool , unlike Bessie, when it came to business and that included making sure she got her just desserts (and credit) for songs that she wrote (somewhat unusual for a singer in the days of Tin Pan Alley). Moreover, some of the best songs here have legendary blues sidemen on them. For example, Fletcher Henderson on piano on "Ma Rainey's Black Bottom". Coleman Hawkins on "Blues Oh Blues". And both Georgia Tom Dorsey (who later went on to a successful gospel career) and Tampa Red on "Sleep Talking Blues". Wow.

Lyrics To "Down-Hearted Blues"

Gee, but it's hard to love someone when that someone don't love you!
I'm so disgusted, heart-broken, too; I've got those down-hearted blues;
Once I was crazy 'bout a man; he mistreated me all the time,
The next man I get has got to promise me to be mine, all mine!

Trouble, trouble, I've had it all my days,
Trouble, trouble, I've had it all my days;
It seems like trouble going to follow me to my grave.

I ain't never loved but three mens in my life;
I ain't never loved but three men in my life:
My father, my brother, the man that wrecked my life.

It may be a week, it may be a month or two,
It may be a week, it may be a month or two,
But the day you quit me, honey, it's comin' home to you.

I got the world in a jug, the stopper's in my hand,
I got the world in a jug, the stopper's in my hand,
I'm gonna hold it until you meet some of my demands.

*"Women Be Wise- Don't Advertise Your Man"- Blues Singer Sippy Wallace

DVD REVIEWS

Sippy Wallace, Volume 2, The Complete Works, 1925-1945, Sippy Wallace, Document Records, 1995

Women Be Wise, Sippy Wallace, Alligator Records, 1992

Okay, okay before we even start here let’s get something straight. I took more than my share of politically correct abuse from my feminist friends, including my companion, when I titled one of my reviews of the work of the legendary blues singer Skip James after the title of one of his songs- "I’d Rather Be The Devil Than Be That Woman’s Man". As penance I noted that the more contemporary blues singer/songwriter Rory Block covered that song and changed the words to "I’d Rather Be The Devil That Be A Woman To That Man". So here, for the politically pure of heart, or their wannabes, you can switch to suit your sexual or gender orientation.

But enough of that, for now because we have the serious business of discussing the blues, and an important component of that genre is the work of the "Texas Nightingale"- Sippy Wallace. Frankly, readers if you are going to discuss the blues you have to take the lyrics the way you find them and work around that. There is not a damn politically correct thing about them from male or female singers. Whiskey or dope. Mistreatin’ man or woman. Hard luck, bad luck or no luck. Anger, murderous intent, hostility. This is the language of the blues. If you want to clean it up go to the modern folk music section. But, my friends then you would be missing some very hard driving, evocative music from down at the base of society in Jim Crow days, especially when done by one of the classic blues singers.

Classic blues singers? Those are, mainly, the black female singers of the 1920’s, most famously the likes of Bessie Smith and Ma Rainey, who played mostly to black audiences in the South (although not solely, witness the career of Ethel Waters). Sippy fits right in there. You may not know her because her career was cut short (for a while) by a return to her Baptist gospel roots in order to get away from “the devil’s music”. This struggle has been a gnawing tension in the fate of more than one accomplished blues singer although usually, as in the case of Howlin’ Wolf and Son House among others, the devil 'wins'.

Sippy’s story has a nice ending though. She was “discovered” by the great folk/blues/country singer and songwriter Bonnie Raitt (who sat at the knee of Mississippi Fred McDowell to learn her craft) in the mid-1960s after covering the above-mentioned "Women Be Wise". Sippy then went on to have a successful revival until her death. That also allows this reviewer to kill two birds with one stone. This review is serving to comment on two Sippy CDs. One, "Sippy Wallace, Volume 2", The Complete Works, 1925-1945, Sippy Wallace, Document Records, 1995. The other, "Women Be Wise", Sippy Wallace, Alligator Records, 1992 so that one can compare quality of the two periods and the presentation of the same song in each period. I am more favorably impressed by her later work, partially because the technical quality of the recordings is better later but also partially because her voice is better later. But you decide. Check these out from Sippy Wallace- "Advise Blues", "Special Delivery Blues", "I’m A Mighty Tight Woman", "Lazy Man Blues", and "Bedroom Blues". Check these from "Women Be Wise"-"Women Be Wise", "Special Delivery Blues", "Caldonia Blues" (definitely), and "Up Country Blues".

Soul of A City Boy- Jesse Colin Young

CD REVIEW

Soul of A City Boy, Jesse Colin Young, 1964

If I were to ask someone, in the year 2008, to name a male folk singer from the 1960’s I would assume that if I were to get an answer to that question that the name would be Bob Dylan. And that would be a good and appropriate choice. One can endlessly dispute whether or not Dylan was (or wanted to be) the voice of the Generation of ’68 but in terms of longevity and productivity he fits the bill as a known quality. However, there were a slew of other male folk singers who tried to find their niche in the folk milieu and who, like Dylan, today continue to produce work and to perform. The artist under review Jesse Colin Young is one such singer/songwriter.

The following is a question that I have been posing in reviewing the work of a number of male folk singers from the 1960’s and it is certainly an appropriate question to ask of Jesse as well. I do not know if Jesse Colin Young, like his contemporary Bob Dylan whom he followed in moving from acoustic folk to folk rock, started out wanting to be the king of the hill among male folk singers but he certainly had some things going for him. A fair to middling acoustic guitar but a very interesting and mournful voice in the early acoustic days.

Moreover, Jesse set himself, more than others of the time, to speak to urban concerns and longings. I can remember being mesmerized by the effect of Four In The Morning (usually listening to it at that time, as well). Or the longing behind Suzanne and Black Eyed Susan. Or the late night whiff of whiskey in the air (Yes, I know we were underage at the time but let us let that pass) with the forgetfulness of Rye Whiskey. Yes, there were some tools and talent there. People may be more familiar with the latter electric rock material of the Youngbloods days but give a listen to Jesse, back in the day.

The Greatest Hits of Jesse Colin Young, Jesse Colin Young, 1991

The following is a question that I have been posing in reviewing the work of a number of male folk singers from the 1960’s and it is certainly an appropriate question to ask of Jesse as well. I do not know if Jesse Colin Young, like his contemporary Bob Dylan whom he followed in moving from acoustic folk to electric folk rock, started out wanting to be the king of the hill among male folk singers but he certainly had some things going for him. A fair to middling acoustic guitar but a very interesting and mournful voice in the early acoustic days. Then the switch to electric folk rock and beyond, and the joining up with the Youngbloods that forms the core of this greatest hits compilations.


Jesse Colin Young and the Youngbloods were one of the signature groups of the 1960’s not so much for their sound which was pretty much a familiar one from the period but the lyrics and the politics. Songs like Get Together, Sunlight, Darkness, Song for Juli and some others created a mood of hope (sometimes with dope) that got a number of people through the hard times of growing up in that time. Personally, though as much as I liked some of what the Youngbloods did I still go back to that old Jesse classic from the acoustic days Four In The Morning- that’s the ticket. If you need to hear it all though, this is a good bet.

*Killin' The Blues- The Blue Folk World Of Chris Smither

CD Review

Train Home, Chris Smither, 2004

If I were to ask someone, in the year 2008, to name a male folk singer from the 1960's I would assume that if I were to get an answer to that question that the name would be Bob Dylan. And that would be a good and appropriate choice. One can endlessly dispute whether or not Dylan was (or wanted to be) the voice of the Generation of '68 but in terms of longevity and productivity he fits the bill as a known quality. However, there were a slew of other male folk singers who tried to find their niche in the folk milieu and who, like Dylan, today continue to produce work and to perform. The artist under review Chris Smither is one such singer/songwriter.

I do not know if Chris Smither, like his contemporary Bob Dylan, started out wanting to be the king of the hill among male folk singers but he certainly had some things going for him. He plays that signature blue guitar for all it is worth on such covers as "Crocodile Man" yet can turn it down several notches for a song like "Never Needed You" and then goes softer on reflective songs like "Kind Woman". Moreover he is as capable as a songwriter as any of writing of longing, lost love, thoughts of mortality and...being stupid in the world. Witness "Let It Go" on that last point. Then turn it up a notch with a bittersweet song like "Lola" (males-haven't we all had our Rock and Roll Lolas-or wanted to). As then, as if to pay homage to the icon of the generation, a nod to Bob with a shortened version of the Dylan classic "Desolation Row". Yes, Chris had the tools to go out and slay the dragons of the folk world. This is his five star work. That work may not be well known outside the precincts of the graying folk world, but it should be.

It Ain't Easy, Chris Smither, 1993

I do not know if Chris Smither, like his contemporary Bob Dylan, started out wanting to be the king of the hill among male folk singers but he certainly had some things going for him. He plays that signature blue guitar for all it is worth on Rock and Roll Doctor yet can turn it down several notches for a song like "Killin’ The Blues" (a song that he wished that he had written and I agree) and then goes softer on reflective songs like "Take It All". Moreover he is as capable as a songwriter as any of writing of longing, lost love, thoughts of mortality and…being stupid in the world. Witness "Memphis, In The Meantime" on that last point. Then turn it up a notch with a bittersweet song like "Happier Blue". Yes, Chris had the tools to go out and slay the dragons of the folk world. That work may not be well known outside the precincts of the graying folk world, but it should be.

Lyrics to Happier Blue :

I was sad, and then I loved you,
It took my breath
Now I think you love me, and
It scares me to death,
‘Cause now I lie awake and wonder, I worry,
I think about losin' you
I don't care what you say
Maybe I was happier blue
I don't care what you say
Maybe I was happier blue

Justice is a lady,
Blind, with a scale,
And a big letter-opener.
She's been readin' my mail
I don't know why this should shame me,
But it does, somehow
I don't care what you say,
She don't look like a lady now.
I don't care what you say,
She don't look like a lady now

I believe in heavy thinking,
I believe in heavy sound,
I believe in heavy images
To hold it all down.
Light as a feather in spite of me
I don't care what you say
Faith is not a guarantee
I don't care what you say
Faith is not a guarantee

Did you think I didn't know that?
You might be right.
I swear I will forget it if it
Takes all night.
I never needed nothin' like I ever needed
Knowin' I needed you
I don't care what you say
None of this is nothin' new
I don't care what you say
None of this is nothin' new

Lyrics to Killing The Blues :

Oh, leaves were falling

They're just like embers

In colors red and gold they set us on fire

Burning just like moonbeams in our eyes

Someone said they saw me

They said I was swinging the world by the tail

Bouncing over the white clouds

That I was killing the blues

Just killing the blues

Well, I am guilty of something

That I hope you never do

'Cause nothing is sadder

Than losing yourself in love

Someone said they saw me

They said I was swinging the world by the tail

Bouncing over the white clouds

Just killing the blues

Just killing the blues

Oh, when you asked me

Just to leave you

And set out on my own to find what I needed

You asked me to find what I already had

Someone said they saw me

They said I was swinging the world by the tail

Bouncing over the white clouds

I was killing the blues

Just killing the blues

Someone said they saw me

They said I swinging the world by the tail

Bouncing over the white clouds

I was killing the blues

Been killing the blues

Just killing the blues


"Train Home"

Take a look inside,
I got nothin' left to hide,
take me as I am,
not what I wanna be.
The why we'll never know, we passed that long ago.
Is and was is all we're ever gonna be.

He's almost shade, down by the river,
feels a breath that makes him shiver,
takes a breath and makes a dive alone.
But the dead don't get no vacation,
down in that subway station,
the only break they take is to the bone.
They waitin' on a train to take 'em home.

I don't think I see much of anything for me
in visions of the past or the ever-after.
Now is what can be,
all the rest is wait and see,
those prophets never hear that cosmic laughter.

And gypsies in their wagons rollin'
never hear those death bells tollin',
never take no notice of the tone.
But I do, and my pulse beats quicker,
scornful laughs and knowing snickers,
stop my heart and sink it like a stone.
And I'm waitin' on a train to take me home.

This ain't what it seems, it's not the stuff of dreams,
nothing is as clear as this confusion.
The somewhat welcome news
is there is no way to lose,
because what isn't real is genuine illusion.

And it's all about that graveyard dancin',
some sit still, some still prancin',
some get caught between them
in a zone where there's nothin' left to give 'em cover,
they can't even see each other,
they just step and stumble on their own.
They waitin' on a train to take 'em home.

They waitin' on a train,
I'm waitin' on a train,
we all waitin' on a train to take us home


"Lola"

Lookin' for my Lola, she's drinkin' rum and Coca Cola,
Smokes big cigars,
she drives big cars around.
Folks say she's gonna reach the top,
but she says that's just her first stop.

I know she ain't a good 'un,
whatcha bet she wouln' lose much sleep
if I should die today.
She says the love ain't cheap, but the pain is free
and I say, 'But that sounds good to me!'
She's got hooks to make a fish think twice,
but I ain't no fish.
I'll pay any price.
If I think at all, I think, 'This feels nice!'

Lookin' for my Lola, what if I'd 'a told ya
she don't even know she hurts me so.
She says 'I don't hate you, it ain't that big a deal,
you don't even figure in the way I feel.' but
don't think she feels too much at all.
I said 'Have a heart', she told me to my face,
'What little heart I got is in the wrong place.'

Lookin' for my Lola, she's a little rock 'n roller,
party down, paint the town again.
She drinks too much, she keeps it hid,
everybody says she's a hell of a kid,
but she ain't no kid when she's cuttin' me apart.
That's OK, I told her from the start,
'Don't stop 'fore you get my heart.'

Lookin' for my Lola, I barely got to know ya.
For all I know, there ain't a lot to know.
Either I gave up or she let me go,
how I got away I'll never know.
My life should be better, and it's not.
I know you think that she was pretty bad,
I wouldn't know, she was all I had


"Never Needed It More"

If love is the meal for the hunger you feel,
call for the witer.
We're all gonna feed on whatever
we need sooner or later.
I just stay out of my way.
I call for the check when I'm ready to pay.
The bill's for the faith or the will,
whichever is greater.

CHORUS Tell me how does it happen?
I can't tell you for sure,
but I don't think I ever needed it more

Cuz now it's two for the show and
they all wanna how
did you meet her?
I think it was luck,
she fell off a truck,
from there it was follow the leader.
I saw her walkin' alone,
I treated her nice and she followed me home.
There was nobody there to tell me
that I couldn't keep her.

CHORUS (variant) Tell me how does it happen?
I can't tell you for sure,
but I don't shut my tail in the door any more.

CHORUS

You know it's only a scene,
the play is the dream,
the bigger the better.
What can I say,
she's writin' the play and I'm gonna let her.
I just believe in the role.
I open wide and it swallows me whole.
The take is the give,
the give is the way that I get her.