A Tribute To The Blues Blinds- Johnson, Jefferson, McTell, Blake

CD REVIEWS

The Complete Collection of Blind Willie Johnson, Blind Willie Johnson, Sony 1993

Blind Willie Johnson

A tradition developed early, and I am not sure how, but it was very early in the 1900’s of blind black men with musical ability (and probably some with none) going to the small town Southern street and singing for their dinner, so to speak. I, for one, am glad that they did because an inordinate part of early blues music would be missing without their collective contributions. Here we start our tribute with Blind Willie Johnson; this is Reverend Blind Willie Johnson, by the way. What makes Reverend Johnson a shade bit different from other blues singers of the period, with the partial exception of Skip James, is that the vast bulk of his music is religious in orientation unlike the more traditional moaning and groaning about work, women and whiskey.

For those who saw part of Martin Scorcese’s PBS Blues Project a few years back you might remember that Blind Willie (along with Skip James) was highlighted in Wim Wender’s section. You might also know then that Johnson’s Soul of A Man is traveling the universe as a selection of one of humankind’s musical expressions. Take that and You Have Friend In Jesus with female accompaniment and you are at the height of Blind Willie’s talent. As for the rest you will have to listen for yourself.

Blind Blake-Ragtime Guitar's Foremost Finger Picker, Blind Blake, Yahoo, 1989

Before the blues began to dominate the black Southern country music scene there was a transition period where the previously dominant ragtime commingled with the emerging blues picking sound. That is where Blind Blake comes into view. This CD shows off his masterly picking style but also shows that he gets the new blues country beat. This CD has liner notes that are very informative (as are most Yahoo liner notes) about these evolutionary moves and Blake's innovations. As to the music highlights here are Southern Rag, Hard Pushing Papa, Sweet Papa Low Down and a classic rendition of Rope Stretching Blues (about the thoughts of a black prisoner just before his scheduled hanging- legal this time- with the great line 'in a couple of days I will not be singing this song'. Reason enough, right there to get rid of the death penalty.). Get this if you need a nice clean country blues pick.


CD REVIEW

When The Sun Goes Down, Blind Willie McTell, BMG Music, 2003

Recently I have been doing a run of reviews on old time country blues players that have included the likes of Mississippi John Hurt and Son House. Here we are getting a little slice of what the acoustic blues looked like when it went to the Southern cities in the 1920’s and 1930’s. Hurt and House stayed on the farm, so to speak, but McTell, blind from birth I believe, went to the streets of the cities to sing his songs and make his daily bread. Along the way he worked with women singers and sometimes with the legendary Tommy Dorsey (no, not the bandleader from the forties). But mainly he worked the streets and joints alone.

A close listen immediately tells you that this artist is different from the country blues singers. The guitar work is more polished (check it out on Statesboro Blues, if you want a treat) but the whole presentation is also different. The lyrics are more polished and the presentation is clearly for an audience that can walk out the door if it does not like what it hears. Hell, there are seven other guys or gals down the street to listen to. This is really the first manifestation, in song, of the changeover in the blues from the chant like quality of the pace of the cotton field to the rhythms of urban life. It changes again latter when it goes north and gets electrified but here McTell and a little later Big Bill Broozey (and, as always, Robert Johnson) are pushing the work in new directions.

The Best of Blind Lemon Jefferson, Blind Lemon Jefferson, Yahoo, 1990

Yes, I know it is hard to keep the names of all these male blind blues singers straight. Blind Willie, Blind Lemon, Blind Blake, etc. but there are differences in their styles from Willie Johnson's more gospel -oriented work to McTell's barrel house renditions. It is interesting that so many of these blind black singers, probably otherwise unemployable at the time due to their impairments, gave the blues (and sometimes their root music, gospel, also) a tryout on the streets and seemingly thrived on this market niche. The just mentioned gospel roots of many of these performers shows the tension between the godly church music of their youth and the `devil's' music of their maturity and I believe added to the authenticity of the music. It is the backdrop of Blind Lemon's works, as well.

This compilation, although technically not the best due more to problems with the old time recording material than anything else, highlights Blind Lemon's most enduring songs. The classic Easy Rider and Black Snake Moan are included here. Also included here and a must listen for anybody interested in this music is another Jefferson classic See That My Grave is Kept Clean that has been covered by many, many artists, including Bob Dylan.