...James is, of course, overshadowed by the most famous bluesman of them all: Robert Johnson... Few can resist the legend that he sold his soul to the devil, was poisoned by a jealous lover, and died a young genius's death... Skip James' mythos is less compact than Johnson's. James survived his misspent youth, and the story of his later years provides plenty more of the kind of misery that fueled his music. Where Johnson supposedly cut a single, grand deal with the devil—trading his soul for mastery of his form—Skip James seems to have struck deal after deal and never come out ahead. In a way, James' story is the truest story of the blues: He led an open wound of a life, and all he got for it was minor-league, post-mortem stardom.
Skip James' Hard Time Killing Floor BluesSee also
Mississippi John Hurt & Skip James on WTBS-FM 1964 [more inside]
posted by y2karl
on Jun 15, 2013 -
16 comments
...The cult of and luster for country blues among these record collectors came about because not only were recordings by Charley Patton, Son House, Skip James and Robert Johnson not successfully sold to African Americans, but other record collectors were not interested in them either. There were so many collectors of New Orleans jazz that not only did the recordings became too expensive to collect, they also didn't want them -- they wanted to find something that required more energy to uncover, and more energy to actually appreciate. Anyone who has ever listened to Charley Patton knows that you have to learn how to listen to him, you have to really struggle -- it is a work of archeology, really, to make out what he is saying. It is powerful, and I don't want to deny its power, but you have to learn how to hear that power, and African Americans, when these records came out, didn't necessarily hear that.
From
an interview with Marybeth Hamilton, author of
In Search of the Blues [more inside]
posted by y2karl
on May 26, 2012 -
13 comments
William Brown was a man who recorded a handful of blues on Sadie Beck's Plantation on July 16, 1942 for
Alan Lomax. Once thought to be the same man as the Willie Brown who played with Son House and Charley Patton--and was immortalized in Robert Johnson's
Crossroad Blues--the consensus now is that William Brown was a different man, about
whom we know next to nothing. Certainly, the handful of recordings we have that feature him supports this. The Willie Brown who recorded
Future Blues and
M & O Blues was an archetypal Delta bluesman, with both songs being stripped down versions of Charley Patton's
Screamin' and Hollerin' the Blues, among others, and
Pony Blues, respectively. The
William Brown who recorded
Mississippi Blues,
Ragged and Dirty and
Make Me a Pallet on the Floor plays and sings nothing like that Willie Brown. That we know nothing about him and never heard any more of his music is one of the many tragedies of recorded blues.
[more inside]
posted by y2karl
on Aug 30, 2011 -
15 comments
Bobby Charles 1938-2010. Songwriter, musician's musician and cultural treasure, he died on last Thursday in Abbeville,Lousiana. In the 1950s, he wrote Fats Domino's
Walking to New Orleans, Bill Haley and the Comet's
See You Later, Alligator and recorded for Chess records. His
eponymous Bearsville album recorded in Woodstock in 1972 has been described as the best Band album released under another name.(Check out
Small Town Talk there.) He appeared as well in the Band's farewell concert filmed as The
Last Waltz. He made an enormous contribution to American popular music.
[more inside]
posted by y2karl
on Jan 19, 2010 -
25 comments
...The narrative of the blues got hijacked by rock ’n’ roll, which rode a wave of youth consumers to global domination. Back behind the split, there was something else: a deeper, riper source. Many people who have written about this body of music have noticed it. Robert Palmer called it Deep Blues. We’re talking about strains within strains, sure, but listen to something like Ishman Bracey’s ''Woman Woman Blues,'' his tattered yet somehow impeccable falsetto when he sings, ''She got coal-black curly hair.'' Songs like that were not made for dancing. Not even for singing along. They were made for listening. For grown-ups. They were chamber compositions. Listen to Blind Willie Johnson’s "Dark Was the Night, Cold Was the Ground.'' It has no words. It’s hummed by a blind preacher incapable of playing an impure note on the guitar. We have to go against our training here and suspend anthropological thinking; it doesn’t serve at these strata. The noble ambition not to be the kind of people who unwittingly fetishize and exoticize black or poor-white folk poverty has allowed us to remain the kind of people who don’t stop to wonder whether the serious treatment of certain folk forms as essentially high- or higher-art forms might have originated with the folk themselves.
From
Unknown Bards: The blues becomes apparent to itself by one John Jeremiah Sullivan. I came across it while browsing
Heavy Rotation: Twenty Writers On The Albums That Changed Their Lives. For Sullivan, that album was
American Primitive, Vol. II: Pre-War Revenants (1897 - 1939), which is my favorite CD of the year. Which came out in 2005 while I just got around to buying it this year. Foolish me. It is a piece of art in itself in every respect--all CDs should have such production values.
[more inside]
posted by y2karl
on Aug 6, 2009 -
50 comments
...As he pored over the mass of texts and thumbnail photos that the eBay search engine had pulled up on that day in 2005, one strangely worded listing caught Schein’s eye. It read, “Old Snapshot Blues Guitar B.B. King???” He clicked on the link, then took in the sepia-toned image that opened on his monitor. Two young black men stared back at Schein from what seemed to be another time. They stood against a plain backdrop wearing snazzy suits, hats, and self-conscious smiles. The man on the left held a guitar stiffly against his lean frame. Neither man looked like B. B. King, but as Schein studied the figure with the guitar, noticing in particular the extraordinary length of his fingers and the way his left eye seemed narrower and out of sync with his right, it occurred to him that he had stumbled across something significant and rare... the more convinced he became that it depicted one of the most mysterious and mythologized blues artists produced by the Delta: the guitarist, singer, and songwriter whom Eric Clapton once anointed “the most important blues musician who ever lived.” That’s not B. B. King, Schein said to himself. Because it’s Robert Johnson.
Searching for Robert Johnson reveals not only what may be the third picture of Robert Johnson but a Byzantine struggle over his legacy as well.
posted by y2karl
on Oct 9, 2008 -
29 comments
So, about 9 months ago I started working on this compilation... Until yesterday, however, I hadn't seen a tracklist from the mysterious 10-cd set called the VrootzBox, so this is not a derivative work, however similar it may be...I should mention that not all of these songs are songs that he covered or copped licks from. Most of the music he has made mention to, though a few of the songs were recorded after his formative years and one or two he never would have heard. But they are presented to give an illustration of the styles he drew from (such as gamelan, which he grew up playing in his neighbor's back yard).
Wrath of the Grapevine: The Roots of John Faheyvia FaheyGuitarPlayers
posted by y2karl
on Jun 1, 2008 -
12 comments
Well respected as a player, instructor and scholar, Adam Gussow teaches blues harmonica online at
Modern Blues Harmonica. For a fee.
On YouTube, as
KudzuRunner, he also gives lessons. For free. He's put up around 145 videos now--145 videos with like about a million hits in return...
via Tom Muck's Blog
posted by y2karl
on Mar 7, 2008 -
12 comments
And here we have a couple of YouTube productions, screensaverish animations of photos and lyrics to the original recordings:
Robert Petway - Catfish Blues and
Tommy McClennan - It's Hard To Be Lonesome. This is mostly about Petway and
Catfish Blues but you can't mention Petway without mentioning McClennan, as they ran together in their time and as both did versions of
Catfish, a song canonical in Delta Blues, recorded and performed by nearly everyone--
Muddy Waters - Rolling Stone, for example. Petway just happens to be the first person to record
Catfish, and quite possibly the person who wrote it and certainly. to my mind, at least, the person who nailed it... in the uptempo version at the very least.
[more inside]
posted by y2karl
on Feb 28, 2008 -
8 comments
Regarding the 'Creole Beethoven'
Wardell Quezergue, composer, arranger, big band leader, master of Second Line funk, who brought us Earl King's
Trick Bag, the Dixie Cups'
Iko Iko and
Chapel of Love, King FLoyd's
Groove Me, Baby, Jean Knight's
Mr. Big Stuff to name but a few--not to mention
A Creole Mass--and who, later in life, survived
Katrina, to become, among other things of late, according to Home of the Groove's
Quezergue Onstage and Behind The Scenes, a street performer in the French Quarter. His is a name that ought not be forgotten.
[more inside]
posted by y2karl
on Feb 23, 2008 -
5 comments
In 1900 they were everywhere. Singing on street corners, in front of circus entrances, or just moving down the dusty roads of the South, playing anywhere a crowd might be cajoled into donating a dime to the cause. To survive they played any request--ballads, popular tunes, white hillbilly music, hymns, and the newly emerged blues. Songsters were the first folk musicians to be "professional" ...Most songsters faded into the past. A few waxed recordings, leaving a tempting glance into their world--and many questions. Such is the case with Richard "Rabbit" Brown, one of the most celebrated songsters and the only one from New Orleans to record.
Times ain't Like They Used To Be:
Richard "Rabbit" Brown, New Orleans Songster--so,
James Alley Blues is the song most everyone names as Brown's greatest and, now, you can play it online
here.
[more inside]
posted by y2karl
on Feb 7, 2008 -
17 comments
Consider
Aaron Thibeaux Walker--if anyone ever deserved the title
Godfather, King or Present at the Creation, it would be
T-Bone Walker. Without T-Bone, there would be no B.B. King, Albert King, no Clarence Gatemouth Brown, no Pee Wee Crayton, Johnny 'Guitar' Watson ad infinitum to every blues guitarist whoever bent a tube amplified string thereafter. For rock and blues, electric lead guitar begins with him--he invented the language and then wrote the book and style manual, too. And he wrote the
performance manual as well--dancing, doing splits, playing guitar behind his back while alternating betwen slow and smoky after hour blues and swinging combo and jazzy big band jumps. For examples of him at the height of his powers, give these Coralized mp3s--
Cold Cold Feeling and
Strollin' With Bones--a listen.
[more inside]
posted by y2karl
on Nov 14, 2007 -
8 comments
John Fahey - Fare Forward Voyagers
John Fahey - Dance Of The Inhabitants Of The Palace Of King Phillip XIVClips from a 2 hour performance at
the Euphoria Tavern in Portland, Oregon from 1976. Among the cognoscenti at
FaheyGuitarPlayers, the consensus is that these clips display Fahey in rare form on a very good night.
Apart from Fahey,
Bohemia Visual Music aka Mike Nastra, the contributor of these clips, provides an interesting assortment of way too hip YouTubery offerings including, among others, Spike Jones, Dimandas Galas, Gene Krupa, Tuxedo Moon, Sun Ra, Pere Ubu and the Holy Modal Rounders.
posted by y2karl
on Oct 16, 2007 -
9 comments
Here Is Jazz Old Time Online17,877 Real Audio streams of public domain jazz recordings, 17,147 of which are available as mp3 downloads for $5 for 3 months. Run a search on a favorite and see what they have. Man, all those Don Redman sides--I may just break down and get a Paypal account. Hate Realplayer ? Well, fight the power and use
Real Alternative aka
Media Player Classic instead.
posted by y2karl
on Sep 15, 2007 -
20 comments
Here is Uncle John Scruggs singing and playing
Little Log Cabin Round the Lane in RealAudio
Dial Up and
DSL format. The dancing is great and I do like the walk-on kitten part, myself.
That's from the
Center For Southern African-American Music Video Link Page. Their
audio link page is a wonder, too with individual artists galore. But, for the real deal, check out the
Various Artist compilation album pages. Those may be 20 second of so mp3 clips but, still, those Yazoo, Document and Folkways albums are the bomb and there you get a taste of what they offer. And anywhere you can hear, for example, even a few bars of Blind Alfred Reed's
How Can A Poor Man Stand Such Times And Live ? or Estil C. Ball and Lacey Richardson's
Trials, Troubles, Tribulations rules in my world.
posted by y2karl
on Jun 29, 2007 -
9 comments
...In 1924 New York Recording Laboratory decided to expand its reach into that market by purchasing the Black Swan label. Founded in 1920 or 1921 by black entrepreneur Harry H. Pace, the pioneering company recorded everything from ragtime to grand opera, as long as it was sung by African-Americans... Paramount's biggest star was Ma Rainey, a blues moaner who influenced the legendary singer Bessie Smith... Paramount did not neglect male blues singers, who tended to be folk artists in the sense that their music was made initially for the entertainment of isolated rural communities. These included the singers and guitarists Charlie Patton... Blind Lemon Jefferson...
Compliments of the Season from
ParamountsHome--where, among many other things, one can find an online copy of David Evans's biography
Charley Patton in Parts
1,
2 and
3 or look at a picture of
Skip James in 1932, not to mention a view of Paramount's promotion of Patton as the
Masked Marvel. And that is not, as they say, all...
posted by y2karl
on Dec 18, 2006 -
14 comments
Folkstreams.net has two goals. One is to build a national preserve of hard-to-find documentary films about American folk or roots cultures. The other is to give them renewed life by streaming them on the internet. The films were produced by independent filmmakers in a golden age that began in the 1960s and was made possible by the development first of portable cameras and then capacity for synch sound. Their films focus on the culture, struggles, and arts of unnoticed Americans from many different regions and communities. The filmmakers were driven more by sheer engagement with the people and their traditions than by commercial hopes. Their films have unusual subjects, odd lengths, and talkers who do not speak "broadcast English." Although they won prizes at film festivals, were used in college classes, and occasionally were shown on PBS, they found few outlets in venues like theaters, video shops or commercial television. But they have permanent value...
folkstreams.net Currently streaming are the films
The Land Where the Blues Began ,
Cajun Country ,
Jazz Parades: Feet Don't Fail Me Now ,
Talking Feet: Solo Southern Dance: Buck, Flatfoot and Tap ,
Ray Lum: Mule Trader and
Pizza Pizza Daddy-O , among
many others.
posted by y2karl
on Oct 6, 2006 -
14 comments
Here is the
Mississippi John Hurt Blues Foundation, the website, which is the creation of one Frank Delaney of Spokane. There's a great deal of guitar related material and a page of mp3's by fans, which includes several interesting originals by one Fred Bolden, a grand nephew. I always knew he had a son who played guitar and wondered why no one had ever tried to record him. Now there is a grand nephew playing, if nowhere near as sublimely as his great uncle, in roughly the same style.
Here is an interview of John Hurt from 1963, courtesy of Stefan Grossman's guitar video empire. It is a real delight.
Consider this a follow up to this
post. Not all of the links there are good. The
Mississippi John Hurt Guitar Tab Book, for instance, is now available only in
PDF format but well worth the download. And here is
an illustrated discography of John Hurt by another Stefan, Stefan Wirz, a subject of yet another
post back in the day.
posted by y2karl
on Oct 4, 2006 -
19 comments
For murder ballads, here's your
Mississippi John Hurt's Louis Collins and your
Grayson & Whitter's Ommie Wise. Then, for some early white blues bottleneck guitar, here's your
Frank Hutchison's K. C. Blues. Not to mention
Charley Patton's Screamin' And Hollerin' The Blues. All courtesy the Internet Archives
78 RPM tag. where there is way more--like Bix Beiderbecke's first record,
Davenport Blues, Louis Armstrong's
Ain't Misbehavin' and Geeshie Wiley's
Last Kind Words, among many others. Then, for more,
Nugrape Records has an
mp3 page. The standout there, at least for me, is Gus Cannon's
Poor Boy Long Ways From Home. As for their namesake, the Nugrape Twins, well, the Archive has the mp3 of
I've Got Your Ice Cold Nugrape. And don't let me omit mentioning
PublicDomain4U. They have
Mississippi John Hurt's Frankie, for one.
Tyrone's Record and Phonograph Links will lead you to more 78 RPM goodness. And don't forget the inestimable and erudite vacapinta first
directed us to
Dismuke's Virtual Talking Machine.
posted by y2karl
on Aug 25, 2006 -
48 comments
...Record collectors are typically thought of as irascible loners, but in the Washington of the ’50s and early ’60s, there existed a group of scruffy young blues and folk fans who could’ve given the Illuminati a run for their all-seeing eyes. They thought of themselves as the guardians of a tradition the rest of the world had either forgotten or misinterpreted. They adopted fake names. They invented strange mythologies. They hatched plans to bring their favorite historical figures back from the dead--or at least back from the commercial oblivion to which the music biz had consigned them. But most of all, they inspired admiration and awe. Though they never used the term themselves, this bunch of vintage-78 obsessives was known by others as the East Coast Blues Mafia.
The Thong Club
via FaheyGuitarPlayers
posted by y2karl
on Jul 13, 2006 -
20 comments
Vera Hall was a black woman born near Livingston, Alabama at the turn of the century. She grew up in a supportive family and community, but in difficult, poor rural living conditions. At a young age, Hall became a respected and devout member of the church, and remained so for the rest of her years. But after leaving home, she also fell in with more worldly crowd, for whom blues, craps, and alcohol were the entertainments of choice. The tension between these two spheres-- that of spirituals and the church, on one hand, and that of blues and the juke-joint, on the other-- is a theme that recurred throughout her life and infused her music. She drew upon both perspectives to cope with and overcome her life's perennial difficulties; sadly, it was dotted with tragedy: she lost both parents, a sister, a husband, a daughter, and two grandchildren-- all before she herself passed away in 1964 at the age of 58.
The Vera Hall Project [+}
posted by y2karl
on Sep 17, 2005 -
5 comments
Ry Cooder once said
Dark Was The Night--Cold Was The Ground was
the most soulful, transcendent piece of American music recorded in the 20th Century.
Unearthly and
music of the spheres were common descriptions long before both became fact when it was included on a golden record was affixed to the star bound
Voyager space probe. My first encounter with
Dark Was The Night was while watching, and then listening to the soundtrack album of, Piero Paulo Pasolini’s
The Gospel According To St. Matthew--or as it is known in Sicily kickin' Bootsville,
Il Vangelo de Matteo--which is, in my humble opinion, the Greatest. Jesus. Movie. Evar. Ironically, coincidentally and serendipitously, it was an apt choice by Pasolini, as the
hymn from which
Blind Willie Johnson's wordless moan derives is a song about Christ’s passion—his suffering and crucifixion. (Continued with much more within)
posted by y2karl
on Sep 15, 2005 -
67 comments
Howard Armstrong,
artist and
black string band musician who played 22 instruments--excelling by far on violin and mandolin--who spoke seven languages, who first recorded in 1930 and was still an active performer up into this year, died last Wednesday of complications due to a heart attack he suffered in March. He was the subject of the P.O.V. film
Sweet Old Song, which will be reprised a week from today on August 12th, 2003. He was also the subject of
Louie Bluie--the first film by string band muscian and director of
Crumb and
Ghost World,
Terry Zwigoff--which is well worth your watching by itself. He was quite a character and
lived quite a life.
posted by y2karl
on Aug 5, 2003 -
7 comments
