MetaFilter posts tagged with blues

Same Old Blues

Mike Buechel — Mon, 02 Nov 2009 20:13:53 -0800

Morning rain keeps on falling. Freddie King's classic performed by Joanne Shaw Taylor. Freddie King's recording.

bluestab's blog meets AfricanAfrican aka NegroArtist.com

y2karl — Fri, 23 Oct 2009 15:20:15 -0800

Chanteur puissant à la voix rocailleuse. And here is bluestab's blog And here, via Babelfish is bluestab's blog in an English of sorts. Then, while, looking for mp3s to match the tabs, I came across the universe of African American history and culture that is AfricanAfrican aka NegroArtist.com, a site so big it has two URLs. [Billy Mays] But, wait--that's not all! [/Billy Mays] Then, while looking for in the commons mp3s for any of the titles in bluestab's blog , I stumble upon a treasure trove of such in the 5000 series pages at Document Records. , the completist's completist pre-war jazz and blues label, And found even more even more in the Rare Recordings and Video page of AfricanAfrican, a small universe of texts, music and motion pictures of and on the African American experience. I am overwhelmed. Yoda says I: Truly a Labor of Love this is. And between the two--voila! We have a post!

The James Koetting Ghana Field Recordings

Kattullus — Tue, 06 Oct 2009 20:01:28 -0800

The James Koetting Ghana Field Recordings has 142 reels of Ghanaian music, almost all of which have more than one track, collected by ethnomusicologist James Koetting. There is a glossary of musical terms should you want to know a bit more about Ghanaian music and Koetting's notebooks should you want to know a whole lot more. All the music is wonderful but here are a few that stood out to me. Here are two tracks featuring postal workers whistling over a rhythm beat with scissors and stampers. Flute and drum ensemble. Brass band blues. And finally, twenty teenage girls singing over some nice rhythms. [requires RealPlayer]

RIP, Mama

pazazygeek — Tue, 06 Oct 2009 15:23:58 -0800

Laura Mae Gross, founder and owner of Babe's and Ricky's Inn in Leimert Park (a gem of an artistic community in Los Angeles), died this past Saturday. Some consider Babe's and Ricky's Inn to be a well-kept Los Angeles secret, but their Monday Night Jam (and $10 soul food buffet) is famous and beloved by many. The songs on Babe's & Ricky's myspace page are presumably performed by the house bands, The Mighty Balls of Fire (Friday/Saturday nights) and Johnny Mastro & The Mama's Boys (Thursday nights). Whatever night you show up there, however, you're perfectly within your rights to expect to be blown away by a revolving cast of incredible blues musicians from all over Los Angeles doing their thang. Some come from nearby Watts and South Central, others from East LA, others from the valley, the westside, some from MUCH farther away. Their official website boasts having played host to music legends, the likes of B.B. King and Eric Clapton, but it's the local blues players (mavens and naifs alike) that make it the treasure that it is. Up until now, you could have also expected to see Laura Mae Gross, known to many as mama, at the door. I have a personal favorite memory of her: I went to Babe's and Ricky's one night on a date, at my suggestion. As a modern lady, I always rush to pay for myself (this has caused me some dating confusion, but I digress). I walked right up to mama and pulled out my wallet to pay the $10 cover, but she vehemently refused -- and insisted my date pay. Somehow this delighted the both of us and set the stage for a really lovely evening. Sometimes it's crowded, and sometimes it's nearly empty (you can see mama in the background at her regular spot by the door, eclipsed by the dancing couple, in that video), but the bands never disappoint. Mama will be missed terribly, I can only imagine how much by those that knew her, but even to nearly complete strangers like me.

Rory Block

Joe Beese — Fri, 02 Oct 2009 18:19:10 -0800

Aurora "Rory" Block has staked her claim to be one of America's top acoustic blues women, an interpreter of the great Delta blues singers, a slide guitarist par excellence, and also a talented songwriter on her own account. - AllMusic

Shakespeare in music

Matthias Rascher — Tue, 22 Sep 2009 12:25:12 -0800

Amazing to see how differently Shakespeare's work has been dealt with in music: there is Jerry Lee Lewis doing a blues on Othello. David Gilmour, former Pink Floyd lead singer, guitarist and songwriter, turned Sonnet 18 into a touchingly beautiful ballad. The Metal Shakespeare Company wrote a heavy metal song about Hamlet (III/1), "To bleed or not to bleed". And yes, there is Shakespeare rap, too: William Shatner (the very same!) raps about Caesar and British rapper Akala thinks he is a reincarnation of the bard. Last but not least, the Beatles tried their luck at Shakespeare, too (no music this time): they did a skit on the famous Pyramus and Thisbe scene from A Midsummer Night's Dream (very rare footage!).

Sugar Pie DeSanto

Joe Beese — Sun, 20 Sep 2009 11:21:56 -0800

Sugar Pie DeSanto says, "I like to sing blues, R&B, and pop and I think I do them pretty well". Her R&B recordings for Chess Records - including "Soulful Dress" and her duet with Etta James "In The Basement" - can be found here. And yes, she's still got it.

A man and his blues

Dr Dracator — Sat, 05 Sep 2009 23:01:01 -0800

John Campbell was a blues guitarist from Shreveport, Louisiana, mostly known for his skill with the slide guitar. His career was cut short in 1993, on the brink of national and international fame, when he died of a heart attack at the age of 41. Over on youtube, user louisianahaywire has uploaded some live footage from a 1986 performance: 1 2 3 4 5 6 7 8 9.

Ahmet Ertegun profiled by George W. S. Trow in 1978

Kattullus — Mon, 17 Aug 2009 18:42:39 -0800

Ahmet Ertegun was profiled by George W. S. Trow in The New Yorker in a classic piece back in 1978. Ertegun was the son of the Turkish ambassador to the US and he remained behind in D.C. studying medieval philosophy at Georgetown. Instead of devoting himself to his studies he founded Atlantic Records with his friend Herb Abramson. Trow charted how Ertegun moved from tramping through muddy, Louisiana fields in search of hot new sounds to the whirl of Studio 54. Below the cut are links to the songs mentioned in the article, as best as I could find, in the order in which they appear. Hugues Panassié, Le Jazz Hot (performed by Julie Andrews). I couldn't find any online versions of Dirty Mother for You but here's Roosevelt Sykes rippin' it up on Swedish TV in 1972. Couldn't find Ruth Brown singing A - You're Adorable, so here's the Sesame Street version. Ivory Joe Hunter, Since I Met You Baby. I couldn't find any footage or recordings of Bob Howard and His Rhythm, who recorded Button Up Your Overcoat and Memories of You for Atlantic Records, but here's Ruth Etting's 1929 version of the former and Sinatra's 1956 take on the latter. Here's a performance by Boyd Raeburn and His Orchestra who recorded The Lady is a Tramp and How High the Moon for Atlantic, here's Jaye P. Morgan doing the former and Les Paul and Mary Ford the latter. Sticks McGhee and His Buddies, Drinkin’ Wine Spo-Dee-O-Dee. Couldn't find Clovers' version of Skylark, so here's Bette Midler. I couldn't find a version of Don't You Know I Love You online. Joe Turner, Chains of Love. Ruth Brown, Mama, He Treats Your Daughter Mean. Joe Turner, Shake, Rattle and Roll. Clyde McPhatter and The Drifters, Money Honey. The Coasters, Searchin'/Young Blood. I couldn't find Chuck Willis' Hang Up My Rock n' Roll Shoes, but here's Bruce Springsteen covering the song and another song by Chuck Willis, What You Gonna Do When Your Baby Leaves You. Bobby Darin, Splish Splash. Ray Charles, What'd I Say? and I Got a Woman. The Rolling Stones, Street Fighting Man, Satisfaction and Love in Vain. Stevie Wonder, Happy Birthday and Uptight/Satisfaction (with The Rolling Stones). Muddy Waters, Hoochie Coochie Man. Aretha Franklin, I Never Loved a Man the Way I Love You. Professor Longhair, Tipitina (with The Meters). I can't figure out what that Trammps song is that's referenced, but here they're performing Shout. It's impossible to know what Johnny Dodds song Ahmet Ertegun is da da dooing along with, so here's some random Johnny Dodds. I couldn't find Brown Skin Man by Lovie Austin and Her Blues Serenaders, but here's Charleston Mad (Priscilla Steward singing). Jelly Roll Morton and King Oliver's Creole Jazz Band, King Porter. Tampa Red and Georgia Tom, You Can't Get That Stuff No More. Fred Astaire, Puttin' on the Ritz. I didn't find The Jealous Kind online. If I missed anything, please add a link.

O Black and Unknown Bards - Among Other Things, Regarding The White Invention of The Blues

y2karl — Thu, 06 Aug 2009 11:08:58 -0800

...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. In it, Sullivan recounts how in 1997 or 1998, he--as a junior editor at the Oxford American, fact checking an article by Greil Marcus--and John Fahey, then yet another recluse in a welfare hotel in Salem, Oregon attempted to decipher the lyrics of Geeshie Wiley's Last Kind Word Blues, which most of you may know from the soundtrack of Terry Zwigoff's documentary film Crumb. There are three or so copies and he, R. Crumb, would have one. Well, among many other things, at least one hearing of Last Kind Words is required for your Cultural Literacy Certificate. As is at least one hearing of I Got Your Ice Cold Nugrape. NuGrape - now available again at Fred Meyers and QFC here in Seattle. And here is a discussion of the lively reader response in Harper's to his interpetation of Wiley's lyric. Not wanting to spend money on assorted essays on the Smiths, Beastie Boys and Jay Z, I read Unknown Bards standing up at Borders Books. An ethically suspect practice, no doubt--as is posting the article entire in pdf form. Or in a series of comments at a thread at Jazzcorner's Speakeasy. Well, the scrupulous may pay for it at Harper's where it originally ran. Unknown Bards discusses the CD American Primitives, Vol. II and two must read books, In Search of the Blues: The White Invention of Black Music by Marybeth Hamilton and Escaping The Delta: Robert Johnson, and the Invention of the Blues by Elijah Wald. Oh, and for the guitar players out there, here, from Guitar Seminars Dot Com, is a thread with a rough tab of Last Kind Word Blues by one Mr. Mando. For what it's worth, Marybeth Hamilton's overall thesis about the white invention of the blues sounds about right to me--and I was fascinated by her story of James McKune, the Father of Us All, to whom, more than any other person, we owe the most for the consensual reality we inhabit, and cultural construct we share, when we hear the word 'blues.'

...decades ago it was a lodging house run by the Williamsburg branch of the YMCA, and it was here, in a single room on the uppermost floor one unknowable day in the mid-1950s, that the Delta blues was born. Born, that is, in the imagination of one of the YMCA’s long-term residents, a record collector named James McKune. A journalist turned postal worker, reclusive, homosexual and alcoholic, McKune conducted his life as a long downward spiral: moving into the Y around 1940, losing job after job as his drinking intensified, and eventually ending up on the streets, where he died at the hands of a violent stranger in 1971. Yet during his years at the Y he scavenged junk shops and used record stores to build up an extraordinary collection of blues 78s. In time that collection became the driving force behind the 1960s blues revival, when white Americans and Europeans discovered - one might say invented - a tradition that they called the Delta blues, constructed out of scraps of old recordings that African-Americans had long left behind.

Oh, and for what it's worth, the title Unknown Bards comes from the James Weldon Johnson poem O Black and Unknown Bards.

Sister Rosetta Tharpe

nebulawindphone — Tue, 21 Jul 2009 10:51:03 -0800

"She was a rock star," recalls Ira Tucker Jr., who grew up watching Tharpe with his father's gospel group in the 1940s and '50s. "You know, like Beyonce today and people like that. That's what Rosetta was to us." Sister Rosetta Tharpe wasn't the first one to bring black popular music into the church. (Here's the great Arizona Dranes playing barroom honky-tonk piano on the gospel side I Shall Wear a Crown in 1927.) But her fierce stage presence and her original blend of gospel, boogie-woogie, swing and smoking hot blues guitar was a crucial forgotten influence on what we now recognize as rock and roll. (Many more recordings inside. Enjoy!) If you're here for the electric guitar action, you'll want the Red Foley duet and the '60s TV appearances. My personal favorites are the stunning acoustic duets she recorded a decade or two earlier with the Sanctified gospel shouter Marie Knight — try "Up Above my Head" and "Daniel in the Lion's Den." But her range was incredible, everything she recorded was excellent, and comparing her late electric recordings with the earlier versions is a hoot if you're into that sort of thing. Early success with Lucky Millinder's big band: The Lonesome Road (scantily clad dancing girls at 0:45!), Four or Five Times, Trouble in Mind Mid-40s boogie-woogie gospel mega-hit: Strange Things Happening Every Day With Marie Knight in the late '40s: Up Above My Head, Beams of Heaven, My Journey to the Sky, Daniel in the Lion's Den [scroll down to the 7th set] With jubilee singers The Dependable Boys: Everybody's Going to Have a Wonderful Time Up There, My Lord's Gonna Move This Wicked Race, Down By the Riverside Her SCANDALOUS! return to blues in the '50s: Don't Leave Me Here to Cry Duet with country and rockabilly star Red Foley: Have a Little Talk with Jesus Straight-up church choir gospel from the '60s: I Do, Don't You, Seeking for Me, Lily of the Valley TV appearances from the '60s blues revival: Didn't It Rain, Trouble in Mind, Up Above My Head, Down By the Riverside Bonus — the Harmonizing Four singing at Tharpe's stadium-concert-slash-wedding in '51: Mighty Long Way. Sadly, no video. But how rock-star is that?

"My cup runneth over with bloody water" -- Paul K.

ford and the prefects — Thu, 09 Jul 2009 10:02:31 -0800

Kentucky folksinger Paul K. has released his entire catalog online under a Creative Commons Attribution 3.0 license. (Scroll down through the absurdly large text and lengthy lacunae on K's site to get to the links!) From the fellers at Trouser Press:

Paul K is one of the post-punk generation's first bona fide bluesmen, a guy whose tales from the darkside are drawn from his own experiences as a reformed junkie and small-time criminal with the jailhouse record to prove it. Throughout the mid-'80s, the Louisville, Kentucky native (né Kopasz) released dozens of home-recorded cassette albums, but the onetime winner of a debating scholarship hamstrung his own progress by living a lifestyle sufficiently shadowy that he ended up a New York squatter pulling small-time stickups to make ends meet.

I'd particularly recommend The Big Nowhere, with its "Washington Square"-inspired slinker "Flood the Market," and last year's astounding Maintain Radio Silence.

Gabriel Brown and His Guitar

1f2frfbf — Tue, 23 Jun 2009 11:00:58 -0800

Two 78 sides by Gabriel Brown (yt) Gabriel Brown is one of those great unknowns of the blues whose story seems way too odd to be ignored, but he garnered only a scant paragraph in Edward M. Komara's otherwise excellent Encyclopedia of the Blues:

A strangely anonymous artist with no real discernible roots and a sophisticated background that that belies his concentration on slick country blues. Brown won first prize in the St. Louis National Folk festival of 1934 and was recorded for the Library of Congress. He became an actor, working with Orson Wells, among others and was taken up by record company owner Joe Davis. who recorded him extensively from 1943 to 1953 before he reportedly died in a boating accident. He achieved the notice of such famed field recorders as Alan Lomax and Zora Neal Hurston¹, no tin ears themselves. His professional association with the formidable character of Joe Davis² alone should have made him more visible to the legions of blues collectors out there, but sadly, he still languishes in the shadows as an unknown sideman. Collections of his music, a scant two records on the UK labels Flyright and JSP, do little to give him the respect he deserves. His loping guitar work brings to mind the work of Pink Anderson, and Lightning Hopkins, and his original songs have lyrics that compete with the best of the Delta Musicians. 1: Some of her recordings are available here (previously), and it should be noted he worked with her and Orson Welles in the controversial Federal Theater Project in Harlem. (object OP10, on this page is a photo of him in costume, sadly not online, and here is a poster of the production.) 2: An example story of the exploits of Joe Davis here

Don't Throw The Blues On Me So Strong

chuckdarwin — Thu, 28 May 2009 05:09:28 -0800

The extraordinary T-Bone Walker was born this day in 1910. Previously

クレイジーケンバンド!

ardgedee — Mon, 25 May 2009 09:25:56 -0800

The Crazy Ken Band! Cool and Hot! Swinging horns! Groovy chicks! Fast cars! Danger! Crazy! CRAZY! Respect! Otosan A fan's Apple iTunes commercial parody, plus a cat jumping out of an orange For a dozen years they've been mining rich veins of rockabilly, jumping jive, Henry Mancini's jazz soundtracks, Detroit muscle cars and trad Japanese music. But nevermind that right now. Even their product endorsements are cool: Hallelujah Xmas! Hemi Hemi Dodge Cruising! Crazy Ken even digs hip-hop: m-flo loves Nomiya Maki & Crazy Ken Band Cosmic Night Run! (and again, live!) Apologies for my not knowing the slightest bit of Japanese. Hover over the links for whatever info I could make up.

Guitar Wankery or Exquisite Spanish Beauty?

snsranch — Thu, 07 May 2009 19:15:48 -0800

Carlos Montoya can play the blues/jazz too. youtube X 2. The second link is a still with great audio. Guitarists and music lovers enjoy!

Sleepy John Estes with Yank Rachell - Mailman Blues & African African

y2karl — Sun, 05 Apr 2009 08:06:06 -0800

Sleepy John Estes with Yank Rachel - Mailman Blues
More about Sleepy John Estes
From Stephan Wirz - American Music: Illustrated Sleepy John Estes discography
See also The Tennesseean Encyclopedia - Sleepy John Estes And here are 23 mp3s of Sleepy John Estes 1929-1940 from African African, an online encyclopedia of all things African-American, that for its Rare Recordings and Video page alone--featuring videos and mp3s of civil rights pioneers like Martin Luther King, Malcolm X and Angela Davis; vintage films about Negro life from the 1930s through the 1960s and leading to copyright free streaming mp3 pages of select vintage jazz and blues singers like John Adam Estes, which is but a tiny slice of all the African African site offers--is best of the web worthy in its own self. See also Meeting Yank Rachel by Ron Hacker In a similar vein, my friend Jack Cook took a trip down south when he was 19 and met everyone still alive who recorded a pre-war country blues 78. Jack's encounters with Furry Lewis and Sleepy John Estes on that trip are American Splendor style worthy of illustration by someone like R. Crumb. When Jack meet Sleepy John, John was living in a shack, thought the boards of the walls of which could been seen daylight, with his wife and children, furnished with a bed, a color TV and a pile of clothes. No one in Brownsville at the time seemed to know who he was. He later was moved to a low income apartment with solid walls and indoor plumbing, which is now preserved as a historical monument. Jack also stayed with Yank Rachel in Chicago on that trip and remembers Yank as one of the kindest and most generous people he ever met. He remembers bedding down on a sofa in the TV room and noodling on his National over Rollin' and Tumblin' on slide in open G. Yank stopped in to check on Jack and his friend and allowed as to how he hadn't heard that one for awhile--Yank, who'd played with Hambone Willie Newbern, the song's originator, in his very younger days--and took the guitar with a 'please' and then meditatively ran through about five choruses, each a unique variation as different from the last as the one before, and all this done without a hint of showing off. Jack recalls it as a marvelous moment. Jack also recalls Sleepy John as being exactly that--sleepy. He was narcoleptic, not there, dozing most of the time he wasn't playing. It would take him aawhile to respond to a question. But when he pick up a guitar and began to sing--one never heard the blues sung so deeply. That was when he came alive and more than that, a force of nature. Son House was like this when he sang as well. It was like he became possessed.

The Green Manalishi with a two prong crown

445supermag — Sat, 28 Mar 2009 11:48:26 -0800

Peter Green's Fleetwood Mac, formed with some former members of John Mayall's Bluesbreakers played some amazing blues-rock from 1967-1970 (long before Fleetwood Mac's descent into '70s wuss-rock). "Like it this way", "Oh well", "Rattlesnake Shake", "Shake your moneymaker" and the original version of "Black Magic Woman". Peter Green struggled with drugs and mental problems, penning "The Green Manilishi with the two prong crown" shortly before leaving the band. From the wiki entry on "Green Manalishi": Green has explained that he wrote the song after experiencing a drug-induced dream, in which he was visited by a green dog which barked at him. He understood that the dog represented money. "It scared me because I knew the dog had been dead a long time. It was a stray and I was looking after it. But I was dead and had to fight to get back into my body, which I eventually did. When I woke up, the room was really black and I found myself writing the song." He also said that he wrote the lyrics the following day, in Richmond Park. Supposedly, he was unable to record Robert Johnson's 'Hellhound On My Trail' following the incident; having conflated Johnson's hellhound with Green's demon. This is supported by his discography, in which Green's sole post-Manalishi cover of 'Hellhound' was sung by band mate Nigel Watson. Tragically, Peter Green's fellow Fleetwood Mac guitarist Danny Kirwan also suffered from alcohol and health problems, leaving him homeless in the '80s and '90's. "The Green Manalishi" was famously covered by Judas Priest (many Priest fans probably have no idea it's a Fleetwood Mac song), but also the Melvins. If you haven't had enough blues, here's Peter Green and the Bluesbreakers, "World keep on turning", Danny Kirvan with Tramp.

Tampa Red

flapjax at midnite — Fri, 20 Mar 2009 06:05:40 -0800

Hey kids, let's go way back, and spend a little quality time with Tampa Red, shall we? Cause, you know, you can't get that stuff no more, and if you missed him, you missed a good man.

The Anthology, notated.

1f2frfbf — Thu, 12 Mar 2009 09:15:25 -0800

"With this blog, I want to use the Folkways Anthology as a roadmap to explore American folk music and maybe other countries traditions along the way. I’ll use texts, images, music and videos gathered from my personal collection and from the net to make this work-in-progress enjoyable and educational the best I can." (via)

No Lounld Music

netbros — Thu, 05 Mar 2009 15:33:33 -0800

As patrons begin to fill a room decorated with toy monkeys, beer posters and a silver disco ball, Mr. Seaberry emerges in a startling suit of red with white pinstripes and a snazzy white hat, and smoking a cheroot. “Po’ Monkey is all anybody ever called me since I was little,” he said. “I don’t know why, except I was poor for sure.” Transformed in the 1950s from a sharecropper shack that was built probably in the 1920s, Poor Monkey's Lounge is one of the last rural juke joints along The Trail of the Hellhound on the Mississippi Delta. Photographs of Po' Monkeys and other Delta Blues History Blues, Booze, & BBQ by Michael Loyd Young Po' Monkey's Juke Joint Flickr group American Music by Annie Liebovitz Early blues musicians you might hear covered at Po' Monkey's Juke Joint. [be sure to click the sound icon to the left of each name for sample music] Son House's place, not only in the history of Delta blues, but in the overall history of the music, is a very high one indeed. He was a major innovator of the Delta style, along with his playing partners Charley Patton and Willie Brown. No blues singer ever presented a more gentle, genial image than Mississippi John Hurt. A guitarist with an extraordinarily lyrical and refined fingerpicking style, he also sang with a warmth unique in the field of blues, and the gospel influence in his music gave it a depth and reflective quality unusual in the field. No two ways about it, the most influential slide guitarist of the postwar period was Elmore James, hands down. Although his early demise from heart failure kept him from enjoying the fruits of the '60s blues revival as his contemporaries Muddy Waters and Howlin' Wolf did, James left a wide influential trail behind him. Among the earliest and most influential Delta bluesmen to record, Skip James was the best known proponent of the so-called Bentonia school of blues players, a genre strain invested with as much fanciful scholarly "research" as any. If the Delta country blues has a convenient source point, it would probably be Charley Patton, its first great star. His hoarse, impassioned singing style, fluid guitar playing, and unrelenting beat made him the original king of the Delta blues. Like many of his contemporaries on the Chicago circuit, Muddy Waters was a product of the fertile Mississippi Delta. From the late '40s on, he eloquently defined the city's aggressive, swaggering, Delta-rooted sound with his declamatory vocals and piercing slide guitar attack.

The Hoodoo Man

Joe Beese — Sun, 22 Feb 2009 10:55:59 -0800

"He was one bad dude, strutting across the stage like a harp-toting gangster, mesmerizing the crowd with his tough-guy antics and rib-sticking Chicago blues attack." - All Music Guide. He was also a sharp-dressing mofo who, at the end of his storied life, was buried in "his creaseless sky-blue silk suit and matching homburg, a shiny trove of harmonicas laid out beside him, a pint of gin nestled nearby to ease his journey home". In the opinion of many, he was the greatest blues harmonica player of all time. Junior Wells' universally acknowledged masterpiece is his 1965 debut, Hoodoo Man Blues. More excellent early work is found on Blues Hit Big Town. Favorites among his later work include Drinkin' TNT 'n' Smokin' Dynamite - a live performance with Buddy Guy at the 1974 Montreux Blues Festival - and Come On In This House. A January 1978 performance at The Bottom Line in New York City can be found here. (site is twitchy - be patient) And for specialists: his hippie cash-in "The Hippies Are Trying" is here.

Snooks' Soul Train pulls out of Nawlins

msconduct — Wed, 18 Feb 2009 16:15:48 -0800

Snooks Eaglin has died. One of New Orleans' most authentic and underrated guitar players won't be making his jazz fest gig this year. Next time you have some red beans & rice, take a moment to remember the guy who some called the human jukebox.

You like vinyl? I've got your vinyl right here.

msalt — Sat, 31 Jan 2009 11:55:31 -0800

Desperate Man Blues Edward Gillen's documentary about Joe Bussard, renowned collector of 25,000+ blues, folk and gospel 78rpm records from the 20s and 30s. It's about the hunt and the hunter, as much as what he found. One week only on Pitchfork TV As plugged by UbuRoivas previously.

Figuring out harmonies mathematically is like reading the mind of God.

1f2frfbf — Fri, 23 Jan 2009 07:36:29 -0800

The occasionally updated The Celestial Monochord claims to be the "Journal of the Institute for Astrophysics and the Hillbilly Blues" Highlights include: The connection between Gillian Welch and a rare South Carolina flower that was "discovered by a man who didn't name it, named for a man who didn't see it, by someone who didn't know where it was," . Did Tom Waits reinterpret Stephen Foster in Cold Cold Ground? A possible source for the title of Bob Dylan's breakout album. The connection between the New Lost City Ramblers and Voyager 1.