When Elmore James Held Forth In The Slide Guitar Night
Here is the break-down though from one conversation night, or maybe a bunch mixed together since this was a more than one time theme and this is what I have distilled from far remembrances. We knew, knew without anybody telling us that while Elvis gave rock and roll a big lift in his time before he went on to silly movies that debased his talent he was not the “max daddy,” not the guy who rolled the dice for rock and roll but was the front man easily identified. For one thing and this was Billy’s position he only covered Big Joe Turner’s classic R&B classic Shake, Rattle, and Roll and when we heard Joe’s finger-snapping version we flipped out. So Billy had his choice made, no question. Jack had heard on some late Sunday night radio station out in Chicago on his transistor radio a thing called Be-Bop Benny’s Blues Hour where he first heard this guy wailing on the piano a be-bop tune. It turned out to be Ike Turner (without Tina then) blasting Rocket 88. So Jack had his position firm, and a good choice. Me, well I caught this obscure folk music station (obscure then not a few years later though) which played not just folk but what would be later called “roots music.” And the blues is nothing but roots music in America.
One night I heard Elmore James slide guitar his way through Look On Yonder Wall. That is the song I defended that night. Did any of us change each other’s mind that night. Be serious. I later, several years later, saw the wisdom of Jack’s choice of Rocket 88 that no question had the heady black-etched part of the rock beat down pat and I switched but old Elmore still was a close second. Enough said.
By Lance Lawrence |
I will get to a CD review of Elmore James’ work in a second. Now I want to tell, no retell, the tale that had me and a few of my corner boys who hung out in front of, or in if we had dough for food or more likely for the jukebox, Jimmy Jack’s Diner in Carver where I came of age in the early 1960s going for a while. On one lonesome Friday night, lonesome meaning, no dough, no wheels, no girls, or any combination of the three, with time of our hands Billy Bradley, Jack Dawson and I went round and round about what song by what artist each of us thought was the decisive song that launched rock and roll. Yeah, I know, I know now, that the world then, like now, was going to hell in a hand-basket, what with the Russkies breathing hard on us in the deep freeze Cold War red scare night, with crazy wars going on for no apparent reason, and the struggle for black civil rights down in the police state South (that “police state" picked up later after I got wise to what was happening there) but what else were three corner boys washed clean by the great jail break-out that what is now termed classic rock and roll represented to guys who were from nowhere, had no dough, didn’t have many prospects or expectations in general to do to while away the time.(Since this is a time sanitized version of what we Jimmy Jack’s corner boys did to while away idle nights I will leave it at that although know too that in many a midnight hour when Frankie Riley, the acknowledged leader of the corner boys, was on to something we were entirely capable of doing some drifting, grifting and sifting to make ends meet. Done.)
Here is the break-down though from one conversation night, or maybe a bunch mixed together since this was a more than one time theme and this is what I have distilled from far remembrances. We knew, knew without anybody telling us that while Elvis gave rock and roll a big lift in his time before he went on to silly movies that debased his talent he was not the “max daddy,” not the guy who rolled the dice for rock and roll but was the front man easily identified. For one thing and this was Billy’s position he only covered Big Joe Turner’s classic R&B classic Shake, Rattle, and Roll and when we heard Joe’s finger-snapping version we flipped out. So Billy had his choice made, no question. Jack had heard on some late Sunday night radio station out in Chicago on his transistor radio a thing called Be-Bop Benny’s Blues Hour where he first heard this guy wailing on the piano a be-bop tune. It turned out to be Ike Turner (without Tina then) blasting Rocket 88. So Jack had his position firm, and a good choice. Me, well I caught this obscure folk music station (obscure then not a few years later though) which played not just folk but what would be later called “roots music.” And the blues is nothing but roots music in America.
One night I heard Elmore James slide guitar his way through Look On Yonder Wall. That is the song I defended that night. Did any of us change each other’s mind that night. Be serious. I later, several years later, saw the wisdom of Jack’s choice of Rocket 88 that no question had the heady black-etched part of the rock beat down pat and I switched but old Elmore still was a close second. Enough said.
CD REVIEW
The History of Elmore James: The Sky Is Crying, Elmore James, Rhino Records, 1993
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 Thoroughgood and Chris Smither, 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, Thoroughgood 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 Broom-dusters 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 Ike Turner's "Rocket 88" 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
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
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