Showing posts with label howlin' wolf. Show all posts
Showing posts with label howlin' wolf. Show all posts

Saturday, November 10, 2012

***From The Pen Of Joshua Lawrence Breslin- The Blues Is…, Part II

 
 

 
 
Click on the headline to link to a YouTube film clip of Howlin’ Wolf performing Killing Floor.

CD Review

Chess Blues Guitar: The Chess 50th Anniversary Edition: Two Decades Of Killer Fretwork, 1949-1969, various artists, 2 CD set, Chess Records, 1998

The blues ain’t nothing, nothing at all but a good woman on your mind, all curves and cuddles, all be my daddy, daddy, build for comfort not for speed just like your daddy, your real daddy, not your long gone daddy just now serving a stretch, a nickel’s worth for armed robbery up in Joliet for some Southside heist that went sour, hell, you told long gone daddy that guns didn’t make the play any better but long gone was just a little too long gone on that twinkle dust and so when Danville Slim called the shots, long gone was long gone, told you about when you were knee high and needing instruction about who, and who not, to mess with when you got your wanting habits on. (Stay away from big women, like the song, the blue blue blue song says, don’t forget, they will wear you out, ditto, long thin gals with wanderlust eyes, and twinkle dust noses, itching, checking out every daddy, every daddy that came by her eyes, flashing five dollars bills and another twinkle line, ditto, god’s girls, Sunday morning moaners, smelling of gin, washtub gin, and juke joint slashes, some mean mama cut her up when she wrong- eyed mean mama’s daddy, now Sunday looking for, can you believe it, forgiveness, and trick, getting it, stick with curves and cuddles, an easy rider, she’ll treat you right and no heavy overhead, and no damn where have you been daddy questions.

She, Miss Lucy she, all cuddles and curves she, an easy rider, yah, a sweet and low easy rider, to make a man, well, to make a man, so far away, so far from uptown downtown Chi town, far down in sweaty delta Mississippi, maybe still in Clarksville like you left her that night, that moonless 1942 night, when you had to break-out from delta sweats, from working sunup to blasted sundown for no pay, for chits, Christ what are you supposed to do with company chits when you had your Miss Lucy wanting habits on, needed, no craved, some of Sonny Boy’s honey liquor, from the Mister on his ten thousand acre cotton boll plantation (selling every last boll too, good or bad, to the U.S. Army, for, for what else, uniforms), and strips from the Captain, for, for sassing, and grab that bus, that underground bus, out on Highway 61, and head, yah, head north following the north star, following the migrant trail up-river. Maybe a quick stop at Memphis to see if any of the guys, B.B. (no, not the one you are thinking of), the Slim, Delta Dark, Bobby Be-Bop, Big Joe, Muddy (yes, that Muddy slumming down river and on the low from some Chi town wench whose man was looking, knife looking for the guy who messed with his baby and left her blue, real blue. True Muddy story.) and if not straight to Chi town and work, work in the hog butcher to the world, work in the Casey steel driving hammering foundry to the world , work in the grain elevator to the world, work in the farm machinery equipment factory to the world , good, steady, sweaty work, five day work and done, five day work, maybe overtime, glad-handed overtime on Saturday, and done, no Captain’s strips, except maybe some rough Irish cop night stick but, mainly, just hell work, and then off to bumbling squalid three decker hovel, overcrowded, over-priced, under heated, damn, nothing but a cold water flat with about six different nationalities chattering on the fetid Maxwell connected streets.

Home, home long enough to turn overalls, sweated blue overalls, into Saturday be-bop blues master, all silk shirt, about five colors, blue blue, green green sun yellow, deep magenta, some violent purple, all fancy dance pants, all slick city boy now shoes (against that po’ boy Clarksville no shoe night to make daddy, real daddy cry, and mama too), topped by a soft felt hat, de riguer for Saturday prances. For a while singing and playing, he, mainly playing that on fire(electric) guitar first learned from daddy, real daddy, down the delta when he was from hunger and he and daddy Saturday juked for whiskey drinks (for daddy) and sodas and ribs for him, for nickels and dimes with his long gone daddy (gone daddy previously mentioned tired of nickels and thus plugging an ironic nickel’s worth) out behind Maxwell Street(only the prime guys, the guys Chess, or Ace, Or Decca, or, some race label were interested in, for a while, got to play the big street, the big attention, the big sweep, everybody else behind for nickels and maybe an off-hand stray piece, a joy girl they called them, hell he called them when he had his wanting habits on, not all black or mixed either, a few white joys looking for negro kicks, looking for kicks before Forest Lawn stockbrokers, or futures traders make their claims, looking over the new boys in order to say that they had that, had that before they headed out to Maxwell Street glare or sweet home, yah, sweet home Joliet. And Miss Lucy waited, waited down in some lonesome Clarksville crossroad, dust rolling in, sun beginning to rest, watching the daily underground bus heading north, north to her Johnny Blaze, Johnny quick on that amped-up guitar and the stuff of dreams.

The blues ain’t nothing, nothing at all but a bad woman on your mind, a woman walking in your place of work, your stage, your Carousel Club, you just trying to get that damn guitar weapon, baby, mama, sugar, main squeeze, in tune, the one just off of Maxwell Street, mecca, with her walking daddy, eyeing you that first minute, big blond blue eyes, and even walking daddy can feel the heat coming off her, animal heat mixed up with some Fifth Avenue perfume bought by the ounce , feel that he was going to spend the night on a knife’s edge. The Carousel Club got a mix, got a mix on Friday nights when the be-bop crazy white girls, not all big blond blue eyes but also mixed, decided that be-bop jazz, their natural stomping grounds, over at places like the Kit Kat Club was just too tame for their flaming 1950s appetites and so they went slumming, slumming with a walking daddy, a black as night walking daddy, make no mistake in tow just in case, in case knives came into play.

She had her fix on him, her and that damn perfume that he could smell across the room, that and that animal thing that some woman have, have too damn much of like his daddy, his real daddy, told him to watch out for back when he was knee-high and working the jukes for cakes and candies (and daddy for Sonny Boy’s honey liquor). Just what he needed, needed now that he had worked his way up from cheap street playing for nickels and dimes (and, okay, an off-hand piece once the joy girls, some of them white like this girl, looking for negro kicks, badass negro kicks and then back to wherever white town, heard him roar up to heaven on that fret board) to backing up Big Slim, yah, that Big Slim who just signed with Chess and was getting ready to bring the blues back to its proper place now that it looked like that damn rock and roll, that damn Elvis took all the out of any other kind of music had run its course.

Then it started, she sent a drink his way, a compliment to his superb playing on Look Yonder Wall according to Millie th e waitress, then another, ditto on The Sky Is Crying, walking daddy was not pleased and she looked like she was getting just drunk enough to make her move (hell, he had seen that enough, and not just with these easy white girls). No sale tonight girlie that bad ass negro really does look bad ass, bad ass like long gone daddy whom he started on these mean streets with and still finishing up his nickel at Joliet. She makes her way to the stage as the first set ends. Pleasant, hell they are all pleasant, in htta polite way they have been brought up in for about four or five generations, but still with that come hither perfume and that damn hungry look. No sale, no sale girlie, not with bad ass looking daggers in his eyes. And that night there wasn’t. Next Friday night she came in alone, came in and sat right in front of him. Didn’t say a word at intermission, just sent over a drink for a superb rendition of Mean Mistreatin’Mama , and left it at that.

After work she was waiting for him out in back, he nodded at her, she pointed at her car, a late model, and they were off. They didn’t surface again for a week. The blues is…

Wednesday, March 28, 2012

Out In The Be-Bop 1960s Folk Blues Revival Night- The 1964 American Folk Blues Festival- A CD Review

Click on the headline to link to a YouTube film clip of Chicago blues legend Howlin’ Wolf performing the Robert Johnson/Elmore James electric blues classic, Dust My Broom.

CD Review

American Folk Blues Festival ‘64, various artists, Optimism Records, 1982

Let’s go by the numbers, the musical year numbers for my generation, the generation of ’68. We all came of musical age, more or less with Elvis, Carl Perkins, Chuck Berry and Jerry Lee in the mid-1950s when the music was hot, we were naïve (or worst), and just let it go from there. After a musical counter-revolution in the late 1950s where we put up with some awful Bobby Vee/Fabian/Johnny Somebody stuff we stepped right into the hard rock and roll of the Rolling Stones and later groups that based their early work on the blues, the American etched blues. You cannot listen to early Stones with thinking about Little Red Rooster, Baby Don’t Go, Hoochie Goochie Man, and a million other Chess Record classics. Go figure.

Yes, go figure. Go figure that much of early rock and roll was derived from the blues, city blues mainly, Chicago mainly, but those self-same city blues were derived from you guessed it, the old country blues from down in the Delta, the North Carolina Piedmont and the hills and hollows of Appalachia where all the hip Chicago cats (Muddy, Howlin’ Wolf, Junior Well, etc.,) came from. All of this is just around about way to pay tribute to the roots, or one of the significant roots, of our generational genre. Hell Elvis, Jerry Lee, and you know for sure that Chuck was listening, listening hard, at the juke joint doors when Saturday night turned into Sunday. And then they listened to the sanctified music that was meant to wash away that Devil’s music blues. But never quite did.

But more than that search for roots business it was a question of revivals, here the American Folk Blues Festival of 1964, which was indirectly brought about by our generation of ’68’s search for roots to explain our angst and alienation, including the search for authentic roots music. See once rock and roll hit our mid-1950s brains like an, well like an atomic bomb, we lost sight of where the music had come from. We just wanted to dance, or think we could dance so we could more smoothly be around that certain she (or he for she) without having to learn the fox trot or some old fogey dance. And not have to get sweaty-palms, strange-smeeling breathe close and be cool at the same time.

More importantly we didn’t “hit the books” to find out what happened to those who created the music that once was the staple of hip music. It was only after we figured out the social graces stuff and needed to do more than dance cool with that certain she (oh yes, and he for she) that we went root hunting. And guess what? Some of the boys (mainly) were still around in places like Maxwell Street in Chicago or down picking cotton in the Delta or holed up in some skid row hotel just waiting to be “discovered,” or really rediscovered.

That may not be the exact genesis of the folk blues revival when that movement hit high stride in the Newport folk festivals of the early 1960s reintroducing a young audience to the likes of Sleepy John Estes, Mississippi John Hurt, Skip James and Son House but it will do here. And of course the artists on this CD-the likes of Muddy Waters, Sonny Boy Williamson, the legendary producer and writer Willie Dixon, and the “max daddy of them all,” Howlin’ Wolf. This is history, maybe not world-shaking, change-the course-of civilization history but a very important slice of the people’s history. Listen up.

Sunday, May 8, 2011

From Out Of The Blues In The Night- The Centenary Of Blue Master Robert Johnson's Birthday- Ya, Hellhound On His Trail

Click on the headline to link to a YouTube film clip of blues master and birthday boy  Robert Johnson performing his classic Hellhound On My Trail.

Markin comment:
I have noted in previous entries that I, unlike many others, am not a particular devotee of Robert Johnson. I prefer the likes of Skip James, Son House and Bukka White nevertheless I understand and support the notion of Robert Johnson as a key blues master. No question. Just personal preferences. Happy Birthday Brother Robert.
*****
Reposts On Robert Johnson

Wednesday, March 25, 2009
*The "Mac Daddy" Of Modern Blues- Robert Johnson

DVD REVIEW

Hell Hounds On His Heels- The Legendary Robert Johnson’s Story

Can’t You Hear The Wind Howl?: The Life And Music of Robert Johnson, Robert Johnson and various artists, narrated by Danny Glover, 1997

I have recently spent some little effort making comparisons between old time country blues singers. My winners have been Skip James and Son House. Apparently, if the story behind the Robert Johnson story presented here is right I am in a minority compared to the like of guitarists Eric Clapton and Keith Richards. So be it. After viewing this very informative bio, complete with the inevitable “talking heads" that populate these kinds of film efforts I still have that same opinion, except I would hold Johnson’s version of his “Sweet Home, Chicago” in higher regard after listening to it here. Previously many other covers of the song, including the trendy Blues Brothers version seemed better, a lot better.

The producers of this film have spend some time and thought on presentation. The choice of Danny Glover as expressive and thoughtful narrator was a welcome sign. Having Johnson road companion and fellow blues artist, Johnny Shines, give insights into Johnson’s work habits, traveling ways, womanizing, whiskey drinking and off-center personality make this a very strong film. Add in footage of Son House (an early Johnson influence) and various other Delta artists who met or were met by Johnson along the way and one gets the feeling that this is more a labor of love than anything else. For a man who lived fast, died young and left a relatively small body of work (some 20 odd songs)this is a very good take on Robert Johnson. I might add that if Johnson is your number one blues man this film gives you plenty of ammunition for your position.

Note: As is almost universally true with such film endeavors we only get snippets of the music. I would have liked to hear a full “Preacher’s Blues”, “Sweet Home, Chicago”, "Terraplane Blues” and “Hell Hounds On My Heels” but for that one will have to look elsewhere.

"Terraplane Blues" lyrics-Robert Johnson

And I feel so lonesome
you hear me when I moan
When I feel so lonesome
you hear me when I moan
Who been drivin my terraplane
for you since I've been gone
I'd said I flashed your lights mama
your horn won't even blow
I even flash my lights mama
this horn won't even blow
Got a short in this connection
hoo-well, babe, its way down below
I'm on hist your hood momma
I'm bound to check your oil
I'm on hist your hood momma mmmm
I'm bound to check your oil
I got a woman that I'm lovin
way down in Arkansas
Now you know the coils ain't even buzzin
little generator won't get the spark
Motors in a bad condition
you gotta have these batteries charged
But I'm cryin please
please don't do me wrong
Who been drivin my terraplane now for
you-hoo since I've been gone
Mr Highwayman
please don't block the road
Puh hee hee
ple-hease don't block the road
Casue she's restrin (?) a cold one hindred
and I'm booked I gotta go
Mmm mmm
mmmm mmmm mmm
You ooo oooo oooo
you hear me weep and moan
Who been drivin my terraplane
for you since I've been gone
I'm on get deep down in this connection
keep on tanglin with your wires
I'm on get deep down in this connection
hoo-well keep on tanglin with your wires
And when I mash down your little starter
then your spark plug will give me a fire.
******
Wednesday, March 25, 2009
*The "Mac Daddy" Of Modern Blues- Robert Johnson

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