Category Archives: Blues

Video of the day: Can Blue Men Sing The Whites BBC documentary

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Blues Britannia: Can Blue Men Sing The Whites?

Documentary telling the story of what happened to blues music on its journey from the southern states of America to the heart of British pop and rock culture, providing an in-depth look at what this music really meant to a generation of kids desperate for an antidote to their experiences of living in post-war suburban Britain.

This is the definitive documentary on the beginnings of British Rhythm and Blues.

Narrated by Nigel Planer and structured in three parts, the first, Born Under a Bad Sign, focuses on the arrival of American blues in Britain in the late 50s and the first performances here by such legends as Muddy Waters, Sonnie Terry and Brownie McGhee.

Part two, Sittin’ on Top of the World, charts the birth of the first British blues boom in the early 60s, spearheaded by the Rolling Stones and groups such as the Yardbirds, Manfred Mann, the Animals and the Pretty Things.

The final section, Crossroads, looks at the next, more hardcore British blues boom of the mid-to-late 60s, with guitarists Eric Clapton and Peter Green and the international dominance of their respective bands, Cream and Fleetwood Mac.

Featuring archive performances and interviews with Keith Richards, Paul Jones, Chris Dreja, Bill Wyman, Phil May, John Mayall, Jack Bruce, Mick Fleetwood, Ian Anderson, Tony McPhee, Mike Vernon, Tom McGuinness, Mick Abrahams, Dick Taylor, Val Wilmer, Chris Barber, Pete Brown, Bob Brunning, Dave Kelly and Phil Ryan

DURATION: 1 HOUR, 30 MINUTES

– Hallgeir

Videos of the day: Two great documentaries about Robert Johnson

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Today is the birthday of the legendary blues-man Robert Johnson

Robert Leroy Johnson (May 8, 1911 – August 16, 1938) was an American blues singer and musician. His landmark recordings from 1936–37 display a combination of singing, guitar skills, and songwriting talent that have influenced later generations of musicians. Johnson’s shadowy, poorly documented life and death at age 27 have given rise to much legend, including a Faustian myth. As an itinerant performer who played mostly on street corners, in juke-joints, and at Saturday night dances, Johnson enjoyed little commercial success or public recognition in his lifetime.

We celebrate his life and art with two amazing documentaries.

1. The Crossroads Legends – Search for Robert Johnson:
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John Hammond, Jr. explores the life and times of blues man, Robert Johnson. Hammond is a fine blues musician himself, here he travels through the small towns of the Mississippi Delta and interviews several of Robert Johnson’s contemporaries and acquaintances, including Johnny Shines.
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Charley Patton: Pony Blues

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If I made records for my own pleasure, I would record Charley Patton songs only.
~Bob Dylan (Press Conference, Rome – July 2001)

Baby, saddle my pony, saddle up my black mare
Baby, saddle my pony, saddle up my black mare
I’m gonna find a rider, baby, in the world somewhere

Hello central, the matter with your line?
Hello central, matter, Lord, with your line?
Come a storm last night an’ tore the wire down

 

Wikipedia:

Released 1929
Format 78 RPM single
Recorded 14 June, 1929
Genre Delta blues
Length 2:58
Label Paramount
Writer(s) Charlie Patton

Pony Blues” is a Delta blues song written and recorded by the archaic bluesman Charley Patton. With the help of record store owner, H. C. Speir, Patton’s first recording session occurred on June 14, 1929, cut six sides, included “Pony Blues” (vocal and guitar), for Paramount Records. The song later became a standard in the Delta region, and appears in the repertoires of many other blues musicians. Patton had a body of his own compositions which he recorded at the session, included “Banty Rooster Blues,” “Down the Dirt Road” and his version of “Mississippi Bo Weavil Blues.”

Pony Blues was included by the National Recording Preservation Board in the Library of Congress’ National Recording Registry in 2006. The board selects songs in an annual basis that are “culturally, historically, or aesthetically significant.”

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Howlin’ Wolf: Smokestack Lightning

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The greatest twenty words of music criticism spoken by any person in the 20th century (Paul Williams):

“When I heard Howlin’ Wolf, I said, This is for me. This is where the soul of man never dies.”
– Sam Phillips

howlin-wolf-smokestack-lightnin-1964

Howlin’ Wolf is for me the second greatest blues man in history.

His voice chills me to the core.. looking at videos of him fills me with awe.. and reading about him…  makes me understand his importance in american music history. He rambled with Son House, Charlie Patton…. and stumbled upon Robert Johnson now & then…

Our Man & Son House:

Smokestack Lightning is his best song.

The late great Robert Palmer once wrote:

God, what it would be worth on film to see the fervor in that man’s face when he sang. His eyes would light up, you’d see the veins come out on his neck, and buddy, there was nothing on his mind but that song. He sang with his damn soul

Now for the Facts… from Wikipedia:

Smokestack Lightning” (or “Smoke Stack Lightning” as listed on the original single) is a classic of the blues. In 1956, Howlin’ Wolf recorded the song and it became one of his most popular and influential songs. It is based on earlier blues songs and numerous artists later interpreted it.

Single by Howlin’ Wolf
B-side “You Can’t Be Beat”
Released March 1956
Format 7″ 45 rpm & 10″ 78 rpm records
Recorded Chicago
January 1956
Genre Blues
Length 2:32
Label Chess (Cat. no. 1618)
Writer(s) Chester Burnett aka Howlin’ Wolf
Producer Leonard Chess, Phil Chess, Willie Dixon

“Smokestack Lightning”, in one form or another, “had been part of his [Wolf’s] repertoire as far back as the early 1930s” when he was performing with Charley Patton in small Delta communities. The song, called “a hypnotic one-chord drone piece” draws on earlier blues, such as Tommy Johnson’s “Big Road Blues” (1928 Victor 21279), the Mississippi Sheiks’ “Stop and Listen Blues” (1930 OKeh 8807), and Charley Patton’s “Moon Going Down” (1930 Paramount 13014). Wolf said the song was inspired by watching trains in the night: “We used to sit out in the country and see the trains go by, watch the sparks come out of the smokestack. That was smokestack lightning. In 1951, Howlin’ Wolf recorded the song as “Crying at Daybreak” (RPM 340). It contains the line “O-oh smokestack lightnin’, shinin’, just like gold, oh don’t you hear me cryin’ …” similar to the Mississippi Sheiks “A-ah, smokestack lightnin’, that bell shine just like gold, now don’t you hear me talkin’ …”

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Accolades

  • “Smokestack Lightning” received a Grammy Hall of Fame Award in 1999 honoring its lasting historical significance.
  •  It is ranked #285 in Rolling Stone magazine’s list of the “500 Greatest Songs of All Time”
  • In 1985, the song was inducted into the Blues Hall of Fame in the “Classics of Blues Recordings” category.
  •  It is also included in the Rock and Roll Hall of Fame list of the “500 Songs that Shaped Rock and Roll”.
  •  In 2009 “Smokestack Lightning” was selected for permanent preservation in the National Recording Registry at the Library of Congress in the United States

 

The Lyrics:

Ah, oh, smokestack lightning
Shinin’, just like gold
Why don’t ya hear me cryin’?
Ah, whoo hoo, ooh…
Whoo…

Whoa, oh, tell me, baby
What’s the, matter with you?
Why don’t ya hear me cryin’?
Whoo hoo, whoo hoo
Whoo…

Whoa, oh, tell me, baby
Where did ya, stay last night?
A-why don’t ya hear me cryin’?
Whoo hoo, whoo hoo
Whoo…

Whoa, oh, stop your train
Let her, go for a ride
Why don’t ya hear me cryin’?
Whoo hoo, whoo hoo
Whoo…

Whoa, oh, fare ya well
Never see, ah, you no more
Ah, why don’t ya hear me cryin’?
Ooh, whoo hoo, whoo hoo
Whoo…

Whoa, oh, who been here baby since
I, I been gone, a little, bitty boy?
Girl, be on
Ah, whoo hoo, whoo hoo

Live in England 1964:

Studio version:

– Egil

Today: The late Otis Spann was born in 1930

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…. so many aficionados considered him then and now Chicago’s leading post-war blues pianist. Spann played on most of [Muddy] Waters’ classic Chess waxings between 1953 and 1969, his rippling 88s providing the drive on Waters’ seminal 1960 live version of “Got My Mojo Working” (cut at the prestigious Newport Jazz Festival, where Spann dazzled the assembled throng with some sensational storming boogies).
~Bill Dahl (allmusic.com)

Continue reading Today: The late Otis Spann was born in 1930