Showing posts with label blues. Show all posts
Showing posts with label blues. Show all posts

Chicago Blues: The City & the Music Review

Chicago Blues: The City and the Music
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Chicago Blues: The City & the Music ReviewThis book is one of those 'text' books that reads well. It isn't really a text book but it contains more information about Chicago Blues than I have found in a single book anywhere else. It covers the standard demographic changes and other things that lead to the development of the music, but then it walks you through the artists, big and small, the different labels, big and small. From Muddy Waters to Mighty Joe Young, Chess to Jax. Also included are billboard rating charts, and a very comprehensive discography by artist. The only limitaion I found was that it does not cover the more modern artists, leaving off around the mid seventies. For someone who loves blues and wants to know more, this is a great guidebook for a journey though a great musical tradition.Chicago Blues: The City & the Music OverviewChicago has always had a reputation as a "wide open town" with a high tolerance for gangsters, illegal liquor, and crooked politicians. It has also been the home for countless black musicians and the birthplace of a distinctly urban blues—more sophisticated, cynical, and street-smart than the anguished songs of the Mississippi delta—a music called the Chicago blues. This is the history of that music and the dozens of black artists who congregated on the South and Near West Sides. Muddy Waters, Big Bill Broonzy, Howlin' Wolf, Elmore James, Tampa Red, Little Walter, Jimmy Reed, Otis Rush, Sonny Boy Williamson, Junior Wells, Eddie Taylor—all of these giants played throughout the city and created a musical style that had imitators and influence all over the world.

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Rollin' and Tumblin' : The Postwar Blues Guitarists Review

Rollin' and Tumblin' : The Postwar Blues Guitarists
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Rollin' and Tumblin' : The Postwar Blues Guitarists ReviewBy "postwar blues", we mean the upbeat, amplified, often aggressive material that many popologists see simply as the roots of rock'n'roll. But for blues fans, the muscular power and driving passion of the bluesmen is enough by itself, and this collection of articles and interviews profiling many of the genre's greatest players, is manna from heaven for the folks who could care less what happened after Elvis shook his little heinie on the Ed Sullivan show. This is a classicist's view of the blues -- standardbearers such as Otis Rush, Muddy Waters and BB King get multiple entries, wild West Coast and Texas bluesmen like T-Bone Walker and Clarence Gatemouth Brown also get their propers, and while the main emphasis is on the dudes who plugged in, acoustic players such as Fred McDowell also get a nod or two. The book draws on a variety of writers, and reflects a variety of interviewing and narrative styles -- most of the material originally appeared in "Guitar Player" magazine, but while some technical points are investigated, the book is an even better source of information about the players themselves -- their personalities, their stories, their world view. A true blues fan should enjoy this book quite a bit!Rollin' and Tumblin' : The Postwar Blues Guitarists OverviewThis is the most comprehensive and insightful study ever published on the pioneers of electric blues guitar - including the great Chicago, Mississippi Delta, Louisiana, Texas and West Coast bluesmen. RollinÕ and TumblinÕ offers extensive interviews with some of the worldÕs most famous blues guitarists, and poignant profiles of historical blues figures. Following a sweeping portrait of blues guitar history, the book features such players as T-Bone Walker, Muddy Waters, John Lee Hooker, LightninÕ Hopkins and many more.

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Big Boss Man: The Life and Music of Bluesman Jimmy Reed Review

Big Boss Man: The Life and Music of Bluesman Jimmy Reed
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Big Boss Man: The Life and Music of Bluesman Jimmy Reed ReviewThis book looks at the life of Jimmy Reed. His music was and still is wonderful and very influencial. This book tells of his troubles of trying to make it to his successes to comebacks and all of the struggles he faced inbetween. It's a fascinating story that is very historical in it's content, but also a captivating read.Big Boss Man: The Life and Music of Bluesman Jimmy Reed OverviewAlcoholic. Epileptic. Technically challenged. Jimmy Reed nevertheless overcame these roadblocks to become perhaps the most successful R&B/pop cross-over artist of the '50s with songs like "Big Boss Man" and "Bright Lights, Big City." Musicians, family members, and those whose lives Reed touched offer revealing and heart-wrenching insights into this now-revered bluesman. While Reed's alcoholism was no secret, its effect on his musicianship is less understood. This engaging book tells the real story that until now has not been told.

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Blue Smoke: The Recorded Journey of Big Bill Broonzy (LSU Press Paperback Original) Review

Blue Smoke: The Recorded Journey of Big Bill Broonzy (LSU Press Paperback Original)
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Blue Smoke: The Recorded Journey of Big Bill Broonzy (LSU Press Paperback Original) ReviewBlue Smoke is such an entertaining read that it would be easy to overlook the scholarship behind it. In using Broonzy's career to tell a larger story about African American lives Roger House refrains from padding the book with information designed to show off his research. Instead he writes as economically as Broonzy sang. I love everything about Blue Smoke. The layout is lovely, the photographs well chosen, the discography a welcome addition and the content as enjoyable as it was informative. Starting with Broonzy's parents and interspersing details about African American life into the Broonzy family story, House shines a light on economic opportunities, the migration, racism in blues music and (of course) music as a method of detailing social conditions. Using Broonzy's recordings to tell the story of so many could easily have come off as contrived or forced, but Roger House makes it seem the most logical and straightforward way to address the subject. Working with Broonzy's dual careers (the white expectation for blues music required it's own type of minstrel show while the black audiences appreciated Broonzy's more contemporary work) the author combines all into something greater than I expected. While Blue Smoke does address the story of lives in America under Jim Crow, it is also an excellent biography of the artist. I gained a greater appreciation for Broonzy's work in Europe as well as becoming familiar with work I'd overlooked in his discography. A great book and one I absolutely recommend.Blue Smoke: The Recorded Journey of Big Bill Broonzy (LSU Press Paperback Original) OverviewA contemporary of blues greats Blind Blake, Tampa Red, and Papa Charlie Jackson, Chicago blues artist William "Big Bill" Broonzy influenced an array of postwar musicians, including Muddy Waters, Memphis Slim, and J. B. Lenoir. In Blue Smoke, Roger House tells the extraordinary story of "Big Bill," a working-class bluesman whose circumstances offer a window into the dramatic social transformations faced by African Americans during the first half of the twentieth century. One in a family of twenty-one children and reared by sharecropper parents in Mississippi, Broonzy seemed destined to stay on the land. He moved to Arkansas to work as a sharecropper, preacher, and fiddle player, but the army drafted him during World War I. After his service abroad, Broonzy, like thousands of other black soldiers, returned to the racism and bleak economic prospects of the Jim Crow South and chose to move North to seek new opportunities. After learning to play the guitar, he performed at neighborhood parties in Chicago and in 1927 attracted the attention of Paramount Records, which released his first single, "House Rent Stomp," backed by "Big Bill's Blues." Over the following decades, Broonzy toured the United States and Europe. He released dozens of records but was never quite successful enough to give up working as a manual laborer. Many of his songs reflect this experience as a blue-collar worker, articulating the struggles, determination, and optimism of the urban black working class. Before his death in 1958, Broonzy finally achieved crossover success as a key player in the folk revival movement led by Pete Seeger and Alan Lomax, and as a blues ambassador to British musicians such as Lonnie Donegan and Eric Clapton. Weaving Broonzy's recordings, writings, and interviews into a compelling narrative of his life, Blue Smoke offers a comprehensive portrait of an artist recognized today as one of the most prolific and influential working-class blues musicians of the era.

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Earl Hooker, Blues Master (American Made Music) Review

Earl Hooker, Blues Master (American Made Music)
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Earl Hooker, Blues Master (American Made Music) ReviewEarl Hooker was one of the most influential guitarists that ever lived; not just in the blues, but in many different musical styles. His mastery of slide guitar and the wah-wah pedal (many times combining BOTH, thus creating a truly hair-raising sound) are legendary. But sadly, Earl Hooker is all but obscure now, owing to his early death (he died in 1970 at age 39 from tuberculosis), his uneven recording career (he only made 3 "true" albums; he recorded many obscure 45 rpm sides and guest appearances), and even his famous name association (he is half-cousin to the late boogie king John Lee Hooker) didn't seem to help him achieve real stardom; one he so greatly deserved!
As all of the previous reviewers have pointed out, this is an extensively researched book, chock-full of interviews with many of the legends Hooker played with in his seemingly short career (Pinetop Perkins, Big Moose Walker, A.C. Reed, B.B. King), each one giving detailed accounts of Hooker's somewhat eccentric behavior, his lifelong battle with TB, but most of all and importantly, his undeniable guitar prowess. Unfortunately, by the time Hooker began to get noticed for his amazing natural talent and hard work, TB overtook him, causing his untimely death.
This is an excellent book, both for true Earl Hooker fans, and new ones alike. He had so much more to give the world of music, and had he lived, he most certainly would've attained the same success and legendary status as Stevie Ray Vaughan, Buddy Guy and Albert King, just to name a few. Essential reading!Earl Hooker, Blues Master (American Made Music) OverviewThe life and early death of a South Side guitar genius, the greatest unheralded Chicago blues-maker
Jimi Hendrix called Earl Hooker "the master of the wah-wah pedal." Buddy Guy slept with one of Hooker's slides beneath his pillow hoping to tap some of the elder bluesman's power. And B. B. King has said repeatedly that, for his money, Hooker was the best guitar player he ever met.
Tragically, Earl Hooker died of tuberculosis in 1970 when he was on the verge of international success just as the Blues Revival of the late sixties and early seventies was reaching full volume.
Second cousin to now-famous bluesman John Lee Hooker, Earl Hooker was born in Mississippi in 1929, and reared in black South Side Chicago where his parents settled in 1930. From the late 1940s on, he was recognized as the most creative electric blues guitarist of his generation. He was a "musician's musician," defining the art of blues slide guitar and playing in sessions and shows with blues greats Muddy Waters, Junior Wells, and B. B. King.
A favorite of black club and neighborhood bar audiences in the Midwest, and a seasoned entertainer in the rural states of the Deep South, Hooker spent over twenty-five years of his short existence burning up U.S. highways, making brilliant appearances wherever he played.
Until the last year of his life, Hooker had only a few singles on obscure labels to show for all the hard work. The situation changed in his last few months when his following expanded dramatically. Droves of young whites were seeking American blues tunes and causing a blues album boom. When he died, his star's rise was extinguished. Known primarily as a guitarist rather than a vocalist, Hooker did not leave a songbook for his biographer to mine. Only his peers remained to praise his talent and pass on his legend.
"Earl Hooker's life may tell us a lot about the blues," biographer Sebastian Danchin says, "but it also tells us a great deal about his milieu. This book documents the culture of the ghetto through the example of a central character, someone who is to be regarded as a catalyst of the characteristic traits of his community."
Like the tales of so many other unheralded talents among bluesmen, Earl Hooker, Blues Master, Hooker's life story, has all the elements of a great blues song -- late nights, long roads, poverty, trouble, and a soul-felt pining for what could have been.
Sebastian Danchin is a freelance writer and record producer. He also creates programs for France's leading radio network, Radio-France, and is the blues editor for France's leading jazz magazine, Jazzman. His previous books, among others, include Les Dieux du Blues (Paris: Editions Atlas, 1995) and Blues Boy: The Life and Music of B. B. King (University Press of Mississippi, 1998).

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Spinning Blues into Gold: The Chess Brothers and the Legendary Chess Records Review

Spinning Blues into Gold: The Chess Brothers and the Legendary Chess Records
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Spinning Blues into Gold: The Chess Brothers and the Legendary Chess Records ReviewThis is the riveting story of Chess Records, the home of Muddy Waters, Little Walter, Howlin' Wolf, Willie Dixon, Etta James and other legendary blues artists. It the story of triumph. The story of a record label that took a genuine American art form, the blues, from the back porches and dusty streets and into the American mainstream. It is the amazing story of two Jewish brothers, Leonard and Phil Chess, who came into the USA as immigrants in 1928 and proceeded to build a record company that would influence the face of music for the next 72 years and beyond.
Cohodas does an admirable job in piecing together all of the events which lead the Chess brothers from Poland to the shores of America, and into Chicago, where they began their new life working in their father's junkyard. The Chess brothers would later operate a liquor store deep in the heart of the windy city's black community, where they were exposed to rough and tumble blues via a juke box in the store. The brothers went on to open the Macomba Lounge on Chicago's South Side, which would become a favorite after-hours spot for music lovers and red hot blues musicians.

It wasn't long before the brothers focused their acute business senses on the recording industry. Leonard hooked up with a fledgling record company called Aristocrat, and soon he met up and coming guitar player from Mississippi named McKinley Morganfield, who would come to be known the world over by his nickname, Muddy Waters.
The Chess brothers bought out Aristocrat in 1949, and changed the name to Chess Records. The company produced successful recordings by The Moonglows, Ramsey Lewis and even early rock and rollers like Bo Diddley and Chuck Berry. Later, the label would release LP's by comedians as diverse as Moms Mabley and Bob Hope.
This is the story of two brothers who were driven to succeed. Two men who never played a musical instrument, and knew absolutely nothing about the music industry or the blues, but possessed an innate inner drive and a real ability to make money.
For any fan of the blues, or anyone wishing to gain some real background on the very roots of the rock and roll family tree, Spinning Blues into Gold is a must read. Nadine Cohodas (who also authored The Band Played Dixie: Race and Liberal Conscience at Ole Miss and Strom Thurmond and the Politics of Southern Change has turned in an excellent history of a legendary record label, and a musical reference book of considerable magnitude.
-Michael B. Smith, gritz.netSpinning Blues into Gold: The Chess Brothers and the Legendary Chess Records Overview

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Chasin' That Devil's Music Searching for the Blues - Book/CD (Softcover) Review

Chasin' That Devil's Music  Searching for the Blues - Book/CD (Softcover)
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Chasin' That Devil's Music Searching for the Blues - Book/CD (Softcover) ReviewI agree with Lampic's review in that the author comes across as egocentric while compiling the history of the Mississippi Delta blues, offering some inappropriate and disrespectful comments while interviewing seventy-five-year-old bluesmen. Regardless, the content of this book is very important and valuable to anybody who is as passionate about the music from this era as me.
We are all familiar with Robert Johnson, Charlie Patton, Skip James, Muddy Waters, John Lee Hooker, Elmore James, and Son House. These names give us the true definition of Mississippi Delta blues and have now obtained a well-deserved legendary status, becoming subjects of countless music compilations and biographies. But they weren't the only blues singers from the Delta. The author recognizes this and gives us strikingly vivid and detailed accounts of the lives and contributions of the lesser-known bluesmen; namely, Ishmon Bracey, King Solomon Hill, and Tommy Johnson (although Tommy Johnson has recently been a subject of intrest after the "O Brother, Where Art Thou?" phenomenon). These men have long been overlooked and their music was shadowed by that of Skip James and Robert Johnson during the blues revival of the 1960s.
One particularly interesting portion in this book is the re-examination of Robert Johnson's death, which has been the subject of many-a-legend. Wardlow rehashes the search for Johnson's death certificate and offers his own ideas, based on his own research and interview sessions, about how Johnson really died.
We also learn the fates of many of the other performers, which is often heartbreaking--these men are my heroes, and it's so sad to learn that many were victims of alcoholism and extreme poverty.
The accompanying CD is an excellent item indeed. Not only do we have audios of Wardlow's interviews, but many previously unreleased (or thought to have been lost) recordings from Skip James, Tommy Johnson, King Solomon Hill, and Ishmon Bracey (among others). What's even more remarkable is that these came from Wardlow's own private collection of blues 78s--I'd love to see this guy's record library!
Wardlow also includes an extremely comprehensive discography for each bluesman, arranged by catalog number for Paramount and Yazoo. This list alone is worth the price of the book--I now have a basis for building my own collection (although I tend to stick to the cheaper and less fragile CD releases, rather than trying to track down the original 78s!)
If you look beyond the writing style and the occasional arrogance, this book is excellent for its historic information and accompanying music collection.Chasin' That Devil's Music Searching for the Blues - Book/CD (Softcover) Overview

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Moanin' at Midnight: The Life and Times of Howlin' Wolf Review

Moanin' at Midnight: The Life and Times of Howlin' Wolf
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Moanin' at Midnight: The Life and Times of Howlin' Wolf ReviewI was sitting with Hubert Sumlin in the Green Room of Jazz Alley last week, when Mark Hoffman peeked through the doorway. The customary mischievous twinkle in his eye was augmented by an excited sense of urgency. In his hands he held a book; not just any book, but one he had written himself. This particular copy was a gift for Hubert, because Hubert had provided a critical link in the book's research. How could anyone write the definitive biography of Howlin' Wolf without consulting the man who'd been Wolf's guitarist for 25 years?
Hubert grinned, Mark bubbled with appreciation. Crisp new pages and a freshly-pressed sepia close-up of a cigarette-puffing Howlin' Wolf on the cover. Someone set the finished product down on the table; that's when I grabbed it and started leafing through. It was impossible to resist.
Moanin' at Midnight, The Life and Times of Howlin' Wolf, finally gives the blues world back its missing link. When Howlin' Wolf left this earth in January 1976, he took with him his stories, his imposing presence and his immensely powerful voice. Fortunately, he left behind his recordings, which, for a generation now, are all we've had by which to remember him. Fortunately also, Wolf had many friends and associates who refused to let go of his memory, and were willing to share their recollections with co-authors Hoffman and James Segrest.
Throughout the book, Hoffman and Segrest use words like gargantuan, ferocious and primal to describe Wolf's persona. If you ever were lucky enough to see Wolf perform, you know why. But even the surviving videos are enough to get the point across. It was not only the man's size that was intimidating, it was the way he wrapped his huge and startling voice around a song. It was his big hands dwarfing a guitar neck or reducing a harmonica to relative invisibility. As the equally legendary record producer Sam Phillips remarked the first time he heard Wolf on the radio in 1951, "This is where the soul of man never dies."
Moanin' at Midnight is as thorough as a biography can be, but to Hoffman and Segrest the project was clearly a labor of love. A dozen years, hundreds of hours of interviews, cross-country commutes to glean insights into a personal hero, the relentless pursuit of detail...the devotion is unmistakable, and it shows.
What Hoffman and Segrest have accomplished with their book is nothing short of magnificent. What they have given us, at long last, is the big picture of Chester Arthur Burnett, aka Howlin' Wolf . At 6'3" (some say 6'6") and nearly 300 pounds, Burnett demands a big picture. Wolf was not only a bluesman's bluesman, he really was larger than life.
If you have any doubts, ask Hubert Sumlin.Moanin' at Midnight: The Life and Times of Howlin' Wolf Overview

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Blues with a Feeling: The Little Walter Story Review

Blues with a Feeling: The Little Walter Story
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Blues with a Feeling: The Little Walter Story ReviewThose of us into blues harmonica know that Little Walter is the father of this musical genre. Although he was not necessarily the first to put harp to mic to amplifier (I believe Snooky Pryor was many years before), Little Water undoubtedly revolutionized how amplified blues harp was played, then and now. He turned the harmonica - a simple pocket instrument that many musicians didn't take seriously - into a musical force that Muddy Waters pianist Otis Spann called "the mother of the band." As a budding harp player, I do not consider any band a true BLUES BAND if it doesn't have a harmonica player at the forefront (as opposed to the background). We who follow blues music have Marion "Little Walter" Jacobs to thank for that.
This book is a must-have for any and all blues harmonica enthusiasts. As with Robert Gordon's recent Muddy Waters bio "Can't Be Satisfied," the authors of "Blues With A Feeling" lay out in brilliant detail, from painstaking research and interviews with family, friends and associates, Walter's life in ways many had never been privy to. Just as his musical ability made him famous, his quick temper, heavy drinking and overall reckless lifestyle, unfortunately, led to his eventual, yet far too early demise.
If you really want to understand the man, myth, icon, and human being that was, is and will always be Little Walter, then buy this book.Blues with a Feeling: The Little Walter Story Overview

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Soul of the Man: Bobby "Blue" Bland (American Made Music) Review

Soul of the Man: Bobby Blue Bland (American Made Music)
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Soul of the Man: Bobby "Blue" Bland (American Made Music) ReviewA recent book by Preston Lauterbach, "The Chitlin' Circuit and the Road to Rock N Roll",which describes the small, frequently out-of-the-way clubs in the South in which African American blues singers performed past the middle of the 20th Century, led me to revisit one of my favorite singers, Bobby "Blue" Bland. Bland spent much of his career performing tirelessly on the Chitlin' Circuit. Charles Farley's new book, "Soul of the Man" (2011) is the first full-length biography of Bland, a figure who richly deserves to be written about and to be heard. Farley's book is based upon extensive research and interviews even though Bland himself declined to be interviewed for the book. The essence of "The Man", as Bland is known, and his music still come through. The University of Mississippi Press published this biography as part of its "American Made Music" series.
The portrayal of Bland that the book offers is of a person who found early what he needed to do with his life and who did it. The Man had, it appears, only one large talent -- singing and projecting a song -- and that he did extraordinarily well. Born in 1930 in rural Tennessee, Bland and his mother moved to Memphis when he was fifteen. He quickly fell in which a group of fledgling young musicians on the fabled Beale Street, including Bland's lifelong friend, B.B. King. Bland had only a third grade education, at best, and until nearly mid-life was illiterate. He struggled and made some early records before being drafted into the army from which he was released in 1955.
Bland was contracted to Don Robey, the powerfully shady African American record producer in Houston, and after his time in the Army Bland relocated to Houston to resume his career under Robey's tutelage. He played on the road with Junior Parker for five years and then on his own. During the 1950s' and early 60' Bland made a series of now classic recordings with the big band sound of his arranger, Joe Scott. He recorded for Robey until the early 1970's, experimented with his styles, and continues to sing up to the present day when he is well past 80. During much of his career, Bland performed 300 shows per year on the road, moving from place to place on the Chitlin' Circuit. It was a grueling, harsh life, in many ways, filled with women and alcohol. Bland was able to conquer his alcoholism by the mid-1970s.
Bland does not play an instrument and throughout his career relied on other people to manage his shows. He concentrated solely upon his irreplaceable talent of singing. Although many of his recordings "crossed-over" to a mainstream white audience, Bland did not achieve the success of some other blues artists of the era. Farley attributes this failure to Bland's association with Robey. Recognition can be fleeting, and Farley finds convincingly that there can be no question about Bland's stature as an artist.
Farley begins with Bland's life when he moved to Memphis, then doubles back to his early rural childhood which was heavily influenced by gospel and country music before it returns to a chronological narrative. In Chapter 8, "Stormy Monday Blues" Farley offers an unforgettable description of a Bland performance in a middle-class African American nightclub in Kansas City in 1963. The book gives detailed descriptions of Bland's recordings and albums on almost a song-by-song basis. His discussions of Bland songs such as "Turn on Your Lovelight", "Further Up the Road", "Call on Me" and the later song "Members Only" made me rush to hear these and other songs again for myself. Farley captures the life of a blues musician on Beale Street in the late 1940's and in the small clubs that Bland played for many years. He gives good biographical information on the many musicians that Bland played with over the years. Bland is portrayed as a shy, reserved man from rural Tennessee devoted in full to the one thing he had determined to do. I thought I knew something about The Man when I finished this book, in the sense that he and his music were one.
The book is filled with Farley's own observations, and those of others, about Bland and his music, including Bland's own statements in interviews from over the years. For example, after discussing the many musical influences on Bland, Farley writes (p. 82)
"The resulting Bobby Bland sound, however, transcends these many influences and becomes more than the sum of its musical parts. Not exactly gospel, not traditional blues, not stylized ballads, but more of an amalgamative understanding of not just the lyrics, but of a deeper, visceral meaning that is coming from somewhere far inside the singer. In the end, they lyrics -- often meaningful, but just as often banal -- are not that important to the end product; it is instead the feeling that Bobby exudes from his own experiences, from too many cigarettes, late nights, liquor, and loves lost and found that listeners respond and become addicted to."
And here is an eloquent summation paragraph from late in Farley's book (p. 258)
"The shy boy who grew up as a lonely only child in rural Tennessee, who learned to sing the blues by listening to the jukebox in his mother's diner and to his friends on Beale Street, who gained a bit of much-needed swagger in the U.S. Army, who later signed a record contract and worked for a notorious Texas hustler who matched him with one of the best R&B writers, who went on to R&B stardom and constant entertaining: like many postwar African American men, Bobby Bland somehow overcame the hardships, and the many obstacles -- economical, social, and racial -- and endured, survived, and prevailed."
I learned a great deal from this book and was inspired by Bland's determination and lifelong devotion to his art. This excellent biography captures an important person and time in America's musical experience.
Robin Friedman
Soul of the Man: Bobby "Blue" Bland (American Made Music) Overview
Bobby "Blue" Bland's silky smooth vocal style and captivating live performances helped propel the blues out of Delta juke joints and into urban clubs and upscale theaters.Until now, his story has never been told in a book-length biography.

Soul of the Man: Bobby "Blue" Bland relates how Bland, along with longtime friend B. B. King, and other members of the loosely knit group who called themselves the Beale Streeters, forged a new electrified blues style in Memphis in the early 1950s.Combining elements of Delta blues, southern gospel, big-band jazz, and country and western music, Bland and the Beale Streeters were at the heart of a revolution.This biography traces Bland's life and recording career, from his earliest work through his first big hit in 1957, "Farther Up the Road."It goes on to tell the story of how Bland scored hit after hit, placing more than sixty songs on the R&B charts throughout the 1960s, '70s, and '80s.

While more than two-thirds of his hits crossed over onto pop charts, Bland is surprisingly not widely known outside the African American community.Nevertheless, many of his recordings are standards, and he has created scores of hit albums such as his classic 1961 Two Steps from the Blues, widely considered one of the best blues albums of all time.Soul of the Man contains a select discography of the most significant recordings made by Bland, as well as a list of all his major awards.A four-time Grammy nominee, he received Lifetime Achievement Awards from the National Academy of Recording Arts and Sciences and the Blues Foundation, as well as the Rhythm & Blues Foundation's Pioneer Award.He was also inducted into the Rock and Roll Hall of Fame and the Blues Foundation's Hall of Fame.This biography at last heralds one of America's great music makers.


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Blues Legacies and Black Feminism: Gertrude "Ma" Rainey, Bessie Smith, and Billie Holiday Review

Blues Legacies and Black Feminism: Gertrude Ma Rainey, Bessie Smith, and Billie Holiday
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Blues Legacies and Black Feminism: Gertrude "Ma" Rainey, Bessie Smith, and Billie Holiday ReviewDavis work is a powerful re-reading of Blues women, and firmly places them in the center, rather than the margin, of Black oppositional and autonomous culture discourse. The book is mostly devoted to the work of Gertrude Rainey and Bessie Smith, but there are important sections devoted to Billie Holiday as well. In each case, the Davis argues for a more complete contextual understanding of Blues women music as introducing gender issues, breaking discursive taboos, and forging meaning within the context of an imagined community of Black women's lives.

To begin with, Davis convincingly argues that Blues women were on the vanguard in breaking down taboos concerning domestic violence and male subjugation, as many Blues songs concerned these matters. Davis uses powerful works such as "Rough and Tumble Blues," "See See Rider Blues," and "Send Me to the 'Lectric Chair," to demonstrate that Blues women were willing to engage in oppositional, if allegorical, violence in the service of personal autonomy. Even man songs that seem to demonstrate acquiescence, even masochism, in the face of male abuse can be seen to have an ironic, subversive, or didactic quality that belies a simplistic surface reading.

Davis also takes on the common notion that Blues music doesn't include social protest, an interpretation that has been pushed by white commentators, such as Samuel Charters, and black commentators, such as Albert Murray. Davis argues that Blues music inherits from Slave musical culture a coded approach to naming and resistance that demands more than a surface analysis of the lyrics, and takes into account the role of music as a lyrical interlocuter. Focusing on tunes such as "Backwater Blues" and "Washwoman's Blues," Davis almost always effectively demonstrates that coded protest is still protest, and that women's blues historically anticipated and grounded mass movements in the areas of civil rights and feminism, while remaining linked with West African hermeneutic structure of naming and interpretation, such as "nommo."

In terms of Religious content, Davis forcefully recounts how women reconfigured a secular existential (or even "Devil's") music as prayer itself, magically and aesthetically conjured to exorcise emotions such as "the blues." At the same time, she harshly criticizes the Black church for adopting Christian dualisms concerning the moral status of body and spirit, which she sees as sexualized forms of racism and sexism--- since both blacks and women have been semiotically linked with earthiness and body as opposed to spirit by while male elites. Celebratory Sexuality, on the other hand, has always, according to Davis, been an oppositional aspect of black working-class consciousness. This extends beyond sexuality to an affirmation of Black folk religious life (such as Hoodoo) and crossing of class boundaries in the Blues, which Davis contends is a major reason Blues music was ignored and even distanced by Black elites during the Harlem Renaissance.

Davis's discussion of Billie Holiday is short (two chapters) but powerful, in which she argues that Holiday subversively appropriated the saccharine Tin Pan Alley love song format she was given as Slaves would have appropriated the English language upon their arrival in the North Americas. Holiday worked little in the formal Blues, but was nontheless grounded in the Blues idiom, from which she drew inspiration, and a subversive presentation of white romantic life to Black audiences. In this vein, such songs as "Strange Fruit" fit more coherently, and the ironic (and yet utopian) edge in her voice professes to the truth of Black women's lives, even in ways that on the surface seem to be feministically regressive.

There are isolated examples where Davis is less successful than at other times, but on the whole, her argumentation is strong and fearless, and her analogical and narrative analysis of the music along with lyrics adds, rather than detracts, from her argument.Blues Legacies and Black Feminism: Gertrude "Ma" Rainey, Bessie Smith, and Billie Holiday Overview

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Deep Blues: A Musical and Cultural History of the Mississippi Delta Review

Deep Blues: A Musical and Cultural History of the Mississippi Delta
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Deep Blues: A Musical and Cultural History of the Mississippi Delta ReviewPalmer's love of the blues shines through in this exceptional book. He's not interested in showing off his knowledge of the form (although that knowledge is exceptional); he's interested in illuminating for the reader the roots of a great indigenous art form and how that form developed in the 20th century. In that effort, he succeeds masterfully.
A fine early section explores how the music that we call the blues was seeded in N. America by African music. That chapter is a mini-history lesson in itself; Palmer shows how the music of slaves from W. Africa was viewed as subversive and dangerous by whites in the new land.
The remainder of the book is chock full of portraits of the heroes of early blues in the Mississippi Delta, from Charley Patton to Son House to Robert Johnson to Little Walter to Muddy Waters and beyond. Palmer shows how these men developed a music that grew directly out of the soil of the Delta, making do with the instruments they had and often living itinerant lives, moving from tiny town to tiny town to play dances and juke joints to keep the music alive.
The book also describes the historic migration of African-Americans from the Deep South to the industrial cities of the North, most importantly, of course, Chicago, where the musicians transformed the blues again, creating the electrified sounds that exerted such a powerful influence on white rock musicians from London to Liverpool to La Jolla, California.
Palmer has given us a great work with "Deep Blues," one that should be read by students of music and social history alike. It deserves a prominent place on the bookshelf of any serious lover of music.Deep Blues: A Musical and Cultural History of the Mississippi Delta Overview

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Backstage Passes and Backstabbing Bastards Review

Backstage Passes and Backstabbing Bastards
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Backstage Passes and Backstabbing Bastards ReviewAl Kooper has been rightly called the "Forrest Gump" of rock and roll. Throughout the 60's and 70's he seemed to turn up as a producer or band member with the right group of musicians until he either checked out of a band (the first electric Bob Dylan tour in 1965) or was thrown out (Blood, Sweat and Tears). Over the course of 40 years he's amassed an amazing amount of experiences that he's collected in Backstage Passes and Back Stabbing Bastards. This is the third edition of his music biography first published in 1979, then updated in the mid-90's, and now reissued covering 1998 to the present. "BP&BB" reads very much like a long-form interview you'd see in Rolling Stone (when it was good) or MOJO (always good). While he's never quite gone beyond cult figure status on his own, behind the scenes he's worked with some legends, most notably Bob Dylan and Lynyrd Skynyrd. Dylan pops up at various times throughout the book and Al's stories about him are alternately revealing but mostly hilarious. It was Dylan who gave Kooper his "calling card" to rock stardom when he overruled producer Tom Wilson and turned up the organist on "Like a Rolling Stone". The organist was Kooper, who'd BS'd his way onto the session and only jumped on the organ (an instrument he couldn't turn on let alone play) when Mike Bloomfield showed up and shattered Kooper's guitar hero dreams just by tuning up. That session would be both a blessing and a curse for Kooper, who got a ton of session work from producers looking for "that Dylan sound" but left Al wanting something more substantive musically. Enter Dylan, who dragged him onstage at the legendary Newport Folk Festival when he went electric. Al sets the record straight on that show and has a much different version of the event than the history books because he was RIGHT THERE. He was also "right there" when Bob went to Nashville to record "Blonde on Blonde". Al's relationship with Dylan has certainly evolved over the years and from his stories you get the impression that Bob's been doing everything he can to run away from his legacy instead of embracing it.
From there, he joined the Blues Project until they imploded. Organized and performed at Monterey Pop, then formed Blood Sweat and Tears until he was ousted by their drummer following their debut album. That might be the end of the story right? Wrong! Taking the phrase "if you can't beat `em, join `em" to heart, he became a staff producer at CBS Records under "Captain Clive" Davis. His first project would be the legendary "Super Session" album with Mike Bloomfield and Stephen Stills. Kooper's work with "Bloomers' is a case of missed opportunities, when things were good with him they were very good. They would produce 3 albums together but Mike could be exasperating to deal with. He only appeared on ½ of "SS" and "The Live Adventures", leaving suddenly midway through both due to chronic insomnia and/or a heroin addiction that eventually took his life.
After leaving CBS, he relocated to Atlanta with the idea of forming his own record label (ala` Phil Walden at Capricorn Records). While scouting local talent he spotted a guitar army from Jacksonville and "Sounds of the South's" first artist was Lynyrd Skynyrd. LS seem to have a love/hate relationship with Kooper. While grateful for producing their first 3 albums (as well as hits like "Free Bird", "Gimme 3 Steps" and "Sweet Home Alabama") his production methods seemed to soften the powerhouse sound they had live. It's no wonder he was immortalized as "Mr. Yankee Slicker" in the song "Workin' for MCA".
The one story I wished he'd expanded on was playing with Jimi Hendrix on "Electric Ladyland". They'd met at Monterey Pop and Al received one of Jimi's Strats as a thank-you for his work. That guitar would prove to be more trouble than it was worth later on.
The last 10 years have been something of a rough road for Al. He became an associate professor at Berklee College of Music in Boston, became a grandfather, and endured a long recovery from a debilitating eye disorder. But he's still out playing live (with his academic colleagues no less!) and his dry wit is still there, can't wait for volume 4!
Highly recommended!
Backstage Passes and Backstabbing Bastards OverviewÂA rock 'n roll classic, back in print, updated and revised.ÂÂOne of the funniest rock memoirs ever, Al Kooper's legendary ÂBackstage Passes is available again! Al's quirkly life, from would'be teenage rocker, to crashing Bob Dylan's recording session and playing the organ on ÂHighway 61Â, to forming Blood, Sweat, and Tears and masterminding the Super Sessions, it's all here...plus, in this updated version, Al rides with us all the way back to the end of the 20th century. There has never been a more wickedly humorous and honest book by a man who has made such rock history.

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