The Blues as Protest

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The blues emerged in the context of the oppression and suffering of Black communities in the southern US, and singing the blues was a means of responding to that oppression – of giving voice to great sorrow, lamenting the current state of affairs, but also of expressing dignity in the face of injustice. The blues also were a means of protest against this injustice.

That’s worth noting at this time when the United States is facing a reckoning for the systemic racism that has dogged it for such a long time. The push-back against white supremacy, police brutality and a myriad of social barriers faced by Blacks and other people of colour can’t be ignored or written off – notwithstanding Trump’s attempts to do so.

There have been plenty of today’s artists protesting the current lamentable state of affairs and all that has led to it – Leyla McCalla has just released Vari-Colored songs, an album’s whose centerpiece, Song for a Dark Girl, is a stark account of a lynching “way down south in Dixie,” a powerful reminder of the relatively recent history of terrorism against Black communities.

Gary Clark Jr.’s This Land is a howl of protest which rails against the suspicion he gets as a Black man in Trump’s America; Shemekia Copeland’s Would You Take My Blood on her America’s Child album gets to the heart of racism; Otis Taylor’s trance blues in Fantasizing About Being Black, a history of African-American life, from slavery onwards, has Jump Out of Line, an edgy piece about civil rights marchers’ fear of being attacked; and Eric Bibb’s last album had What’s He Gonna Say Today, protesting the “bully in the playground,” aimed directly at Trump.

But the history of the blues is littered with songs protesting inequality, discrimination and White violence against Blacks. Given the huge inequality that existed, and the whole structuring of society that existed under Jim Crow, it would have been impossible for blues artists to sing protest songs in the way that they were sung in the 1960s when the Civil Rights’ movement had gathered momentum. Often the protest was coded, although sometimes it broke through the surface quite clearly. Although the majority of blues songs are about the troubles of love, there is a steady stream of social protest from the early days right through to the present.

In 1930, Huddie Ledbetter – Lead Belly – recorded a song entitled simply Jim Crow, in which he bemoans the state of affairs facing him every day of his life, everywhere he goes:

I been traveling, I been traveling from shore to shore
Everywhere I have been I find some old Jim Crow.

He can’t get away from the racial discrimination he faces – it’s there even when he goes to the cinema to be entertained:

I want to tell you people something that you don’t know
It’s a lotta Jim Crow in a moving picture show.

And finally he pleads with his hearers, “Please get together, break up this old Jim Crow.”

In the early 1930s, nine Black teenagers from Scottsboro in Alabama were accused of raping two white women aboard a train. The case highlighted the racism of the Jim Crow system and the injustice of the entire Southern legal system. In a series of trials and re-trials, which were rushed, and adjudicated on by all-white juries and racially biased judges, the nine boys suffered incarceration in the brutally harsh Kilby Prison in Alabama, and attempted lynching and mob violence.

After three trials, during which one of the young white women who were alleged to be victims had confessed to fabricating her rape story, five of the nine were convicted and received sentences ranging from 75 years imprisonment to death. The one who received the death sentence subsequently escaped, went into hiding and was eventually pardoned by George Wallace in 1976. The case was a landmark one and led eventually to the end of all-white juries in the South.

Lead Belly recorded Scottsboro Boys in 1938, where he warns Black people not to go to Alabama lest they suffer the same fate as the Scottsboro nine:

I’m gonna tell all the colored people
Even the old n* here
Don’t ya ever go to Alabama
And try to live

Lead Belly was clearly not afraid to voice his protest against what he experienced. He also wrote Bourgeois Blues, perhaps the most famous example of 1930s blues protest songs. Leadbelly here sings about his experience of discrimination in the nation’s capital city:

Well, them white folks in Washington they know how
To call a colored man a n* just to see him bow
Lord, it’s a bourgeois town
I got the bourgeois blues
Gonna spread the news all around

Lead Belly talks about looking for accommodation and being turned away by the white landlord:

Well, me and my wife we were standing upstairs
We heard the white man say “I don’t want no n*s up there.

America, according to Lead Belly may have been hailed as “The home of the Brave, the land of the Free,” but it was just somewhere where he was “mistreated” by the “bourgeoisie.”

The Great Depression hit black communities in the South particularly hard. Skip James’s 1931 Hard Time Killing Floor Blues captures the grim reality of the time for many people, with James’s high eerie voice and his D-minor tuned guitar. “The people are drifting from door to door” and they “can’t find no heaven.”

Hard time’s is here
An ev’rywhere you go
Times are harder
Than th’ever been befo’.

One of the blues artists who was most articulate about civil rights during this period was Josh White, who was born in 1914 and recorded under the names “Pinewood Tom” and “Tippy Barton” in the 1930s. He became a well-known race records artist during the 1920s and 30s, moving to New York  in 1931, and expanding his repertoire to include not only blues but jazz and folk songs. In addition, he became a successful actor on radio, the stage and film. White was outspoken about segregation and human rights and was suspected of being a communist in the McCarthyite era of the early 1950s.

In 1941 he released one of his most influential albums, Southern Exposure: An Album of Jim Crow Blues. The title track pulls no punches:

Well, I work all the week in the blazin’ sun,
Can’t buy my shoes, Lord, when my payday comes
I ain’t treated no better than a mountain goat,
Boss takes my crop and the poll takes my vote.

The album of mostly 12 bar blues songs, included Jim Crow Train, Bad Housing Blues, and Defense Factory Blues. White attacked wartime factory segregation in the latter with, “I’ll tell you one thing, that bossman ain’t my friend, If he was, he’d give me some democracy to defend.”

In Jim Crow Train, he addresses the segregation on the railways:

Stop Jim Crow so I can ride this train.
Black and White folks ridin side by side.
Damn that Jim Crow.

On White’s 1940 Trouble, he leaves no doubt about the cause of black people’s problems: “Well, I always been in trouble, ‘cause I’m a black-skinned man.” The rest of the song deals with the failed justice system of the time and the inhuman conditions which black inmates suffered when incarcerated:

Wearin’ cold iron shackles from my head down to my knee
And that mean old keeper, he’s all time kickin’ me.

As a black man under Jim Crow, all White could expect from life was “Trouble, trouble, makes me weep and moan, Trouble, trouble, ever since I was born.”

Big Bill Broonzy was one of the most popular and important of the pre-World War II blues singers, who recorded over 250 songs from 1925 to 1952, including Key to the Highway, Black, Brown, and White, Glory of Love and When Will I Get to Be Called a Man. He was a very talented musician, song writer and singer, who Eric Clapton said was a role model for him in playing the acoustic guitar.

Broonzy claims in his autobiography that he joined the army sometime after 1917, and fought in World War I in France, and on returning to the South, he found conditions there quite intolerable. A more recent biography of Broonzy doubts his story of joining up, but there can be no doubting the injustice which Broonzy encountered as a black man in the South. He refers to the way in which black men were referred to disparagingly as “boy” by whites in his 1951 song, I Wonder When I’ll Be Called a Man.

When I was born into this world, this is what happened to me
I was never called a man, and now I’m fifty-three
I wonder when…I wonder when will I get to be called a man
Do I have to wait till I get ninety-three?

Black, Brown and White, recorded in 1951, rails against the discrimination that Broonzy found everywhere, be it getting a drink at a bar, being paid less money for doing the same job, or even just getting a job:

They says if you was white, should be all right
If you was brown, stick around
But as you’s black, m-mm brother, git back git back git back.

Muddy Waters also highlighted the patriarchal attitudes of whites to blacks in his 1955 release Manish Boy, which on the surface is a rather sensual blues song declaring, “I’m a natural born lover’s man,” and “I’m a hoochie coochie man.” (The hoochie coochie was a sexually provocative dance that became wildly popular in Chicago in the late nineteenth century. The dance was performed by women, so a “hoochie coochie man” either watched them or ran the show). In the context of a black man never being recognized as anything other than a “boy,” however, the song asserts black manhood in the face of white suppression. “I’m a man, I’m a full grown man,” sings Muddy, “I spell M-A, child, N”

Another major and influential blues artist from Mississippi was John Lee Hooker, son of a sharecropper, who came to prominence in the late 1940s and 50s. His House Rent Boogie from 1956 protests the all too familiar tale for black American of losing a job and not being able to make the rent payment; “I said fellows, never go behind your rent, ‘cause if you did it, it will hard so it’s cold in the street.”

The wail of protest in the blues continued on into that decade most associated with protest songs, the 1960s. From 1961 we have the guitar – harmonica duo of Sonny Terry & Brownie McGhee singing Keep on Walkin’ which takes up again the theme of Blacks being worked hard for little pay:

The bossman was so mean, you know, I worked just like a slave
Sixteen long hours drive you in your grave
That’s why I’m walkin’, walkin’ my blues away.

And then we have Vietnam Blues by J.B. Lenoir, from 1966. Drawing an elegant parallel between the US’s presence in Southeast Asia and the Jim Crow South, Lenoir demanded of President Lyndon Johnson, “How can you tell the world we need peace, and you still mistreat and killin’ poor me?”

Lenoir came to Chicago via New Orleans and became an important part of the blues scene there in the 1950s, performing with Memphis Minnie and Muddy Waters. He was a fine singer and a great showman, sporting zebra striped costumes and nifty electric guitar licks.

But Lenoir composed a number of political blues songs bringing sharp social commentary to bear on events going on around him. Songs like Born Dead, which decries the fact that “Every black child born in Mississippi, you know the poor child is born dead,” referring to the lack of opportunity in his home state; or Eisenhower Blues, which complains that the government had “Taken all my money, to pay the tax.” Lenoir also composed the haunting “Down in Mississippi,” which he performed on his 1966 Alabama Blues. “Down in Mississippi where I was born, Down in Mississippi where I come from,” sings Lenoir,

They had a huntin’ season on a rabbit
If you shoot him you went to jail.
The season was always open on me:
Nobody needed no bail.

He concludes about the place of his birth, “I count myself a lucky man, Just to get away with my life.” The definitive version of the song, however, was to come some 40 years later, when Mavis Staples recorded it on her album We’ll Never Turn Back, Staples adding a little to the song about segregated water fountains and washeterias and how “Dr King saw that every one of those signs got taken down, down in Mississippi.”

Mavis Staples had already made her protest against three hundred years of injustice in 1970 with the no-punches-pulled When Will We Be Paid? The song demanded an answer to the exploitation of Black Americans in the construction of America’s roads and railroads, in the domestic chores their women have done and the wars in which their men have fought. Despite this contribution to the making of America over 300 years, all the remuneration Staples’s people got was being “beat up, called names, shot down and stoned.” “We have given our sweat and all our tears,” she sings, so, “When will we be paid for the work we’ve done?”

In a similar vein, complaining about the discrimination they faced, Sonny Terry, Brownie McGhee & Earl Hooker in Tell Me Why in 1969 sang,

Every war that’s been won, we helped to fight
Why in the world can’t we have some human rights?
Tell me why?

They give the cruel answer themselves – “It’s got to be my skin, that people don’t like.”

And one of the most hard hitting of songs in the blues genre is Mississippi Goddamn, written and sung by Nina Simone in 1964.

Hound dogs on my trail
School children sitting in jail
Black cat cross my path
I think every day’s gonna be my last.

The song was Simone’s response to the murder of Medgar Evers in Mississippi and the 16th Street Baptist Church bombing in Birmingham, Alabama, which killed four black children. She performed the song in front of 10,000 people at the end of the Selma to Montgomery marches.

The blues chart the history of the indignities face by African Americans over the decades. The blues allowed Black Americans to assert their humanity and dignity in the context of an oppressive system that declared they were less than human. Whether the songs expressed explicit protest at this or not (and most blues songs didn’t), the blues, nevertheless, was Black music and, whether they were complaining about unfaithful lovers or problems with the landlord, whether they were performed as dance music in the juke joint or sung on the street corner, they reflected the abuse and indignities suffered by blacks under Jim Crow and beyond. No wonder Black theologian and writer, James Cone, said, the blues are “the essential ingredients that define the essence of black experience.”

Willie Dixon gets it spot on when he says “The blues are the true facts of life expressed in words and song, inspiration, feeling, and understanding.” In telling the truth about the misery of black experience, but as well as that, a hope for change, the blues were a part of the endurance and resistance of the Black community.

For many white listeners to the blues, the blues are at heart a genre of music, a certain musical form, twelve bars, flattened notes, blue notes. But if we listen carefully, we can hear the history of people who have been sorely mistreated; we can, perhaps, get some understanding of what it means to be Black. But it does require careful listening. And that listening is as urgent as ever just now.

Finally, to help us stop and listen, here is the ultimate protest song written by Abel Meeropol and recorded by Billie Holiday in 1939. Strange Fruit.

Adapted from The Gospel According to the Blues by Gary W. Burnett

20 Blues Train Songs You Must Hear

The railroad has a special place in the blues. Lovers leave on the train, singers go searching for them by the train, the gospel train is on its way, and the ramblin’ bluesman needs to board that train and ride.

Railroads were one of the major infrastructural and economic achievements of the nineteenth century and loomed large in the lives of people as the blues began to develop. You recall that the story of the very beginnings of the blues was at a railway station – in 1903, whilst waiting for a train in Tutweiler, Mississippi, bandleader W.C. Handy heard a man running a knife over the guitar strings and singing. He said,

“A lean, loose-jointed Negro had commenced plunking a guitar beside me while I slept. His clothes were rags; his feet peeped out of his shoes. His face had on it some of the sadness of the ages. As he played, he pressed a knife on the strings of a guitar in a manner popularized by Hawaiian guitarists who used steel bars. The effect was unforgettable. His song, too, struck me instantly. ‘Goin’ where the Southern cross’ the Dog.’ The singer repeated the line three times, accompanying himself on the guitar with the weirdest music I ever heard.”

Handy later published an adaptation of this song as “Yellow Dog Blues,” and became known as the “Father of the Blues.”

Freed slaves had built the railroad with their blood, sweat and tears, and in the early years of the twentieth century, it was the primary means of transport for people for longer distances. For itinerant blues musicians like Robert Johnson, trains allowed them to move from place to place and ply their trade. Johnson’s sister, Annye Anderson, in her book, Brother Robert, remembers Robert “hoboing” around on the train, going back and forth from Memphis to the Delta for his music. His famous train song, of course, is Love in Vain.

The train was the means of escape, too, for black people wanting to leave behind the injustice of the Jim Crow South and seek a better life in the North and West. From 1916 onwards, around 6m people moved away from the racist ideology, the lynching and the lack of economic opportunity to cities like Chicago, Philadelphia, Detroit and New York. Famously, McKinley Morganfield – Muddy Waters – boarded a train for Chicago in 1943 to become the “father of Chicago blues” and pioneer electric blues.

Trains in the South were, of course, segregated. In the “colored” section, there were no luggage racks, requiring travellers to cram their suitcases around their feet; and the bathroom there was smaller and lacked the amenities of the “whites” bathroom. All these were subtle and not-so-subtle reminders that you were not as good as the people in the other section.

So James Carr’s Freedom Train of 1969 was significant. Attorney General Tom C. Clark had organized a Freedom Train as “a campaign to sell America to Americans” to try and bolster the sense of shared ideology within the country. The train was integrated, but several Southern cities refused to allow blacks and whites to see the exhibits at the same time, and the Freedom Train skipped the planned visits. Carr’s song celebrates a new Freedom Train, free from segregation and discrimination. where “every man is gonna walk right proud with his head up high.”

So, here’s to trains, and may the Freedom Train keep on rollin’ down the track!

Here are 20 blues train songs for you to enjoy.

Trouble in Mind (1924)

In this old blues standard, things are so bad, the singer wants to end it all – he’s going to lay down his head on that old railroad iron, and let that 2.19 special pacify his mind. It never really gets to that point, happily, because, “sun’s gonna shine in my back yard some day.” First recorded in 1924, it’s been done by Nina Simone, Janis Joplin, Snooks Eglin, Lightnin’ Hopkins and many more. I like this jaunty version by Brooks Williams from his Brooks Blues album of 2017.

Railroad Blues , Trixie Smith with Louis Armstrong  (1925)

Trixie Smith, not related to Bessie Smith, paid her dues in vaudeville and minstrel shows, as well as performing as a dancer, a comedian, an actress, and a singer. Here she is backed by Louis Armstrong’s muted horn, as she is “Alabama bound” on the railroad.

The Mail Train Blues, Sippie Wallace (1926)

The Texas Nightingale recorded 40 songs for Okeh during the 1920s before going on to be a a church organist, singer, and choir director, and then eventually reviving her performing career in the 1960s. In Wallace’s 1926 Mail Train Blues she bemoans her sweet man leaving her and wants to go looking for him aboard the mail train.

Spike Driver Blues. Mississippi John Hurt (1928)

This and other songs recorded by Hurt in 1928 were not commercially success and he reverted to the farming life until being found in 1963 by Dick Spottswood and Tom Hoskins, and persuaded to perform and record again. John Hurt had a wonderful guitar picking style which is credited by many guitarists as their inspiration. Spike Driver Blues is a John Henry song where the “steel-driving man” dies as a result of his hammering a steel drill into rock to make holes for explosives to blast the rock in constructing a railroad tunnel.

Long Train Blues, Robert Wilkins, (1930)

Wilkins was a versatile blues performer from Mississipi who gave up playing the blues to become a gospel minister in 1936. An excellent guitarist, he came to light again in the 1960s and recorded some of his gospel blues. Long Train Blues, which he recorded in 1930 tells the tale of a lover who has run off on the train.

Too Too Train Blues, Big Bill Broonzy (1932)

There’s some nifty acoustic guitar work here by the hugely talented Bill Broonzy, with another “my baby done left me aboard the train” blues. Broonzy sustained his career successfully from the 1920s to the 1950s, performing both traditional numbers and his own compositions, recording more than 300 songs.

The Midnight Special, Leadbelly (1934)

Recorded in 1934 by Huddie William “Lead Belly” Ledbetter at Angola Prison for John and Alan Lomax, the song has been covered by a host of artists, notably John Fogerty’s Creedance Clearwater Revival. The Midnight Special is said to be the name of a train that left Houston at midnight, heading west, running past Sugarland prison farm, the train’s light becoming a symbol for freedom for the inmates. The song also references the injustice of black men being incarcerated for minor infractions.

Love in Vain, Robert Johnson (1937)

Famously covered by the Rolling Stones for their 1969 Let It Bleed album which featured some tasty electric slide guitar, Love in Vain is a Robert Johnson song recorded in his last studio session in 1937. Johnson’s guitar work is outstanding, as is his singing. The sense of loss is palpable, and you hear Johnson crying out his lover Willie Mae’s name near the end of the song.

This Train, Rosetta Tharpe (1939)

This old gospel song has been around since the 1920s and has been extensively recorded. Bruce Springsteen’s Land of Hope and Dreams takes This Train as its starting point but reworks the ideas of the original so that everybody can get aboard. Tharpe’s more original version has “everybody riding in Jesus’ name”; it’s a “clean train, which won’t take “jokers, tobacco chewers and no cigar smokers.” The song was a hit for Tharpe in the late ‘30s and again in the ‘50s. This live performance gives some sense of what an expressive and incredible performer Tharpe was, not to mention her impressive guitar chops. The 1939 version was inducted into the Grammy Hall of Fame

Lonesome Train, Sonny Terry & Brownie McGhee (1952)

Just a great train song, with Sonny Terry’s harp driving the train down the track in this instrumental track. There are a few “whoooos” hollered along the way by the duo, who had a 35-year partnership. A masterclass in harp playing. The song was recorded by Sonny Terry in 1952 along with the Night Owls.

Mystery Train, Junior Parker (1953)

Mississippi bluesman Parker’s 1953 hit inspired a number of later versions, notably Paul Butterfield Blues Band’s take in 1965. In Parker’s version the drums mimic the rattle of the train on the track and the tenor sax the wail of the whistle. Butterfield adds a nice bit of harmonica.

Southbound Train, Muddy Waters (1957)

This is another Big Bill Broonzy song from 1957, which Muddy Waters recorded on his tribute to Broonzy in 1960, Muddy Waters Sings “Big Bill.” Broonzy had mentored Waters when he came to Chicago. Waters version isn’t too far removed from Broonzy’s, both piano driven blues, but Water’s version features some nice harp from James Cotton. The song has the singer heading South to the lowlands to escape his faithless lover.

Freight Train, Elizabeth Cotton (1957)

The song actually is about dying and being laid to rest at the end of Chesnut Street, so “I can hear “old number 9 as she comes rolling by.” Remarkable really, when Cotton said she composed the song as a teenager (sometime 1906-1912). She recorded it in 1957 and it’s been covered by many artists, including Peter, Paul & Mary, Joan Baez and Odetta. Cotton was a great guitar picker and this song has been a favourite for aspiring acoustic guitar players to learn. (Guitarist – check out Tommy Emmanuel’s lesson here (easy!!)

Freight Train Blues, Bob Dylan, 1962

Bob Dylan here echoes Elizabeth Cotton’s song in this 1962 recording from his debut album. Dylan tells a tongue-in-cheek but atmospheric story of poverty, rambling and the freight train. It’s typical early Dylan, all strummed acoustic guitar and harmonica.

Freedom Train, James Carr (1969)

A 1969 R&D hit for James Carr, Freedom Train reflects the Civil Rights movement of the sixties: “It’s time for all the people to take this freedom ride, Got to together and work for freedom side by side.” Born in Mississippi, Carr grew up singing in the church, but his R&D success led to his being called “the world’s greatest R&D singer.”

Hear My Train A-Coming, Jimi Hendrix (1971)

Hendix’s train song is typical Hendrix – overdriven, psychedelic guitar pulsing. It’s on his 1971 Rainbow Bridge album, but Hendrix performed the song in a BBC performance in 1967. He has also been recorded doing an acoustic version of the song on a 12-string guitar, giving it a Delta blues sound, Hendrix clearly familiar with the style of the acoustic blues masters of the past. Here’s some rare footage of Jimi Hendrix playing acoustic guitar.

Get Onboard, Eric Bibb (2008)

The title track of blues troubadour Eric Bibb’s 2008 album. Bibb, in his customary positive fashion, wants us to get on board the “love train.” There’s “room for everybody,” he sings as the band, including some nice harmonica, rattles us down the track.

Slow Train, Hans Theessink, 2012

Good times, bad times, tired and weary – Dutch guitarist and songwriter Hans Theessink has been singing the blues for a very long time and knows how to craft a blues song. This one is from his excellent 2012 Slow Train album, and features Theessink’s superb acoustic finger-picking and his rich bass-baritone voice.

When My Train Pulls In, Gary Clark Jr. (2013)

“Everywhere I go I keep seeing the same old thing & I, I can’t take it no more,” sings Clark, surely against the backdrop of racism in America. Hailing from Texas, the Grammy winning Clark is an outstanding guitarist and prolific live performer. This performance of the song which appears on his 2013 Blak and Blu album, showcases Clark’s guitar chops and his classy vocals.

Train to Nowhere, J J Cale (2014)

Eric Clapton recorded this previously unreleased J J Cale song on his tribute to Cale, The Breeze in 2014. The song features Mark Knopfler singing and playing guitar and is both unmistakably a J J Cale song and a train song. The lyrics look to be about that last train ride we all have to take and are a little bleak.

This Train, Joe Bonamassa (2016)

It’s full steam ahead for Joe’s train, in this case his baby who “comes down like a hammer” and “hurts him bad.” It’s all good stuff, with the usual Bonamassa guitar pyrotechnics. But Bonamassa has become a fine singer as well, which This Train amply demonstrates. The song is on his 2016 Blues of Desperation album, but there are some great live versions available too.

 

16 Blues Tribute Albums You Must Hear

There have been a lot of excellent tribute albums to blues artists over the past twenty years. We’ve chosen 16 excellent albums, some by just one artist covering the music of another artist from the past, and some with various artists covering the songs. In each case, the new artist has both re-interpreted the songs and kept the spirit of the originals intact, honouring the legacy of the original artist.

Billy Boy Arnold, Sings Big Bill Broonzy (2012)

Veteran blues harp player Arnold turns in a very fine acoustic guitar driven tribute album to the great Bill Broonzy. Broonzy had a very long and varied career as a musical artist, after life as a sharecropper, preacher and soldier. He copyrighted more than 300 songs along the way and had a wide range of songs in his performing repertoire including ragtime, country blues, urban blues, jazz, folk songs and spirituals. Arnold gives us 15 classic Broonzy country blues numbers.

Rory Block Avalon, A Tribute to Mississippi John Hurt (2013)

Rory Block is one of the world’s greatest living acoustic blues artists, whose talent has been recognized many times by WC Handy and Blues Music Awards. She has lovingly recorded a number of tribute albums to some of the major country blues artists, including Skip James, Fred McDowell, Robert Johnson, Son House and Rev. Gary Davis. All of them are terrific, featuring Block’s outstanding guitar chops, but we’ve gone with her tribute to the wonderful John Hurt, whose guitar picking style underpins the technique of so many acoustic artists that have come after hum.

Rory Block, A Woman’s Soul: A Tribute to Bessie Smith (2018)

Block turns her attention to the Empress of the Blues, after her set of 6 tribute albums to the founding fathers of the blues. Everything on the album is played by Rory Block, and as ever, the guitar picking and slide work are masterful. The songs, clearly, are very differently treated to the originals, Block cleverly translating the big band arrangements into guitar accompaniment. It makes for a fine and hugely enjoyable tribute to Bessie Smith. [Check out our interview with Rory here]

Eric Clapton, Me and Mr Johnson (2004)

Hugely successful album, selling over 2m copies. Clapton said he’s been driven and influenced all his life by Robert Johnson’s work. It was, he said, “the keystone of my musical foundation…now, after all these years, his music is like my oldest friend. It is the finest music I have ever heard.” The album, consisting of 14 of Johnson’s songs, sees Clapton in fine form, and features, as you’d expect, top-notch lead and slide guitar. A companion album and video release entitled Sessions for Robert J was released also released, featuring different versions of each of the songs from the studio album.

Fabrizio Poggi and Guy Davis, Sonny and Brownie’s Last Train (2017)

As fine an acoustic blues album as you will hear. Two top modern-day artists, Davis on guitar and Poggi on harmonica, both at the top of their game and channelling two of history’s greatest acoustic bluesmen. There’s a warmth, feeling and joy in the way these songs are presented that draws you in and puts a big smile on your face. The album was nominated for a Grammy. [check out our review here]

Marie Knight, Let Us Get Together: A Tribute to Reverend Gary Davis (2007)

Recorded by the late Marie Knight two years before she passed away, aged 89. Knight toured widely with Sister Rosetta Tharpe in the 1940s, but left to become a successful solo gospel and R&B singer. Davis was an incredible guitarist and Larry Campbell’s blues picking and guitar work more than does justice to the reverend’s genius. Knight’s soulful, gospel vocals in these 12 gospel blues songs pay a handsome tribute to the often overlooked artistry of  Rev. Gary Davis. Superb. [check out our take on Rev Gary Davis here]

Mark Miller, Ain’t It Grand: The Gospel Songs of Blind Willie McTell (2010)

Nobody can sing the blues like Blind Willie McTell, sang Bob Dylan. True, but McTell also left us a fine collection of gospel blues songs, and Americana/Country artist Mark Miller’s gospel tribute has 10 songs which McTell regularly performed. Lovely old timey feel to the album, with some fine acoustic finger picked and slide guitar.

Various Artists, God Don’t Never Change: The Songs of Blind Willie Johnson (2016)

“Eleven stirring renditions which replicate the soul of the songs, not just the sounds.” Has earned plaudits from all quarters and Grammy Award nominations for Best Roots Gospel Album and Best American Roots Performance for the Blind Boys of Alabama’s recording of Mother’s Children Have a Hard Time. The album was produced by Jeffrey Gaskill of Burning Rose Productions. The album features a star-studded cast which includes Tom Waits, Lucinda Williams, Derek and Susan Trucks, Luther Dickinson and the Cowboy Junkies. [check out our conversation with album producer Jeffrey Gaskill here]

Various Artists, First Came Memphis Minnie (2012)

Maria Muldaur was the driving force behind this excellent set of Memphis Minnie’s songs, featuring Rory Block, Ruthie Foster, Bonnie Raitt, Koko Taylor and others. Dave Bromberg, Bob Margolin and Billy Branch all contribute to the music. Memphis Minnie was a towering blues figure and a gifted singer, songwriter, and guitarist whose recording career spanned more than 40-plus years, during which she recorded around 200 songs.

Various Artists, Muddy Waters: All Star Tribute to a Legend (2011)

A recording of a Kennedy Centre concert from October 1997 with an impressive all-star cast of blues musicians, including Muddy’s own son Bill Morganfield, Kok Taylor, Buddy Guy, Charlie Musselwhite, John Hiatt, Keb’ Mo’ and Robert Lockwood Jr. Songs include Muddy Waters favourites like Hoochi Coochie Man, Can’t Be Satisfied, Got My Mojo Working, Rollin’ and Tumblin’. A DVD is also available.

Various Artists, Shout Sister Shout: A Tribute to Sister Rosetta Tharpe (2003)

18 Sister Rosetta songs by the likes of Bonnie Raitt, Joan Osborne, Janis Ian, Marcia Ball, Maria Muldaur, the Holmes Brothers and others. Born in 1915, Rosetta Tharpe was a major star during the 1940s and 50s, sensationally filling arenas. Her trail-blazing rock ’n’ roll tinged gospel performances, driven by her exceptional electric guitar work, sent audiences wild and made her a major celebrity. She inspired the early generation of rock ‘n’ roll artists, and Johnny Cash called her his favourite singer and biggest inspiration. This stirring album has a contribution by Marie Knight, who toured and sang with Sister Rosetta. [check out our piece on Rosetta Tharpe here]

Various Artists, Things About Coming My Way: A Tribute to the Mississippi Sheiks (2009)

The Mississippi Sheiks were a popular and influential American guitar and fiddle group of the 1930s. They only lasted for about 5 years, but had a prodigious output and, while adept at many styles of popular music of the time, were notable mostly for playing country blues. Artists featured include North Mississippi Allstars, Bruce Cockburn, Carolina Chocolate Drops, Madeleine Peyroux. Kelly Joe Phelps and others. 17 classic 1930s songs in a sunny, feel good production.

Various Artists, ZZ Top: A Tribute from Friends (2011)

Eleven great ZZ Top tracks like Sharp Dressed Man, Gimme All Your Loving, and La Grange by artists from country to heavy metal, including Grace Potter, NickelBack, Jamey Johnson and Daughtry. It’s great rockin’, head banging fun all the way.

Various Artists, Avalon Blues: The Music of Mississippi John Hurt (2001)

John Hurt is the ideal entry point to introduce anyone to country blues. His guitar work is mesmerizing and has been the foundation for many of today’s acoustic guitar players. The story goes that Andres Segovia, after hearing John Hurt’s guitar playing for the first time, demanded to know who the second guitarist was. This loving tribute by a high-class cast covers 15 of Hurt’s best loved songs. There are contributions from Taj Mahal, Alvin Youngblood Hart, Bruce Cockburn, John Hiatt, Gillian Welch and David Rawlings and Lucinda Williams. A joy.

Walter Trout, Luther’s Blues: A Tribute to Luther Allison (2013)

Ace guitarist Walter Trout pays tribute to his great friend Luther Allison with 13 songs, including one written by Trout, When Luther Played The Blues. Allison was a wonderfully talented guitarist, who died in 1997 at the age of 57. He had been discovered by Howlin’ Wolf in 1957 and then mentored by Freddie King. His live performances were quite a thing, sometimes lasting four or more hours. In Trout’s song, he highlights a great quote by Allison “Leave your ego, play the music, love the people.” [check out our interview with Walter here]

Joe Bonamassa, Muddy Wolf at Red Rocks (2015)

A recording of Bonamassa’s concert from August 2014 at the Red Rocks Amphitheatre on Colorado. The show celebrates the music of Muddy Waters and Howlin’ Wolf, featuring many of the two blues legends’ greatest songs as well as a few of Bonamassa’s own songs. It is probably one of the best live blues albums of recent years. As usual, Bonamassa’s guitar work in incendiary, but his singing in the show is exceptional. Available in either 2-CD or DVD formats.

25 Blues Slide Guitar Songs You Must Hear

Slide guitar – it’s sweet, it’s gritty, it’s sensual, it reaches right inside and grabs your innards. In the hands of an expert exponent, it’s a thing of wonder. And it’s got a long tradition in the history of the blues, reaching back to Charlie Patton, Blind Willie McTell, Blind Willie Johnson and Robert Johnson, when those glissando and vibrato notes were squeezed out by a penknife or a broken bottle neck caressing or, at times, attacking the guitar strings. It was the sound of the slide guitar that first alerted W.C. Handy to the blues when he heard the solitary guitar player on the station in Tutweiler, Mississippi in 1903 – “The effect,” he said, “was unforgettable.”

We’ve chosen 25 terrific blues songs that feature slide guitar, from Willie Johnson to Derek Trucks. They’re in chronological order so there’s no attempt here to judge these against each other. They’re just here for you to explore and enjoy – I hope they give you as much pleasure as I had in researching, choosing and listening to them. (actually 25 has become 26!!)

Blind Willie Johnson: Dark was the Night, Cold Was the Ground (1927)

Willie Johnson’s slide playing is widely admired. Ry Cooder said, “Blind Willie Johnson had great dexterity, because he could play all of these sparking little melody lines. He had fabulous syncopation; he could keep his thumb going really strong. He’s so good – I mean, he’s just so good.” Eric Clapton’s view was that Johnson’s slide work on It’s Nobody’s Fault But Mine was “probably the finest slide guitar playing you’ll ever hear.” So there’s a number of songs we could have chosen. We’ve gone with Dark was the Night, where Johnson’s exquisite slide playing takes you right into the agony of the Garden of Gethsemane, negating the need for sung lyrics, and is just augmented by Johnson’s moaning. [Check out our post about Willie Johnson here.]

Blind Willie McTell: Mama ‘Taint Long Fo’ Day (1928)

Willie McTell was an accomplished slide player as well as being an adept Piedmont style and ragtime finger picker and had a significant recording career in the 1920s and 30s. His 1928 Mama ‘Taint Long Fo’ Day lets you appreciate the depth of his skill and musicality.

Charlie Patton: Mississippi Boweevil Blues (1929)

Along with Robert Johnson, Charlie Patton was arguably the most important and formative voice of the early sound of the blues in the Mississippi Delta. He recorded Boweevil Blues in 1929 as “The Masked Marvel.” It’s primal blues, with one chord accompaniment, three basic notes in the vocal melody, and a high-note bottleneck accent after the vocal phrase, with the slide often finishing the last word in the phrase. Patton bewails the devastation caused by the invasion of the Boweevil beetle which fed on cotton buds and caused huge problems for the cotton industry and in particular for African American tenants.

Robert Johnson: If I Had Possession (1936)

Robert Johnson was hailed as the “king of the Delta blues,” and described by Eric Clapton as “the most important blues singer that ever lived.”  His short life ended in 1938 at the age of 27, but his songs have become standards of the blues canon, and he’s recognized as an outstanding guitarist and a songwriter who pushed the boundaries of the genre during his lifetime. Despite that crossroads myth, Johnson’s prodigious guitar chops likely came from finding a tutor and working hard as a student. Guitar players still marvel at Johnson’s dexterity, the complexity of his playing and the intensity of his songs. He was a skilled slide player, amply demonstrated here on this 1936 recording. [You’ll find our piece about another Johnson song here.]

Muddy Waters: I Can’t Be Satisfied (1948)

The “father of modern Chicago blues” moved to Chicago in 1943 and began recording for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess. He recorded, I Can’t Be Satisfied and I Feel Like Going Home in 1948, both of which became hits, and the rest, as they say, is history. In the recording session for the two songs, they were preparing to wrap up, and Muddy asked if they could do the song without the piano. Leonard obliged and Muddy did the songs on the electric guitar, giving the songs a completely new feel. The single, with its raw electric sound and Muddy’s slide playing sold out on its first weekend. Buddy Guy said Muddy was “one of the slidingest people I’ve ever heard in my life. He got it from the Mississippi players playing the Saturday night fish fries, and he took it home.” [We look at another Muddy Waters song here.]

Elmore James: Dust My Broom (1951)

Known as “King of the Slide Guitar” and noted for his use of loud, reverb-heavy amplification, Elmore James is a Rock and Roll Hall of Fame inductee and the influence behind many rock musicians. That full octave slide riff in the opening to his 1951 adaptation of Robert Johnson’s I Believe I’ll Dust My Broom, has become a classic riff. The song became James’s signature song and has been re-recorded many, many times, usually with James’s riff intact.

Mississippi Fred McDowell: You Gotta Move (1965)

Originally recorded by The Gospel Keys in 1948, McDowell’s version is the most famous and was picked up by the Rolling Stones and included on their 1971 Sticky Fingers album. Fred McDowell’s version is raw and bluesy, never misses a beat and has a nice slide vibrato. It was from McDowell that Bonnie Raitt learned her slide guitar. [More on You Gotta Move here.]

Son House: Death Letter Blues (1965)

House’s 1965 performance was on a metal-bodied National resonator guitar using a copper slide. Death Letter Blues is a revision of House’s earlier recording My Black Mama, Part 2 from 1930. The guitar playing is raw, almost rough, but the passion of the performance and the subject matter make listening to it a dramatic experience.

Johnny Winter: Broke Down Engine (1968)

Winter was a Grammy winning inductee into the Blues Hall of Fame, the first non-African-American performer to be inducted, and one of the first blues rock guitar virtuosos. His version of this Blind Willie McTell song appears on his album The Progressive Blues Experiment from 1968. Winter is probably better known for his high energy electric blues rock guitar, but he played this song on a resonator, with an approach that has echoes of Robert Johnson.

Allman Brothers: Statesboro Blues (1971)

The Allman Brothers’ 1971 concert at New York’s Filmore East is legendary, and the album represented the band’s commercial breakthrough. This cover of Blind Willie McTell’s famous song opens the set and showcases Duane Allman’s fabulous open-E slide playing. His approach to the song is clearly modelled on Taj Mahal’s1968 version of the song.

Rory Gallagher: McAvoy Boogie (1972)

Rory Gallagher never attained star status in his short life (he died aged 47) but he is a cult figure in the blues-rock world because of his incredible guitar skills – he was, for example, voted Melody Maker’s 1971 International Top Guitarist of the Year, ahead of Eric Clapton. Gallagher’s McAvoy Boogie was in honour of Gerry McAvoy, a great Northern Irish blues rock bass guitarist. Recorded around 1972, the song appears on the DVD, Rory Gallagher, Ghost Blues: The Story of Rory Gallagher and the Beat Club Sessions. Gallagher was equally at home on electric, acoustic or resonator guitars, and on McAvoy Boogie he lets loose on his Fender Telecaster.

Ry Cooder: Feelin’ Bad Blues (1986)

Multi-Grammy award winner Ry Cooder has been making music and recording for the past 50 years. He’s a songwriter, film score composer, and record producer. A multi-instrumentalist, he is maybe best known for his slide guitar work. Rolling Stone magazine’s ranked him eighth on their list of “The 100 Greatest Guitarists of All Time. Feelin’ Bad Blues is on his 1986 Crossroads album and is an instrumental slow blues, which demonstrates Cooder’s exquisite slide technique and emotive playing. [Check out our post on Ry Cooder here.]

Eric Clapton: Running on Faith (1992)

Clapton originally recorded this on his 1989 Journeyman album, but we’ve chosen the Unplugged version of 1992, where Clapton plays a wooden resonator. He’s played a lot of electric slide during his career, but this performance puts the musicality of his skill in the spotlight, as well as his excellent vocals. [Check out our appreciation of Eric Clapton here.]

Bonnie Raitt: I’m In the Mood (with John Hooker) (1991)

Bonnie Raitt has won 10 Grammys and sold millions of albums. The same year as her big 1989 breakthrough with Nick of Time, she recorded this duet with Hooker, which was included on Hooker’s album The Healer. Playing her Stratocaster with the slide on her second finger, and picking with her fingers, Raitt gets the right amount of sass and moan into this reprise of Hooker’s 1951 hit.

Joanna Connor: Walkin’ Blues (1992)

Joanna Connor is so much more than her self-description as “that middle-aged lady with the scorching guitar.” She’s a tremendously talented and original guitar player, whose incredible slide guitar, complete with mushy guitar-player face from 2014 has been seen by around 1.5m people. She is a guitar-playing tour de force. Walkin’ Blues from her second album aptly illustrates her jaw-droppingly good slide guitar. [You’ll find a review of Connor’s Rise album here.]

Bryn Haworth: Will You Be Ready (1995)

Bryn Haworth is an outstanding slide guitarist and songwriter from the UK who has been making records and performing for the past 50 years. He’s appeared on the BBC’s Old Grey Whistle Test and the John Peel show, was a major figure in the explosion of Jesus Rock in the 1970s and 80s, and been the guest guitarist on many albums by rock and folk artists. [Don’t miss this great interview with Bryn here.]

Kelly Joe Phelps: When the Roll is Called Up Yonder (1997)

There’s scarcely a better acoustic slide player on the planet than Kelly Joe Phelps, aptly demonstrated by this superb old hymn which appears on Roll Away the Stone. At this stage in his career Kelly was playing slide on a lap steel guitar. By 2012, he had moved to a more regular bottleneck slide style – and produced similarly outstanding playing on Brother Sinner and the Whale. Check out the interplay between the slide guitar and Kelly’s vocals in this song, particularly in the chorus. Quite remarkable. As for the beautiful solo… [More on Kelly Joe Phelps here.]

Rory Block: Cross Road Blues (2006)

Rory Block is one of the world’s greatest living acoustic blues artists. Her talent has been recognized many times by WC Handy and Blues Music Awards in the US, as well as gaining accolades and awards in Europe. She has won Acoustic Artist of the Year in the 2019 Blues Music Awards. She’s done a number of albums paying tribute to the great blues guitarists of the past, and her 2006 Lady and Mr Johnson sees her taking on Robert Johnson and delivering the songs such that they take on new life, and at the same time showcasing Johnson’s outstanding guitar expertise. Block plays Cross Road Blues on her Martin guitar with incredible attack, accuracy and groove – quite wondrous. [Check out our great interview with Rory here.]

Johnny Dickinson: Ocean Blues (2006)

Northumberland-born slide-guitarist/singer/songwriter, Johnny Dickinson sadly passed away in 2019. He was widely acknowledged as one of the UK’s finest exponents of acoustic slide guitar. And a thoroughly nice guy. Ocean Blues, from 2006’s Sketches from the Road is a fine example of Dickinson’s technique and musicality.

Brooks Williams: Amazing Grace (2010)

Brooks Williams is one incredible acoustic guitar player. He’s a gifted songwriter and singer too. His versatile guitar chops include some tasty slide playing. You’ll scarcely hear a better version of Amazing Grace than Brooks’s from his 2010 Baby O! album. Playing the strings on either side of the slide and moving masterfully all round the fretboard, Williams coaxes each ounce of bluesiness from this old tune. [Check out our interview with Brooks here.]

North Mississippi Allstars:  Let It Roll (2011)

Luther Dickinson is a guitarist, songwriter, singer and record producer who grew up in the hills of North Mississippi. Influenced by R. L. Burnside and Junior Kimbrough, he and his brother formed the North Mississippi Allstars. Their 2011 album, Keys to the Kingdom, features Dickinson’s characteristic raw singing style and his style of electrified, fingerstyle slide guitar that he calls Modern Mississippi. It’s sounds traditional but bang up-to-date all at once. [Check out our interview with Luther here.]

Tedeschi Trucks Band: Midnight in Harlem (2011)

When you see Derek Trucks live, you’d be forgiven for calling him the world’s best living electric slide guitarist. His guitar and slide just seem to be part of the man. Trucks was something of a child prodigy, playing slide from a young age and by the age of 13, he had shared a stage with Buddy Guy. He was a guest musician for several years with the Allman Brothers and has toured as part of Eric Clapton’s band. The fabulous band formed with him and his wife, Susan Tedseschi, released Revelator in 2011 which features a cover of Mike Mattison’s Midnight in Harlem. It’s quite wonderful, as much for Tedeschi’s vocals as for Truck’s slide work. But his slide work is top drawer and we like the live version on Everybody’s Talkin’ from 2012.

Keb’Mo’ & Taj Mahal: Diving Duck Blues (2017)

There may be better examples of Keb’ Mo’s slide guitar style, but this duet with blues legend Taj Mahal from their excellent 2017 Tajmo album is one of the most enjoyable. Mo’s metal resonator slide playing accompanies Taj Mahal’s rhythmic acoustic picking, rather than taking centre stage. But, of course, it’s the combination of these two wonderful artists playing together that is best of all. [Check out our piece on Keb’ Mo’s Put a Woman in Charge here.]

Sonny Landreth: Key to the Highway (2017)

One of the world’s best, but most under-appreciated guitarists, said Eric Clapton of slide guitar specialist, Sonny Landreth. Landreth has incredible slide guitar technique, able to play notes, chords and chord fragments by fretting behind the slide while he plays. As with nearly all these artists, it’s hard to choose a song from Landreth’s considerable back catalogue, but his version of this blues standard normally credited to Big Bill Broonzy, on his 2017 Live in Lafayette, is a real treat.

Larkin Poe: Mississippi (2018)

Larkin Poe are the Lovell sisters from Atlanta, Georgia with a unique blues-based Americana rock. Adept at taking traditional blues and bringing them bang up-to-date at the same time, the pair are exceptional musicians, wonderful singers and high-powered performers. Both terrific guitarists, it is Megan who is the slide guitarist, trading licks with her sister. Standing up – and occasionally walking through the audience – she plays her lap steel guitar with incredible energy. Mississippi from 2018’s Grammy nominated Venom and Faith album evokes the spirit of the Delta while channelling a modern, fresh approach to the blues. Superb. [Be sure and check out our great interview with Larkin Poe here.]

Martin Harley: Roll With the Punches (2019)

When it comes to slide guitar, England’s Martin Harley really is the business. With eight albums to his credit, he delights audiences wherever he plays in the UK and US with his hugely enjoyable brand of Americana and blues. His Roll With the Punches from 2019 finds Harley with a new, more electric sound, now coaxing those trademark slide guitar licks from an electric guitar rather than simply the Weissenborn lap steel he is usually to be seen with. The title track showcases his great slide technique and is just a great song – so positive: “don’t let nobody drag you down, keep your head high, put your good foot on the ground.” [You’ll find our review of Martin Harley’s Roll with the Punches here.]

A Blues Odyssey, Part 3: The Mississippi Delta

I stood beside the Blues Trail Marker for the sharecropper’s shack that Muddy Waters grew up in, in what was Stovall’s Plantation just outside Clarksdale, and gazed over the landscape. The vast fields were ploughed but unplanted, the alluvial soil brown and fertile. The sun was low in the sky but shone brightly against the bluest sky imaginable. And it was cold – a dry, bitter cold that chilled your bones.

But it was strangely warming to have reached this point in our blues pilgrimage. It was here in 1941 that Alan Lomax found McKinley Morganfield and recorded his Burr Clover Blues, a song he’d written at the request of Colonel Stovall, who six years previously had invented the burr clover seed harvester. Muddy Waters’s house also served as a juke joint where Waters entertained field hands. Waters left the plantation in May 1943 after the plantation overseer refused his request for a raise from 22 and a half cents to 25 cents an hour. The rest, of course, is history, Muddy going on to become a preeminent Chicago blues artist and a musical inspiration to subsequent generations of blues and rock musicians.

Cotton Field, Mississippi Delta

The Rich Soil of the Delta

If you head on out past the famous Crossroads at the intersection of Highways 61 and 49, you’ll soon come to the Shack Up Inn, on the site of Hopson Plantation. In 1928, this plantation had over 3,500 acres and was farmed by black sharecroppers and mules, working from 4.30am until 6 in the evening. You can get a sense of plantation life here, as you wander round the sharecropper shacks, with their tin roofs and Mississippi cedar walls (now available as (basic) hotel accommodation), the original cotton gin and seed houses and other outbuildings. I was taken by the old rusting vehicles, including old cars, a tractor and a derelict fire truck. An ancient railway line runs through into the distance, giving a further sense of timelessness to the place. As does the Bottle Tree, with its host of blue bottles, traditionally used to ward off evil from the family home.

Sharecropper Shack

Old Car & Cotton

The sense of poverty exuded by the sharecroppers’ shacks was very tangible and striking. Sharecropping was a system that came to dominate agriculture across the cotton-planting South from the end of the nineteenth century. Black families would rent small plots of land from white landowners, to work themselves. Often, the landlords or nearby merchants would lease equipment to the renters, and offer seed, fertilizer, food, and other items on credit until the harvest season. At the end of the year, tenant and landlord would settle up, often with the sharecroppers owing more to the landowner than they were able to repay with the sale of their crops. It was an exploitative system that resulted in debt and poverty from which the sharecropper found it difficult to escape. It was out of this situation that the blues began to emerge in the early part of the twentieth century and it’s no surprise that many of those we now consider blues legends worked the land themselves.

If you go to the Delta Blues Museum in Clarksdale itself, you’ll see Muddy Waters’ shack reassembled inside, a kind of shrine to perhaps Clarksdale’s most famous son. Not that Muddy was the only legendary blues artist from round these parts – born and raised nearby were John Lee Hooker, Son House, Ike Turner, Sam Cooke, Junior Parker, and W. C. Handy. In addition, Robert Johnson, Howlin’ Wolf, and Charley Patton are all associated with the town, stopping by in their constant traveling. All of this history is preserved and these artists celebrated in the Museum, which makes for an excellent visit.

Talking of blues museums, on the way down from Memphis, we’d stopped at the Tunica Gateway to the Blues Visitor Centre and Museum. Set in an old, refurbished train depot, this is a fabulous introduction to the land of the blues – great exhibits, well displayed, which tell the story of the origins and development of the blues in the Mississippi Delta.

Blues Museum, Tunica

Back in Clarksdale, right across the road from the Delta Blues Museum is Morgan Freeman’s Ground Zero Blues Club (Clarksdale being the blues’ “ground zero”). We stopped by for lunch and enjoyed the general vibe, though sadly, there was no live music. We were wonderfully served by Stella, who took one look at my scrawny looks and said, “Well now, a’body’s momma wanna take him in an’ feed him up. Mmhnnn”. I had the barbeque pork in a spicy pancake – absolutely delicious, but laced with a thousand chillies which quickly had my mouth on fire.

On down the street and you come to Blues Town Music, owned by the inimitable Ronnie Drew, who welcomed us warmly and regaled us with stories of visits to Europe in days gone by. I enjoyed playing one of his acoustic guitars and then chatting to Ronnie’s good friend, an older gentleman, an ex-bass player, with long seventies-style hair and a droopy moustache to match, who intrigued me with tales of visiting New York City as a boy and watching the Brooklyn Dodgers at Ebbets Field.

And then, right across the road we found the treasure trove that is the Cats Head Delta Blues and Folk Art store and had the pleasure of chatting to proprietor Roger Stolle. I was interested to meet Roger, having read his excellent book, Hidden History of Mississippi some time ago, and being aware of his work to help regenerate Clarksdale. The store is quite unique, selling everything from books to posters to art to CDs, vinyl records and DVDs, all with a blues theme. Even if you don’t buy anything (but please do! My Cat Head poster is now framed and hanging in my office!), it’s a fabulous place just to browse around in.

And Roger’s such a nice guy, full of positivity and enthusiasm, and wondrously knowledgeable about the blues and the Mississippi Delta. Glad to say he agreed to a follow-up interview, which will appear before long here at Down at the Crossroads.

Actually, once again, I have to comment on the welcome and friendliness of everyone we encountered in Mississippi. We were quite charmed. We got on our way in the early evening, unable to take up Roger Stolle’s suggestion of staying for the show in Red’s Lounge later on, and drove back to Memphis on the legendary Highway 61, Mississippi saying farewell to us by means of a spectacular sunset, the sky changing colour dramatically as the sun sank below the horizon.

As somebody famously once said, “I’ll be back!”

Sidemen: Long Road to Glory.

(Dir: Scott D. Rosenbaum)

Hubert Sumlin

Sidemen, narrated by Marc Maron, is a splendid tribute to three legendary bluesmen – pianist Pinetop Perkins, drummer Willie “Big Eyes” Smith and guitarist Hubert Sumlin. Over an hour and twenty minutes we get brief life histories of the three men, interviews and live performances by them, and tributes from a who’s who of the blues world, including Bonnie Raitt, Greg Allman, Joe Bonamassa, Kenny Wayne Shepherd, Derek Trucks and Susan Tedeschi, to name but a few. It’s a beautifully crafted film, utterly engaging and an overdue appreciation of three musicians who left an indelible mark not only on the blues, but on rock’n roll. Their role was to support, and yet their contribution was foundational for both Muddy Waters’ and Howlin’ Wolf’s bands. Today’s musicians interviewed in the film leave us in no doubt that these three helped redefine modern music as we know it.

The beauty of the film is in the intimate interviews and live performances shot shortly before Perkins, Smith and Sumlin passed away in 2011, though there is a wealth of concert footage of Waters, Wolf, Hendrix and the Rolling Stones over the years too. Both Perkins and Smith died a few months after their Grammy success for the “Joined at the Hip,” album. Perkins was 97, the oldest Grammy winner, and Smith 75. It was indeed a long road to glory.

The film strongly makes the case for Hubert Sumlin’s induction into the Rock’n Roll Hall of Fame. Not only was he an outstanding guitarist – number 43 in Rolling Stone’s Top 100 Guitarist list, but rated by Derek Trucks as much, much better than that – but he was, according to Kenny Wayne Shepherd, “an extraordinary example of a human being.”

Sidemen is an affectionate, but never sentimental, tribute to three top class musicians who were overshadowed by two titans of blues history, Muddy Waters and Howlin’ Wolf. Any music fan ought to enjoy this film; any blues fan will be delighted – indeed for them it is required viewing.

 

 

BBC, the blues and the gospel

Here’s a 12 minute interview I did with the BBC about my book, The Gospel According to the Blues.

Just click on the picture below…

BBC Radio Interview with Gary Burnett

You can get a copy of the book in either Kindle or paperback edition at Amazon.

Amazon.com

Amazon.co.uk

 

Muddy Waters: taking the bitter with the sweet

Muddy Waters was born McKinley Morganfield sometime around 1915 in  Rolling Fork,  Mississippi. Raised by his grandmother, Della Grant in Clarksdale after his mother died when he was three, he lived in a shack on Stovall Plantation, working as a farm laborer from when he was a boy. Life was harsh, brutal even, with poverty and deprivation part of daily life. Muddy Water’s website notes that blues artists like Muddy “gave vent to…terror, frustration, rage and passionate humanity in a music that was taut with dark, brooding force and spellbinding intensity that was jagged, harsh, raw as an open wound and profoundly, inexorably, moving.”

Muddy began playing harmonica, then guitar and by 17, he was playing at parties, seeking to emulate his heroes, Son House and Robert Johnson. Within ten years he had moved to Chicago, where he became a full-time professional musician, and in due course a huge success and the acknowledged father of Chicago blues.

With all his success, however, and ability to broaden his musical horizon to include new musical sounds and approaches, not least the amplified electric guitar, Muddy’s early years in the Delta clearly remained formative – take his 1959 Single Version of Take the Bitter With The Sweet, where he remembers the struggles and difficulties of growing up in poverty. He sings about the pain of not having any family:

Well I don’t have no mother, father, brother, sister, boy, I ain’t never seen
Well you know sometime I feel so lonesome
Well yes I feel just like I wanna scream..

He remembers the times when “There’ve been nights I’ve laid down, And I didn’t have no food to eat,” and the days he walked around and “I didn’t have no shoes on my feet.”

The song, interestingly concludes with the line “Oh Lord, boy I gotta take the bitter with the sweet,” which is a surprisingly upbeat and positive take on the woes that he’s just been singing about.

Even those of us who are fortunate enough not to live in poverty and don’t have to worry about where we’re going to sleep tonight know that life has a way of throwing some bitter pills at us from time to time. I’m just recovering from a lengthy period of ill health, and many of us know about job loss, bereavement, financial worries, family problems. None of us is immune from the trouble that life brings no matter who we are, no matter how wealthy we are or how strong and fit we are.

We hear a lot about life’s woes in Israel’s blues songbook, the Psalms – we regularly read about “the day of trouble,” “the time of trouble,” about “afflictions” and a whole host of difficulties. What is remarkable, though, is the confidence that the writers of the Psalms had that God would be with them in the day of trouble – “When they call to me, I will answer them; I will be with them in trouble; I will rescue them.” (Ps. 91.15). Old Testament scholar Walter Brueggemann commenting on these Psalms says that “The songs are not about the “natural” outcome of trouble, but about the decisive transformation made possible by this God who causes new life where none seems possible.” Psalms like Psalms 30, 34, 40, 138 all tell stories of going into trouble and coming out the other side.

Like these Psalms which look for a better day beyond the day of trouble, many blues songs also hit this note of hope for better things. For sure there’s no way we can avoid the bitter – we gotta take it along with the sweet – but the question for all of us is: in the day of trouble, who you gonna turn to? Who are you gonna hope in? The Psalms give us a good steer here – “my help comes from the Lord, who made heaven and earth.” Maybe we’ll leave the last word on this to Eric Bibb…

 

 

Muddy Waters – I’m a Man, M-A-N

Muddy Waters first recorded Mannish Boy back in 1955. He and Willie Dixon had previously written Hoochie Coochie Man, which had inspired Bo Diddley‘s I’m a Man,and  which in turn provided the basis for Mannish Boy. The song is credited to Muddy Water, Mel London and Bo Diddley, and features a repeating lick based on one chord.

Waters recorded Mannish Boy on several occasions  –  in 1968, for the Electric Mud album, in 1977 for the Hard Again album, and on the 1979 live album Muddy “Mississippi” Waters – Live. Muddy can also be seen performing it on The Band‘s The Last Waltz film.

The song has become something of a blues standard, having reached number 5 in the Billboard R&B chart when first released. It was inducted into the Blues Hall of Fame “Classics of Blues Recordings” category, as well as being included in the Rock and Roll Hall of Fame‘s list of the “500 Songs that Shaped Rock and Roll,” and was ranked by Rolling Stone magazine in its list of “500 Greatest Songs of All Time”.

The song is basically a raunchy number, both musically and lyrically, full of male sexual bravado. When Muddy sings “I’m a natural born lover,” and “I passed 21, I want you to believe me baby, I had lots of fun,” and “I’m made to move you honey,” there’s really no doubt as to what he’s talking about. He also says he’s a “hoochie coochie man” – the hoochie coochie  was a sexually provocative dance that became wildly popular in Chicago in the late nineteenth century. The dance was performed by women, so a “hoochie coochie man” either watched them or ran the show.

The song’s chorus goes:

I’m a man
Spell M-A child -N
That represents man
No B-O child -Y
That mean mannish boy.

And then goes on to assert “I’m a man, I’m a full grown man.”

Despite the clear sensuality of the song, there’s something more going on in the song. In the Southern states under Jim Crow, including Mississippi where Muddy Waters grew up, a black man was never recognized as anything other than a “boy.”

Fifty years after the Emancipation Proclamation of 1853, Thomas Bailey, a southern educator set forth fifteen major premises of the “common opinion of the South” of black Americans.  Two of these said, “The negro is inferior and will remain so,” and “Let the lowest white man count for more than the highest negro.” African Americans were both demonized and dehumanized. A white student in 1909 – shockingly – wrote, “The negro is more like a mule than anything I can think of…You cannot get the brute out of the negro; therefore he must be kept under subjection.”

Such were the attitudes that Muddy Waters experienced growing up in Mississippi. As a black man, he was considered and treated as less than human, and one of the ways in which this was reinforced was in the way in which he would never be referred to as a man – always as “boy.” Blacks at best were children, to be looked after, provided of course they knew their place, behaved and did not become “uppity.” At worst black men were considered a source of danger to white womanhood, ready at any opportunity to act as crazed, ravishers of pure white women. On this basis, many of the atrocious lynchings that mark the Jim Crow period in the South took place.

Muddy Water’s song, then, takes on a new meaning in this context. Now that he’s free of Southern racism and oppression and is a successful musician in Chicago, Muddy can assert his black manhood – “I’m a man, I’m a full grown man,” sings Muddy, “I spell M-A, child, N.” And free from the accusations of sexual misconduct, the sexual bravado of the song becomes at least understandable.

Despite the complicity of the white Christian church in years of racism in the South, the gospel is the message of God’s unconditional love for all God’s children, irrespective of race or social position. Before God we’re all the same, common humanity, with the same problems and the same potential. St. Paul lived in a world in the first century where the dividing line was between Jews and Gentiles. He wrote two of his letters to help groups of the first Christians to understand that there need be no difference between people. To the Galatians he wrote, “in Christ there is neither Jew nor Gentile,” and to the Romans he took a great deal of time to explain that nobody, whether Jew or Gentile, had any rights before God and that everybody was made right on the same basis of their devotion to the Messiah Jesus. Nothing, he said, could separate us from God’s love.

No one has the right to dominate or oppress others on any basis. To do so flies in the face of the God in whose image we are made. We each have an intrinsic worth – because God loves us. The truth is we need each other to survive and to thrive. We are human because we belong to each other, we participate together and we share together.

Inequality due to racism clearly still exists and the past casts its long shadow over the present. New York Times columnist Nicholas Kristof alerts us to “the way past subjugation shapes present disadvantage.” More generally in our societies we see inequality due to aggressive competitiveness, and political and economic structures that result in large numbers of people – even in the US and Europe – suffering hardship and lack of opportunity. In the US, 95% of all income gains since 2009 have gone to the top 1 percent and the top 1% of Americans take home 22% of the nation’s income. Christians need to be in the vanguard of those seeking change in our society and the wider world – as those who will take a stand for our common humanity and against whatever it is that drives a wedge between us.