This Historic Day In Music: Muddy Waters

On April 4, 1915, McKinley Morganfield was born on the Kroger Plantation in Rolling Fork, Mississippi. He was the second son of Ollie Morganfield and Berta Jones. When, as a youngster, little McKinley showed a penchant for playing in mud puddles, his grandmother started calling him “Muddy.” His friends later added the “Waters.”

In August of 1941, Library of Congress song collector Alan Lomax and Fisk University scholar John Work visited the 26-year-old Muddy Waters’ cabin on the Stovall Plantation near Clarksdale, Mississippi. Lomax and Work had been told that Muddy played guitar and sang a lot like the late Blues musician Robert Johnson. They recorded Muddy playing and singing three songs. Years later, Muddy recounted what it was like hearing himself on those recordings that day: “I really HEARD myself for the first time. I’d never heard my voice. I used to sing; used to sing just how I felt, ’cause that’s the way we always sing in Mississippi. But when Mr. Lomax played me the record I thought, man, this boy can sing the Blues.”

In May of 1943, Muddy Waters took the train from Clarksdale to Chicago, Illinois, leaving the plantation far behind. He lived his new life working at various day jobs and playing his music all over Chicago’s South Side at night. Muddy  made his first commercial recordings for Columbia Records in 1946, but the record company decided not to release them.  

In 1947, Muddy Waters tried again, this time recording for Aristocrat Records. He had his first national R&B hit record in 1948: “I Can’t Be Satisfied” b/w “I Feel Like Going Home.”

Here it is.

That man can indeed sing and play the Blues.

After a long and illustrious performing and recording career, Muddy Waters passed away on April 30, 1983 in Westmont, Illinois.

Sources for this post were: Folk & Blues: The Encyclopedia (2001) by Irwin and Lyndon Stambler; Bill Dahl’s bio of Muddy Waters in The All Music Guide To The Blues (2003); and my blog post It Was The Last Week In August from August 29, 2010.

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Happy Easter (and the Sargasso Sea)

“Easter and the Sargasso Sea” is an acoustic guitar instrumental piece written and performed by Leo Kottke. He recorded and released it on the album Circle ‘Round The Sun in 1970. I bought my copy of the vinyl LP in the Fall of 1971 at a small record store somewhere in central Massachusetts.

For the guitar players out there, Leo is fingerpicking a 12-string guitar tuned to an open-G major tuning. But, like many 12-string players, Leo has his instrument tuned below standard pitch. To be precise, Leo’s guitar is tuned 4 half steps low, actually sounding in E-flat major.

Enjoy and again, Happy Easter!

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This Historic Day In Music: Eric Clapton

Eric Patrick Clapton was born this day, March 30, in 1945 in Ripley, Surrey, England.

Starting with his first band, The Roosters, then with The Yardbirds in 1963, on through his time with John Mayall & The Bluesbreakers, Cream, Blind Faith and Derek & The Dominos and continuing over the course of a decades long solo career, the life blood that infuses every note that Eric Clapton has ever played is the Blues.

It was, after all, the Blues of American guitarists Josh White and Big Bill Broonzy that inspired the teen-aged Eric Clapton to spend countless hours painstakingly replicating the music he heard on their records.

It was the Blues of Willie Dixon, Skip James and Muddy Waters that Clapton with his Cream bandmates Jack Bruce, bass guitar & vocals and drummer Ginger Baker reworked into psychedelic Rock anthems for their first album, Fresh Cream, in 1966.

It is the Blues of Lead Belly and the more contemporary artists Taj Mahal and Gary Moore that are included in the tracks of Eric Clapton’s latest (and 20th) solo studio album, Old Sock.   

To be more specific, here are a few of my favorite examples of Eric Clapton playing the Blues.

“Before You Acuse Me” was written and recorded by Ellas McDaniel (aka Bo Diddley) in 1958. Clapton performed his acoustic version of it on January 16, 1992 at Bray Film Studios in Windsor, England, for his episode of the very popular and influential 1990’s MTV series Unplugged. The resulting album, also called Unplugged, won the 1992 Grammy Award for Album of the Year.

“Crossroads” was recorded by Cream in 1969. It was their take on the 1936 Robert Johnson song, “Cross Road Blues.” In the case of “Crossroads” and any old Blues song that Eric Clapton ever recorded a new version of, no matter how much he might have changed and reworked the original, he always gave songwriting credit to the original composer. (This was not common practice among other famous British bands of the time.) The performance below was part of Eric Clapton’s contribution to the 12-12-12 Concert for Sandy Relief broadcast live from Madison Square Garden in New York City in December, 2012. Performing with Clapton is drummer Steve Jordan and bassist Willie Weeks.

“Three O’Clock Blues” was written by Lowell Fulson and released on record in 1948. B.B. King recorded it in 1951. It became a hit and has endured as one of his signiture performance pieces.

In 2000, Eric Clapton and B.B. King collaborated on an album called Riding With The King and cut this version of “Three O’Clock Blues.” As you listen (and I hope you do, with headphones on, if possible), that’s Clapton playing the opening guitar solo (in your left ear) and singing the first verse. B.B. King’s guitar (in your right ear) fills in around Clapton’s vocal and then King sings the second verse. Clapton takes the first long solo in the middle of the track, followed by B.B., taking his solo on Lucille, his famous Gibson electric guitar. Keep listening through to the end to hear these masters trading licks over the last twelve bar progressions.

That’s just a small taste of the music of Eric Clapton. There’s so much more.

Happy Birthday, Eric Clapton.

Long may you play and sing the Blues.

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Richard, Emmylou & Rodney

It’s a bit after 1:00 am and I just got back from a concert in Boston.

My friend, Chris and I went down this evening to see Richard Thompson with his “Electric Trio” and Emmylou Harris & Rodney Crowell with their band at the Orpheum Theatre.

It was a fabulous concert with Richard Thompson and his group – Taras Prodaniuk, bass guitar & the outstanding Michael Jerome on drums – doing an extraordinary opening set.

Here’s a video of this very same group doing a song I heard them play tonight: “Salford Sunday” from Richard’s latest CD: Electric.

And here’s another video of a song I heard tonight, this time of Emmylou & Rodney doing the title song from their new album: “Old Yellow Moon.”

I hope you enjoyed those. If you get a chance to catch either one of these artists performning live anytime, do so. They come highly recommended.

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Something New

A little while back, I signed up for a free service from N.Y.Times.com that sends me “My Alerts” emails with links to recent articles on Folk music, Jazz, Blues, Rock and all things guitar.

On February 7, 2013, I clicked on an article called: “What to Watch for at the Grammys” by James C. McKinley, Jr. At the very end of the article, Mr. McKinley listed the nominees in the “Americana” category as being: Mumford & Sons, Bonnie Raitt, The Lumineers, The Avett Brothers and “a little known fingerpicking song man named John Fullbright.”

That was all I needed to know.

John Fullbright was born on April 23, 1988 in Bearden, Oklahoma and grew up in nearby Okemah, OK. At one time he was a member of a band called “Turnpike Troubadours” and he released his first solo album – Live at the Blue Door – in 2009. The album that garnered him a Grammy nomination was released on Blue Dirt Records in May, 2012 and is titled: From The Ground Up.

The album (thank you Bull Moose Records!) is excellent and highly recommended. It contains 12 original songs with Mr. Fullbright singing and playing guitar, organ, piano and harmonica. A band accompanies him on six of the cuts.

The first video that popped up on YouTube was from September, 2010, and features John by himself playing guitar and singing his song “Satan and St. Paul.”

Check it out!

I share the sentiments of someone who commented on YouTube about that performance: “well….I wasn’t expecting that….”

Welcome to my list of favorites, John Fullbright.

Music this good won’t get old.

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“Song For Andrea”

It was the Winter and Spring of 1975.

We were both students at the University of New Hampshire. She was a junior Nutrition major, I was a senior Music Education major. She shared an off-campus apartment with another girl and I was living in a small, studio apartment in North Conway, NH, doing my student teaching in the Conway public school system.

We both worked for The Granite, the school yearbook. She was the secretary/receptionist in the yearbook’s office and I was a sort of freelance, photographer-at-large.

We met one day in February.

It was February vacation week in the Conway schools and I had come down to Durham to have my senior picture taken. The photographer had set up a “studio” in the room that served as the editor’s office. She was at the desk in the front room, checking people in for their appointments.

After my appointment, I hung out in the front room, chatting with the editor, a couple of the other photographers and, mostly, her. The buzz around the office that day was The Granite staff party that was planned for the coming weekend. It took a bit of nudging, but she finally agreed to go to the party with me.

A great time at the party was followed a few days later by a lunch date in Durham at The Tin Palace. Soon we went to our first movie – Young Frankenstein – and dinner in nearby Newington, at The Issac Dow House.

Throughout March, I frequently drove down to Durham to see her. In between those visits, when I was back up in North Conway, we spent many hours on the phone, talking, laughing and getting to know each other. After receiving my phone bill, we started writing and a series of long, detailed and heart-felt epistles were regularly delivered to each of our mailboxes during April and May.

Sometime in April of 1975, I wrote this song.

[Click on the blue link (wait for it!) to listen.]

“Song For Andrea” – Words, Music, Guitar & Vocals by Eric Sinclair

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This Historic Day In Music: Doc Watson

Doc Watson was born this day, March 2, in the year of 1923 in Deep Gap, North Carolina.

Doc is one of my most favorite guitarists, acoustic or electric, any style or genre.

The word that always comes to mind when I think of the sound of his guitar is: pure.

Here’s a very well done video/slide show that I found on YouTube set to Doc’s 1964 recording of “Sitting On Top Of The World” from his first album.

Doc Watson passed away on May 29, 2012 in Winston-Salem, North Carolina.

If you’d like to see, hear and read some more about Doc Watson, check out my May 30, 2012 post “So Long, Doc.”

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This Historic Day In Music: George Harrison

The cover story in the November, 1987 issue of Guitar Player magazine was written by then-Editor-At-Large, Dan Forte and was titled: “The Jungle Music & Posh Skiffle of George Harrison.”

In the lenghty interview section of the article, Mr. Forte asked Mr. Harrison: “What first attracted you to take up the guitar?”

Mr. Harrison answered: “My earliest recollection is that my dad used to go away to sea in the merchant navy, and sometime when I was a little boy he brought a wind-up gramophone that he bought in New York, and he had all these records. The old 78s with the big needles. And he had Jimmie Rodgers. And I just loved that – just the sound of those old acoustic guitars recorded really roughly.”

“Then there was this big skiffle craze happening for a while in England – which was Lonnie Donegan. He set all them kids on the road. Everybody was in a skiffle group. Lonnie was into, like, Lonnie Johnson and Lead Belly – those kind of tunes. But he did it in this sort of very accessible way for kids. We all just got started on that. You only needed two chords: jing-jinga-jing, jing-jinga-jing.”

“And I think that is bascially where I’ve always been at. I’m just a skiffler, you know. Now I do ‘posh skiffle.’ That’s all it is. It’s just posh skiffle.”

George Harrison was born this day, February 25, 1943, in Liverpool, England.

He passed away on November 29, 2001.

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This Historic Day In Music: “God Blessed America”

The day was February 23, 1940 and Woody Guthrie was in New York City. He’d arrived a few weeks earlier having hitchhiked from Pampa, Texas, a journey begun just after New Year’s Day.

On that day, Woody’s “home” was Hanover House, a cheap hotel on the corner of 43rd Street and Sixth Avenue, near Times Square. He’d already worn out his welcome as a house guest with the few people he knew in the city and there were no job prospects on the horizon. Woody sat alone in his room, frustrated, sad and annoyed. The combination proved to be inspirational.

Woody’s annoyance however, was not with his situation. It was with a song.

For several months now – starting back in Pampa and following him all the way across the country – it had seemed to Woody that every time he was near a radio or a jukebox, Kate Smith’s 1939 recording of Irving Berlin’s song “God Bless America” would soon be playing.

The song bothered him. To Woody, it was simplistic, encouraged complacency and definitely did not apply to the people he knew or the America that he’d seen and lived in and travelled through, especially over the past several years. Woody had come to the conclusion that a response, maybe a “patriotic” song of his own would soon be necessary and on that February day, the words poured out of him.

When he was done, he’d written six verses, each one ending with the line: “God blessed America for me.” At the bottom of the page he added: “All you can write is what you see” and then the date: February 23, 1940.

When it came time to set his lyrics to a tune, as Woody often did, he borrowed one. This time the melody he adapted to his words came from a Carter Family song called “When The World’s On Fire.”

Later that year, when Woody started recording his Dust Bowl-inspired ballads, “God Blessed America” did not appear. But, in April 1944 – near the end of a multi-day series of marathon recording sessions for Moe Asch’s Folkways Records – Woody recorded a “new song” that he called: “This Land Is Your Land.” The “new” song, it turned out, was the old “God Blessed America” with a new title and a much-improved last line to each verse: “This land was made for you and me.”

The first line of “This Land…” – “This land is your land, this land is my land” -and many of the lines in the other verses were and still are, as the song is sung today, exactly the same as when Woody Guthrie first wrote them down on paper in that New York City hotel room on February 23, 1940.

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Let It Snow!

“Let It Snow! Let It Snow! Let It Snow!” was written in July, 1945, in Hollywood, California by Sammy Cahn and Jule Styne.

A blizzard warning was not in effect.

Frank Sinatra recorded this swinging version in 1950.

Enjoy!

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