MUDDY Was CLEARLY King!

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MUDDY WATERS: HIS BEST 1956 - 1964
by Muddy Waters
released: 1997
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In moving to Chicago from the Mississippi Delta region in 1943, MUDDY WATERS (McKinley Morganfield) essentially remolded the musical language known as The Blues. Playing now in nightclubs, the acoustic rural sound gave way to a booming urban beat. As a writer once cleverly quipped: "By plugging in his guitar, Muddy Waters invented electricity."
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'HIS BEST 1956 - 1964' captures the explosive, impassioned sonic Blues that Muddy developed and which was such an influence on so many Bluesmen who emulated him in his wake. Muddy was to Chicago Blues what Elvis was to Rock 'N' Roll - in a word: KING! These tracks feature the Blues King being backed by some of the legendary names of the genre: WILLIE DIXON (bass), JIMMY ROGERS (guitar), BUDDY GUY (guitar), JAMES COTTON (harp), A.C. REED (sax), OTIS SPANN (piano), the underrated S.P. LEARY (drums), and perhaps the most revered Blues instrumentalist of his generation, the harp master, LITTLE WALTER.
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These songs cook, rock, menace, sneer (wink and grin). This is raw, foot-stompin' stuff, the REAL Blues, the genuine article. Get this, get Howlin' Wolf's Chess sides, and the Complete Recordings of Robert Johnson and you'll discover from where the thieves Jimmy Page and Robert Plant stole their first two albums!
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Blues masterpieces such as most of the tracks presented here (like the rollicking 'ALL ABOARD' to Muddy's signature roof-raising 'GOT MY MOJO WORKING') are so dynamic and contain such evocative imagery that one could build a movie around them. And wouldn't you know it? That's just what I did about 15 years ago. The Blues almost became an independent character in an unproduced screenplay I wrote:
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Flipping through her old vinyl records, the terminally geeky Billy Withers says to the hip, sassy, Jazz & Blues street-singer, Billie Clayton, "Howlin' Wolf, Lightnin' Hopkins, Big Bill Broonzy, Muddy Waters? They sound like they're from the World Wrestling Federation."
She replies, "They're all great Bluesmen."
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Ah, but ain't it the truth?!
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And later in my screenplay, Muddy's song 'YOU CAN'T LOSE WHAT YOU AIN'T NEVER HAD' becomes the catalyst for the defining moment in my movie when Clayton refrains from murdering her unborn child.
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And yet my favorite track is 'THE SAME THING.' The lyrics punctuated by Spann's brief piano bursts, this moody, carnally-charged ballad shows how the Blues, in "proper" circles, came by the disparaging moniker, "the devil's music."
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WHAT MAKE MEN GO CRAZY WHEN A WOMAN WEAR HER DRESS SO TIGHT?
MUST BE THE SAME OL' THING THAT MAKES A TOMCAT FIGHT ALL NIGHT.
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WHY DO ALL OF THESE MEN TRY TO RUN A BIG-LEG WOMAN DOWN?
MUST BE THE SAME OL' THING THAT MAKES A BULLDOG HUG A HOUND.
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OH, THAT SAME THING!
TELL ME WHO'S TO BLAME?
THE WHOLE WORLD'S FIGHTIN' ABOUT THAT SAME THING.
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WHAT MAKE YOU FEEL SO GOOD WHEN YOUR BABY GET HER EVENING GOWN?
MUST BE THE SAME OL' THING THAT MADE A PREACHER LAY HIS BIBLE DOWN.
OH, THAT SAME THING!
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By all means, dive into MUDDY WATERS. Get 'HIS BEST 1956 - 1964' and see what kind of movie it inspires YOU to write. Or perhaps you'll just want to turn it up loud and let it rock you "all night long"; rock you like your "back ain't got no bone!"
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~ Stephen T. McCarthy
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WHAT I LEARNED FROM LEE RITENOUR

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[This review was written on Sunday, March 20, 2005]
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HOT ROD GUITAR
by Danny Gatton
released: 1999
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I was introduced to the music of DANNY GATTON by Larry Rosen (better known to his friends as F'n Lelly.) In 1994, F'n Lelly (himself a pretty good guitarist in an L.A. Blues band at the time) recorded a cassette for me which he titled, 'Little Guitar Ditties: Lelly's Favorites'. It contained 3 Danny Gatton tracks including the '93 version of HARLEM NOCTURNE, which knocked me out! All these years later, the incredible playing of Gatton still amazes and satisfies. He was one of the most technically proficient musicians to ever sling a six-string; and the most versatile, which more than anything probably accounts for his relative obscurity.
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In 1978, I was on the set of a Lee's Sportswear commercial which featured the renowned Jazz guitarist LEE RITENOUR. I happened to be standing nearby when he spoke to another musician about this new inventive guitarist named EDDIE VAN HALEN who had just arrived on the scene. In demonstrating Eddie's "tapping" technique, Ritenour whipped off a perfect Van Halenesque solo. My jaw dropped! I was an 18-year-old "Rock 'N' Roll Actor" at the time (a silly phrase I had coined for myself to describe my attitude as a performer) and I was heavily into Rock music back then. I later struck up a conversation with Ritenour and asked him what he thought of several other Rock guitarists who were popular at the time. I was surprised to hear him say, "They're all good."
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The proverbial "light bulb" above my head lit up that day. It occurred to me that usually very little difference in technical facility separates the artists of any medium at the highest levels of professionalism. The greatest artists achieve legendary status and eternal fame not so much on their technical ability, but based on their innovations and/or stylistic approach.
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It's not because VAN GOGH was the greatest painter of his time that his works now sell for millions of dollars. He had a style all his own: landscapes composed of brilliant colors applied to the canvas as if in an emotional rage! Nearly every EDWARD HOPPER painting conveys a sense of lonely isolation. That was HIS style. As an actor, JAMES DEAN said that in one hand he had Marlon Brando saying "f*** you!" and in the other he had Montgomery Clift saying "help me!" This approach in combination with a fertile imagination made him an eternal silver screen legend. For a long time, Big Band leader GLENN MILLER sought to capture the unique "sound" he heard in his mind. In putting together arrangements, he eventually stumbled upon it. By using a clarinet or alto sax in tandem with four other saxes, doubling an octave above the lead, he created The Glenn Miller Sound that made his music instantly recognizable thereafter. JIMI HENDRIX was a good player, but Danny Gatton could have played circles around him, and so could many other guitarists who came later. But Hendrix created a whole new sonic palette within the Rock music framework, and that's why he's fondly remembered today.
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DANNY GATTON was a technically GREAT player who excelled at every musical genre. This compilation is a heartfelt guitar potpourri. Whether plugging in the incandescent candles on a midnight romance (SAX FIFTH AVENUE), kick-starting a heart with unbridled electricity (NOTCHCO BLUES), exploring Jazz Avenues at dusk (KINDRED SPIRITS), or rocking your car during the dark rides (FUNHOUSE), Gatton displays both muscularity and sensitivity. His playing was first-class; never maudlin or affected. He may have sacrificed a musical composition to hotdogging once in awhile (ORANGE BLOSSOM MEDLEY), but hey, even that was enjoyable! 
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A couple of reviewers (at Amazon.com) seem to think that "music" is defined by lightning runs over the frets. Well GATTON displays hyperspace speed when he wants to, but if that's all you're interested in, you will miss the shimmering gorgeousness of delicate pieces like CANADIAN SUNSET and POINCIANA. As a person's taste in music matures, they come to discover that speed does not even register on the list of essential elements. A fine illustration of what I'm referring to can be found in the great (Jazzy) Blues guitar album 'GOOD HANDS' by DANNY CARON.
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Releasing his first eclectic album for Elektra, and pondering the direction of his future recordings, GATTON said, "I can't afford to get shelved. It all depends on the public whims." This may account for his anonymity. Other than his prodigiously developed and literally jaw-dropping technique and mind-warping speed, GATTON did not have an immediately recognizable signature sound, a unique personal style (heck, even Tom Scholz of Boston had that!) If widespread fame was what he sought, perhaps he should have mined for his own musical voice -- "public whims" be damned.
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Nevertheless, if you want to experience the playing of a true six-string master in a variety of settings with some world class accompaniment, then you'll be thrilled by this 2 disc set. Purchase 'HOT ROD GUITAR' (along with Danny Caron's aforementioned 'GOOD HANDS') and you won't regret it. You can trust me; I've never lied to you before have I? And be sure to tell 'em that Stephen and F'n Lelly sent you!
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~ Stephen T. McCarthy
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“THERE AIN’T BUT THE ONE THING MAKES MISTER JOHNSON DRINK”

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KING OF THE DELTA BLUES SINGERS, Vol. II
Robert Johnson
released: 1970
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I fell in love with the music of ROBERT JOHNSON in the late 1970s, and played it frequently during the early 1980s while hanging out with [link> THE LEAGUE OF SOUL CRUSADERS in my “Liquidated Youth”. (Some people have a “drinking buddy” but I had a “drinking gang”.)
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I owned both of the 'KING OF THE DELTA BLUES SINGERS' albums, and though Vol. 1 had Robert Johnson's most revered Blues masterpieces, including his great “devil” tunes, I always preferred Vol. 2 because I felt it contained more sonic variety. (Even my Ma loved “They’re Red Hot” because of all the changes in pitch that Johnson’s voice assumes in that cut.) I played the hell out of Robert Johnson in those days, and the other Soul Crusaders became infected with the Blues as a result. (They eventually learned some of the words to “Love In Vain” and we’d sing it while driving to the next watering hole.)
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By now, everyone’s heard that Johnson sold his soul to the devil for his prodigious musical talent. (What’re ya tryin’ to cast doubt on one of the great stories in the history of American music? Why ya blasted commie, I oughta -- a-Woo-Woo-Woo!) And hopefully you know that Led Zeppelin ripped off Johnson (and Wolf and Muddy) shamelessly with their first two albums. (Remember that line from Led Zepp II, where Plant sings, “You can squeeze my lemon ’til the juice runs down my leg”? They stole it directly from R.J. But R.J. wasn’t always so crude with his sexual references; he could also be funny. In “From Four Until Late” he sings, “A woman is like a dresser; some man’s always rambling through its drawers.”)
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I have myriad Robert Johnson/Booze ’N’ Blues memories intertwined throughout my personal history to keep me company in my sober, old age. When we [link> Soul Crusaders were in an energetic drinkin’ mood we’d often play Springsteen’s 'BORN TO RUN', 'MORRISON HOTEL' by The Doors, or 'TOO-RYE-AY' by Dexy’s Midnight Runners. When I was in a more mellow, contemplative mood, I’d drink to Van Morrison’s 'ASTRAL WEEKS', 'PIRATES' by Rickie Lee Jones, or 'SMALL CHANGE' by Tom Waits. (Of course, when we were in a Country-Western frame of mind there was just no substitute for the album 'MY BABY BUSTED MY HEART BUT I’M CRYIN’ ’CAUSE I SLICED AN ONION' by Yoey O’Dogherty And His Corn Liquor Boys.)
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But at 3:30 AM, when all the other Soul Crusaders were passed out, me ’n’ Twinkie would head for his bedroom. I know what you’re thinkin’, and it wasn’t like that at all! Despite his nickname, Twinkie and I were both manly men -- like lumberjacks, OK? And we were just going into his bedroom to listen to Robert Johnson. One night, we experienced a Liquidated Magical Moment: we simultaneously heard an R.J. lick that was literally “IMPOSSIBLE” for a single guitarist to play. Our heads snapped and we looked to each other, both of us slack-jawed. We never could find that exact same spot on the album again when in a sober state, so it was just one more of those mysterious things that happen when Boys ’N’ Booze meet (you rummies know what I’m yakkin’ 'bout).
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Twinkie’s real surname was “Johnson”, and borrowing the lyric from 'Kind Hearted Woman Blues', we used to sing out “Now there ain’t but the one thing makes Mister Johnson drink” every time he was having female troubles. (And he was ALWAYS having female troubles, so he did a lot of drinking. I only drank when I didn’t have a woman to give me trouble, meaning this lonesome boy also did a lot of drinking.) And Robert Johnson even inspired me to write my own Blues song, 'Devil On My Coattail Blues'. I’d sing it for ya, but I like ya too much to do that.
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The best performance of R.J.’s 'Love In Vain' that the Soul Crusaders ever gave was the night an angry Napoleon (aka Nappy), my brother (The League’s 5’ 6" “enforcer”), decided to stumble home from The Music Machine dance club when a smart woman declined his request for a dance. It would have been about a 12-mile walk, so we went looking for him shortly after he stormed out.
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Meanwhile, Napoleon had entered a bar to buy a cigar for the walk home, when some big, fat feller with some artificial hair started some crap with Nappy just because he was only 5’ 6”. Well, Nappy -- never one to take any crap from anyone -- reciprocated with some lip o' his own and then left the bar with his cigar.
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Fat Feller, figuring he would show his bar buddies how tough he was, went out after little Nappy and took a swing at him. (Ooooh, big boo-boo, Fat Feller! Ya just don’t antagonize “Little Mad Guy”.) With freakish quickness, Nappy flicked a left jab to set Fat Feller up, and immediately followed that with the right cross.
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Now ordinarily, Nappy’s right cross is enough to send ANY man to the next lunar cycle, if not to the Moon itself. But in this case, being in the “100-proof condition” that he was, Nappy’s punch merely succeeded in putting Fat Feller’s head into the full speed Linda Blair Exorcist-Spin Cycle. By the time the headlights of our van flashed upon the two combatants squared off with each other in the street, Fat Feller’s head was just coming to a stop, his toupee was lying in the dirt in the next county, and all of the fight had gone out of him. (Who knows where it went -- but it was later reported that something with its tail between its legs was seen yelping Westbound on Pico Boulevard, moving with great haste toward the Pacific Ocean.)
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We hustled Napoleon into the van while apologizing to Fat Feller. (Nappy was involved in this altercation, so naturally we had just “assumed” it was his fault.) But undoubtedly Fat Feller couldn’t hear the apology because of the ringing in his ears. And we drove off singing, “Ooooh-Ooooh, all my love’s in vain!”
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When I converted my Robert Johnson LPs to compact disc, I bought ’The Complete Recordings’ but the thing gave me the blues because I didn’t like the fact that all of the alternate takes were placed back-to-back with their released versions, so that unless I wanted to take time to program the player first, I was hearing many of the songs twice in a row. I later sold that set and acquired 'KING OF THE DELTA BLUES SINGERS Volume 1 and 2' separately, and I’m much happier now.
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Whether you need a soundtrack for drinkin’, fightin’, cryin’, or just general 'carryin' on' -- or need great Blues just for listenin’ to ’cause that’s the kinda guy or gal ya are -- 'KING OF THE DELTA BLUES SINGERS' is the real deal, the genuine article, true Blues for the true you. Buy it today and start creating your own intoxicated Robert Johnson memories!
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But whatever you do, don’t listen to 'KING OF THE DELTA BLUES SINGERS' while in public -- especially while you’re driving -- or you’ll have M.A.R.J. (Mothers Against Robert Johnson) madd at ya, and that’s even more dangerous than having Napoleon madd at ya!
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~ Stephen T. McCarthy
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BONE-DEEP BLUES!

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[This review was originally published at BigBitch.com on March 13, 2005.]
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GOOD HANDS
Danny Caron
2003
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Look, I'm 45 years old (my arthritic knees feel at least twice that age) and most people my age are rarely buying new music. I'm no exception. By 45, you know what you like and you've owned it for years. Because the tape deck in my truck broke several months back, I've been forced to listen to the radio while driving.
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Going home from work after midnight a few weeks ago, I put on the local pseudo-Jazz station. Late, when they figure nobody's listening anyway, KYOT sometimes shelves the Kenny G and Dave Koz and spins stuff a little more adventurous. About halfway home they started playing some hot guitarist whose style I did not recognize. Damn! This guy was GOOD! I pulled into my garage, shut off the engine and just sat there listening -- unable to go into the house until the track concluded. And I'm thinking: "You KYOT Airheadzona DJ better tell me who this is, doggone it!" 
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"That was DANNY CARON with THE PROMISE", he announced. Now, I know from past experiences that whenever a musical piece commands my attention to that degree upon first listen, I've got a winner.
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I ordered 'GOOD HANDS' from Amazon and when it arrived I found myself staring at a middle-aged, balding guy who looked like the archetypal late night television talk show host. My first impression: Well, yeah it's good, but maybe I didn't really need to own it. That opinion was radically reversed by my 4th or 5th trip through the nearly hour-long disc. By then, my ears had picked-up on what he was doing with that guitar, and now I'm thinking, "OH, HOKEY-SMOKE, MAN!".
While I have no doubt that CARON could trade blazing licks with virtually any "guitar god" out there (and although he does cut loose on the brief GATE WALKS THE BOARD) that's not what 'GOOD HANDS' is all about. These are mostly slow to mid-tempo deeply smoldering Blues, but played with awesome Jazz chops. The first thing you'll notice is the impeccable cleanness of his sound: sharp, single-note runs possessing an extraordinary finesse and rhythmic sense!
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But after your ears become "educated" you begin to notice the brilliantly executed shadings he employs to wring out the genuine emotional content of each piece. Hey, I love my Blues guitarists, but even the "Kings" (B.B., Albert and Freddie) could learn a thing from CARON about Blues nuance. Dang! This is just an exquisite Blues guitar album of uncommon sensitivity -- as soulful a recording as I have ever heard! If you're a young guitarist and you want to learn a thing or two about imbuing your music with an authentic feeling, a deep passion, 'GOOD HANDS' has a lot to teach you.
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And speaking of "HANDS", what's up with Caron's digits? The photographs indicate that either this guy is the size of Yao Ming, or else he has the most inordinately long fingers! That explains how he maneuvers around the neck of that guitar so nimbly.
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The tracks also contain some first-class accompaniment, notably: John Burr's romantic piano, Jim Pugh's funky Hammond B-3 organ, and a riotous tenor sax solo by Charles McNeal on HEY JIMMY. (Although I could do without the Charles Brown vocals on cuts #5 and #11.) If you like the classic Jazz guitarists such as Wes Montgomery, Kenny Burrell, Joe Pass, and early George Benson, then you'll SURELY want to add Danny Caron to your collection.
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My favorite piece is RAINY NIGHT IN GEORGIA. No, on second thought, I'd say IN A SENTIMENTAL MOOD. Check that! It's definitely SHINE ON. Alright, I really can't decide.
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But did you notice that I didn't even mention THE PROMISE -- the head-turning track I heard on the radio that caught my attention to begin with? That's how impressive this album is! What a travesty of justice that so much acclaim is lavished on each new long-haired, Hard Rock speed-freak guitarist who comes along, but a player like THIS remains unknown. He's never going to get the recognition that he deserves, but hey, you can forget all about Allstate, man, because you're in REALLY 'GOOD HANDS' with DANNY CARON!
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~ Stephen T. McCarthy
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LISTEN, BABY, HAVE YOU EVER BEEN LOVED BY A MAN THEY CALL THE WOLF?

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THE LONDON HOWLIN' WOLF SESSIONS
Howlin' Wolf (with Clapton, Winwood, etc.)
1970
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Don't listen to the so-called Blues purists! 'THE LONDON HOWLIN' WOLF SESSIONS' will rock your socks off. And if you go barefooted, then you'd better hang onto your hat!

I remember when the eponymous 'Van Halen' album was released in 1978, some writer for a music magazine reviewed it and criticized the song 'You Really Got Me' for being spunkless. "Spunkless"?! There's a lot of things one might say about that song, but "spunkless" damn sure ain't one of them. (Idiot writer!)

Similarly, this Howlin' Wolf album has been frequently denigrated by Blues fans who like to appear highbrow and above the "adulterated" late-period Blues that found White wannabes collaborating with the genuine articles. It doesn't seem to matter to these people that the songs here are so damned hot they're smokin'!

In the very early 1980s when I was first considering buying this album (in the vinyl form), I saw a review in which the writer said that the "tepid" playing from the famous English Rock instrumentalists backing Howlin' Wolf (Chester Arthur Burnett, 1910-1976) on this recording suggested that the young White boys were intimidated by the huge, old Black Bluesman (Wolf was over 6 feet and about 300 pounds). I nearly passed on this record because of that asinine comment. (Yeah, the playing is "tepid" exactly like Van Halen's 'You Really Got Me' is "spunkless". Idiot writers!!)

Fortunately, curiosity got the best of me, I purchased the "Licorice Pizza" (I now own it in the CD format), and I've been happily rockin' out to this bad-ass boy for about 33 years now! Aside from the tremendous Wolf, it also features Eric Clapton, Steve Winwood, Bill Wyman, Charlie Watts, and the great Hubert Sumlin. And although I am well-educated in The Blues (I was probably drinking copious amounts of Kahlua late at night to Robert Johnson's, 'King Of The Delta Blues Singers' before you were born), this is still one of my most frequently spun Blues sets -- and when I do spin it, I crank it up LOUD because it scares the Jehovah's Witnesses and the Mormons off of my front porch!

Sure, Wolf was old and ill when these tracks were cut (1970), but can you find a single young, White or Black contemporary rebel singer who sounds even half as ferocious as the Wolf does here? Don't bother answering -- that was a rhetorical question because "NO" is the obvious reply.

From the opening track, 'ROCKIN' DADDY', with its thick rhythm, Eric Clapton's fiery guitar licks, and the Wolf singing enticements to a woman (trying his best not to scare her off), it's clear that this quasi-Blues/Rock amalgamation is going to kick rump. And boy does it ever!

"YES, THEY CALL ME THE ROCKER; I CAN REALLY ROCK YOU ALL NIGHT LONG. I CAN LET YOU DOWN EASY WHEN I THINK YOUR MONEY'S GONE."

'Rockin' Daddy' moves right into the slightly slower, but no less rhythmically chunky and no less ferocious 'I AIN'T SUPERSTITIOUS'. The one-two punch of the piano and horns is enough to frighten the fainthearted, and that's without even mentioning the menace in Wolf's deep howl and the sexual tension throughout.

"WELL, THE DOGS ALL HOWLIN' ALL OVER THE NEIGHBORHOOD. THAT'S A TRUE SIGN THINGS AIN'T NO GOOD... PLAY IT ON! GO 'HEAD AND HOWL UNDER THE MOONLIGHT, 'CAUSE I GOT MY BABY BY MY SIDE. BOYS, SHE THE SWEETEST THING YOU EVER SEEN. YOUR DOGS IS HOWLIN', AND THE HOUNDS. PLAY! LISTEN, BABY, HAVE YOU EVER BEEN LOVED BY A MAN THEY CALL THE WOLF?"

"I'M WORRIED ABOUT YOU, BABY. AND YOU'D BETTER BE WORRIED ABOUT ME!"

"I'M GONNA LEAVE YOU, WOMAN, BEFORE I COMMIT A CRIME."

The dialogue between Wolf and the White Rockers before they launch into 'THE RED ROOSTER' is classic: Trying to get Wolf to play the acoustic guitar on the track, Clapton feigns an inability to grasp his part unless he can follow the Wolf's fingering. After some cajoling, Wolf -- indisputably the alpha in this pack -- puts an end to the discussion when he emphatically says, "Alright, let's get on it!" And do they ever! And borrowing from the Wolf's command, I've been using that phrase, "Let's get on it", for the last 33 years.

"SOME FOLKS BUILT LIKE THIS; SOME FOLKS BUILT LIKE THAT. BUT THE WAY I'M BUILT, DON'TCHA CALL ME FAT. BECAUSE I'M BUILT FOR COMFORT; I AIN'T BUILT FOR SPEED. BUT I GOT EVERYTHING, OH, A GOOD GIRL NEEDS."

"WE GONNA PITCH A WANG DANG DOODLE ALL NIGHT LONG. LET ME HOWL TO YA: WA-OOO! WA-OOO! WA-OOO! ALL NIGHT WA-OOO!"

If you're already a Blues enthusiast, there's no reason for you not to own the Wolf's early, rawest material found on the "twofer", 'Howlin' Wolf / Moanin' In The Moonlight'. That collection includes his standards, 'Spoonful', 'Smokestack Lightnin'', 'Evil', and 'Goin' Down Slow'. But if you're coming straight from the Rock genre, then 'THE LONDON HOWLIN' WOLF SESSIONS' is a perfect place for you to get introduced to this mountain of a man and one of the true giants in Blues.

Either way, this album should be kept within easy reach of everyone who wants a surefire way to answer the door when the proselytizers show up on the porch. At the first knock, crank up 'The London Howlin' Wolf Sessions' and then watch how fast they skedaddle. One time, two women dropped their 'Watchtower' pamphlets and outran their undergarments -- left 'em right there in an indecorous heap on my stoop. And I had one Mormon man bolt so fast that his toupee was still hanging in midair when I opened the door!

No doubt about it, ya simply MUST have this Wolf album in yer collection. "ALRIGHT, LET'S GET ON IT!"
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~ Stephen T. McCarthy
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ADDENDUM:
Do these recordings sound "tepid" to you? (Crank 'em up!)
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Link: ROCKIN' DADDY
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Link: I AIN'T SUPERSTITIOUS
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