Despite the fact Ben Ratliff's "Hearts Full of Sorrow" provides an excellent name-checking review of Ted Gioia's Delta Blues: The Life and Times of the Mississippi Masters Who Revolutionised American Music in The New York Times, nowhere does the name of the decided maestro, Mississippi Fred McDowell, appear, a fact I personally find mighty queer, particularly since THE MAN who so famously uttered THE PHRASE, "Ah Do Not Play No Rock 'n' Roll," stands head-and-shoulders above damned-near everyone in the delta-blues field.
Fortunately, on my cyber-travels, I discovered an excellent Blog dedicated to the blues, BLUES TOWN, one containing an entire entry devoted to the extraordinary musician who made his instrument utterly sing with that low-down up-liftin' slide-with-pride zing-thing (crafted by Nagiants40).
Additionally, I came across another 'site (out of Deutschland), one listing MFM's illustrious discography as well as containing plenty to admire, acquire, or cyber-hear and see.
Natch, in desperation, I turned to YouTube; and, I thank the Deity alongside AAACopywriter I did (despite the fact it has taken me an hour-plus to compile this data because, for some ungawdly reason, Blogger ate the entire original post just as I was wrapping up around 11:06 PM; so, natch, it was back to square-scratch for this one [blur-slurred Sheepish DuhDame Number None @ 12:55 AM the next day :); s'okay, if it brings some of this joyful noiseful your deserving musical way]):
Hi Judith,
ReplyDeleteWhile you were doing this, I was listening to the blues, and specifically blues guitarists. I ran into this page: 100 Greatest Blues Guitarists; and was searching for videos to give them a listen, just a way to enjoy music.
You'll see that Mississippi Fred McDowell is listed as #38. I landed on the #31 Ry Cooder, who did the score for the movie Crossroads with Steve Vai, but specifically the guitar duel scene: Steve Vai, with Ry Cooder, Cuts Heads in Crossroads. You got to hand it to unlisted Vai in that scene, for the rock, blues, bluesy rock, and classical guitar he integreated so well.
So we landed at different ends of the blues scene, where things intersect at Robert Johnson. The movie was based in part on the legend of a missing Johnson song.
Thanks
Yours,
Rus
Hey, YOU! I was thinking of you when I came across something to do with Zombies on The Globe and Mail 'site! No kidding; and, I was over there looking for a column on Boomers I wanted to submit to the "Crapitulation," etc. thread (and, yep, I 'fess up openly and dopenly, it was that word, one I immediately filed under "C" in my mental discombobulatory repository :)).
ReplyDeleteOf course we can borrow it, Rus, can't we? "Crapituition" also does it for me :).
Oh, though, I do LOVE this music, I truly worship it; and, astonishingly, I'm always learning more and more about it from the most unlikeliest of sources; like, who'da thunk you'd be teaching me a new blue trick or two? (Which is not an insult directed at you; rather, it's a compliment by way way of genuinely thanking you.)
I think I always have loved it, right from the beginning (which, for me, meant early Top-Forty radio roots, hearing its echoes in Elvis, Wonder, Buddy, Charles, Ella, Patti, Hank, et so forthia; but, it wasn't till I went to uni that I really got swept off my feet by it).
That's why I can't stand Lez Zep, though; they're bloody thieves, I don't care how many of its followers believes (underwise).
But, I think I've seen, for example, B.B. King more than any other Canadian. I also had the rare privilege of seeing Ray Charles for free in Key Weird, as you call it, and for that, I shall always feel blessed. (Ray's CD, the country-and-western one? It makes me hurt so good; when I'm down and blue, it always come through except I've bleeped out "Hit The Road, Jack" [because that was the name of my stepfather and I don't like to be reminded of that creep when I'm already down that deep]).
But, those old blues masters? Elvis got a lot off Rufe Payne; and, those L'Inqs. you provided, what a goldmine of sounds divine; thank you!
Somehow, I think I knew you were into blues and jazz, prolly because you mentioned a restaurant you'd never forgotten in Louisiana; and, why would one go to Louisiana unless they had an abiding respect for the ol' kings and queens (Buddy Bolden inclus)?
Ry Cooder? Tamp 'em up solid? I still have that album; and, later, cassette; and, later still? I have it on CD. Buena Vista Social Club, IMO, was one of the greatest recorded compositions of the twentieth century, regardless of any format in which it gets slotted; I do love the guy.
I also love Stevie Ray [*angel*] and, some of the peeps with whom he used to jam and divinely play and, natch, that leads me to Guy Clark and I could go on and on and on (as you know); but, I don't know, it's called Blues; still, for me, it's nothing but the best kind of upfitzing / upfixing news.
I'm simply happy to know that I wasn't wrong about you; and, this love of ours provides me with another clue as to why that is so very true.
Here's a trufax for you: Before I called River what I called it? In manuscript? It was called, "Baby, Please Don't Go."
There you go, I think that telegraphs something, eh? Okay, you'll live to out-zombie another day, hey? LOL. (See, Nige started me this morning; give him heaven for me! Notice even Frank's caught the bug with that "Coda" post with the most and rhyming "Gray" with . . .
Okay). I shall now exercise my freedom of speech by knowing when to up-shut. As always, the pleasure's mine. You can whisper sweet moanings in my ear anytime (as long as they rhyme in four-four time and you keep your ears and eyes and nose in line and don't step on my feets nor Jelly-Roll toes) . . . Of course, you know I'm speaking metaphorically; otherwise, I'd be a Satanic Slip and that's no way to do Freud, as least as far as I can be.
p.s. If this comment's got a little whiff of acidophilus on it, it's because I have to eat six yoghurts by the end of the day since 10 November's its best-by date, eh? K . . . Just so you know :) . . .