Voice Of The Blues: Classic Interviews From Living Blues Magazine By Jim O'Neal & Amy Van Singel
(Routledge)

 Blues history is mostly an oral tradition and much of what we've gleaned came directly from the musicians themselves. This was music made by itinerant men and woman in an oppressive society oblivious to their role in blues history who would have been amazed that anyone would be interested in their story. In the 60's white audiences "discovered" blues in a big way and many sought to uncover it's hidden history. When Living Blues was launched in 1970 it wasn't the first blues magazine but it was the first to focus on the still vibrant living blues tradition. The heart of the magazine was the interviews, many quite in depth, that allowed blues artist their first opportunity to speak at length and tell their story. Living Blues has passed the 30 year mark and the accumulation of these stories has given us as close to an insiders view of the blues as we could ever hope. The 12 interviews that comprise "The Voice Of The Blues" are only a small part of the story but for those who want a deeper understanding of what the blues is all about this is essential reading.

 The interviews here are in some cases the most extensive the artists ever conducted and sadly only Little Milton is still with us. The interviews run the gamut from well known names like Muddy Waters, Freddie King, Little Walter, T-Bone Walker, John Lee Hooker, Jimmy Reed to artists like Georgia Tom Dorsey and Esther Phillips whose music was based in blues but explored more diverse territory later in life, to lesser known figures like Houston Stackhouse and Louis Myers. Many of the interviews incorporate material that was left out of the original Living Blues pieces and there is informative editorial and record release information to round out the artists own recollections. The majority of these interviews were conducted in the 70's at a time when many of the artists had been interviewed either fleetingly or never at all and in most cases they were happy to tell their stories. The interviews come across as intimate living room conversations and for the most part are disarmingly honest and straight forward.

 In my opinion the interview with Houston Stackhouse, the longest Living Blues has ever published, is one of the most informative and revealing interviews I've ever read. Stackhouse was not well known when this interview was first published and the situation remains the same now over twenty years since his death. Stackhouse was a pivotal figure in the story of the Delta blues having taught Robert Nighthawk how to play guitar, performing on the King Biscuit show with Sonny Boy Williamson, and seemingly having played with every important blues artist to emerge from the Delta such as Robert Johnson, Tommy Johnson and countless others. As editor Jim O'Neal says his story is a "minihistory of Mississippi/Arkansas blues" and blues scholar David Evans goes further stating "there was no more central figure in the Delta blues scene over such a long period as it passed from a prewar acoustic style to a postwar electric style than Houston Stackhouse."

 Muddy Waters and John Lee Hooker cast huge shadows over the blues and while their recordings are well known it's fascinating to hear these two giants in their own words. Muddy Waters' legacy was already well established when he was interviewed in 1974 and again in 1981 yet there had been very few in depth interviews with him up to this point. Interviewers Jim O'Neal and Amy Van Singel do a good job piercing what was called Muddy's "wall of reserve" going well beyond the basic facts. Hooker was also an established legend but this interview captures the talkative bluesman over a decade before he attained mega-star status.

  Not all the stories have successful endings like that of Waters and Hooker. Jimmy Reed was as big a star as any bluesman in the 50's and 60's however his debilitating alcoholism caused him many problems and while he fondly recalls his early days there's also a deep sense of mistrust and missed opportunities. Esther Phillips was riding high at the time of her 1974 interview voted the No. 1 female in Ebony's Black Music Poll, nominated for several awards and with a successful new record contract. She was also never quite able to kick her dependency on heroin and alcohol and sadly died at the age of 48. Eddie Boyd's battle was not with drugs or alcohol but with the day to day racism this proud man recalls vividly in his 1977 interview which caused him to move to Europe in the mid-60's.

  "The Voice Of The Blues" is an apt title for what better way to understand the blues that to hear the voices of those who lived with the blues day to day. The stories go well beyond the music and like the blues itself deal with life met head on, the good times and bad times, love, oppression, loss, everything which makes the blues so affecting and universal.

Can't Be Satisfied: The Life And Times Of Muddy Waters
By Robert Gordon (Little Brown)

 Blues scholarship is in high bloom these days with an increasing number of well researched books hitting the shelves. There's plenty more in the pipeline with biographies of Howlin' Wolf, Elmore James, Little Walter and Blind Willie McTell all in the works. It shouldn't be surprising in this climate that a giant like Muddy Waters would be profiled, and in fact this is the second Muddy biography in recent years ("Muddy Waters: The Mojo Man" was issued in 1997). While the former book focused on Muddy's recordings Gordon's book focuses on fleshing out the man. This was no easy task as Muddy was notoriously guarded about his life. Gordon succeeds on all counts with a well researched, finely written and readable account of a bluesman who's profile has continued to rise in the 20 years since his death.

 In a sense Muddy's central story is not that different from countless other delta bluesman who trekked up to Chicago to make their fame and fortune. The difference is of course Muddy's impact. The rise of this modest man, who lived on Stovall's Plantation until he was 30, into the undisputed King of Chicago Blues makes for a fascinating and unlikely tale. Gordon's approach is strictly chronological with each chapter tightly focusing on a set number of years from his birth in 1913 (revised from the mistaken 1915 date) up until his death in 1983.

 I found he first four chapters (1913-1943) to be the most illuminating shedding some light on Muddy's early years which have not be as well documented as his years in Chicago. The descriptions of the Delta region, sharecropping and life on a plantation are brought vividly to life by Gordon's nuanced writing. In fact if there's one thing that elevates this book above many other such books is that you are obviously in the hands of a skilled writer. Other such books may be equally well researched but are not nearly as eminently readable as Gordon's book. Muddy's early days of working "from sun to sun", selling bootleg whiskey, trapping furs and becoming increasingly more passionate about music are all told in wonderful detail. There were no shortage of musicians to inspire Muddy such as Robert Johnson, Charlie Patton, Big Joe Williams, Robert Nighthawk and above all Son House. By the time folklorist Alan Lomax came to visit, Muddy had become a local legend and hearing his performance played back on those big sixteen inch records was a pivotal point in his life. "I can do it, I can do it" he said to himself. By the summer of 1943 he was Chicago bound.

 Muddy's early Chicago days were not all that different from the Delta; he was working a day job, playing house parties and becoming known to musicians who would play a big role in his future. His style wasn't considerably different either accept that he adopted the electric guitar, a necessity to be heard in a bustling and noisy environment like Chicago. With a full band backing him (three guitars at times) the sound was loud and the birth of modern Chicago blues was at hand. As in the earlier chapters Gordon adds plenty of color to Muddy's attempts to define himself in a Chicago crowded with competing musicians before he broke out of the pack. With the 1950 release of "Rollin' Stone" on Chess the tide had turned and Muddy was well on his way. Gordon offers interesting insight into Muddy's 28 year relationship with Chess. One of Gordon's main themes is how Muddy's relationship with the Chess brothers was very similar to the paternalistic attitude of the boss man when Muddy was sharecropping back on the plantation. Chess, Gordon implies, was no different, offering Muddy advances, cars and the like and making Muddy wholly dependent on Chess. Things like royalties and publishing rights were another matter and it's clear Muddy, who could barley read and write, got the short end of the deal. As Gordon flatly states: "Muddy's matter-of-fact demeanor was the outgrowth of his sharecropping years; most anything that was happening in Chicago couldn't be as tough as the boss man's tub of dollars" (referring to the practice of offering sharecroppers to dip into a bucketful of silver dollars as their reward for slaving all year long). Muddy's story was the rare success story: he ended up relatively well off, after a brief slump found an eager white audience hungry for his brand of blues, found renewed life after Chess folded and found a manager that put his interests first.

 Gordon's research is impressive but if there's one flaw it's the fact that many of the more detailed information is regulated to the endnotes- a whopping 73 pages in small print. Clearly some of this information may be too arcane for the main narrative but certainly some of this material should have been folded into the main story. It's likely the more casual reader will overlook the notes which would be a real disservice.

 Besides this flaw Gordon has clearly done his homework and I would highly recommend this book to anyone with an interest in Muddy Waters or the blues in general. This was one of the more enjoyable and readable blues biographies I've read in some time and will undoubtedly go down as the standard work on Muddy Waters.

(Jeff Harris)

Willie King & The Liberators: Living In A New World
(Rooster)

 2001 was a good year for Willie King: his record "Freedom Creek" was named album of the year by Living Blues magazine and he was named Blues Artist of the Year in the same poll. Expectations were obviously high for "Living In A New World" and Willie King and his Liberators deliver the goods with an even more focused outing.

 "Freedom Creek" probably changed some people's view of the blues with it's combination of tough juke joint blues with an up front social message about prejudice, oppression and hope. With "Living In A New World" King mines similar lyrical territory but the musical landscape this time around is very different. The previous record's raw vibe was result of being recorded 'live' to two-track analogue at Bettie's Place in Prairie Point, MS. The new album is a much more polished affair, and in some ways more focused, as King and his remarkable band create a mighty groove that's a perfect marriage of deep blues and sultry soul.

  While things are different musically the message is still potent as King still sings about breaking your back and still getting nowhere, about love, about hope and about redemption. The old blues singers sang about the same things but the protest part was more veiled- times have changed and King lifts that veil singing for all those singers who who weren't allowed to adequately express themselves. The beauty of King's songs is that he doesn't beat you over the head with the message and when he sings "you talk about terror- I been terrorized all my life" in the song "Terrorized", he doesn't need to elaborate. This is a beautifully produced recorded capturing King and his tight knit band combing a Memphis soul groove with the earthy blues of John Lee Hooker. The band is filled out with Kevin Hayes laying down some fine alto sax, Henry Smith on piano and organ but above all it's Willie Lee Halbert on second vocal that perfectly underscores King's soulful proclamations. Compared to the last record the sound is almost gentle this time around as the band creates an almost hypnotic groove on songs like on "Living In A New World" and "America" with a soulful 60's vibe while songs like "Crawlin' Blues" and "The Stomper" evoke the boogie blues of John Lee Hooker. The album close with King straightforwardly telling what the blues means to him on the monologue "The Blues Life."

 Willie King is a remarkable bluesman who's really got something to say and we should be grateful that Rooster records has given him the opportunity to get his message across.

-Check out this related review:
Freedom Creek

Travis "Moonchild" Haddix: Milk & Bread (Wann-Sonn)

 Travis "Moonchild" Haddix has been quietly releasing some uniformly excellent contemporay blues records since the 80's but is still far from a household name. Haddix cut his teeth on the now defunct Ichiban label, putting out some of the label's best releases, and in the last few years has gotten even better releasing records under his own label. "Milk & Bread" is his finest outing, a sizzling soul drenched blues affair and it would be a shame if this one got overlooked.

 The Ichiban label had a roster of fine soul slanted blues artists but Haddix's records were certainly some of their more memorable releases. Haddix has released a number of fine records under his own Wann-Sonn label but lacking the distribution of a larger label he seems to have slipped under most blues fans radar. Critically, however, it's a different story getting rave reviews in the blues magazines and in 1999 he received awards for best male blues artist, best new blues artist, blues entertainer and contemporary blues artist of the year. "Milk & Bread" is further proof that Haddix is one of the best contemporary bluesman on the block.

 Haddix mines similar soul-blues territory as Artie "Bluesboy" White (who he's written songs for) and Little Milton but also reminds me of the soulful but more aggressive guitar sound of Lucky Peterson. Like those artists Haddix is blessed with an exceptionally soulful voice whether on aching soul ballads or growling the blues on more upbeat material. Haddix is a first class songwriter, writing every one of the record's twelve cuts. Unlike some of the other companies putting out contemporary soul-blues Haddix has spared no expense with a crack horn section that really give these songs some punch. There's honestly not a bad song in the bunch as Haddix storms out of the gate with plenty of attitude on the surging "Problem With That", the funky "Milk & Bread" about a childhood filled with struggle featuring stinging guitar licks, the shuffling R&B of "Why Wait" a joyous 60's styled love song, the tough as nails "Do Wrong Right", the ultimate blues hard luck tale and the excellent "Bread, Butter & Blues." Haddix is a hell of a guitar player creating a great big warm tone as he wrings out some tough but always soulful solos that add plenty of grit to this impeccably produced outing.

 "Milk & Bread" will undoubtedly make my short list for blues records of the year. Haddix deserves a shot at the big leagues and he's simply too good to remain a hidden treasure. Any major labels listening?

Jimmy "T99" Nelson: Take Your Pick (Netty Marie)

 Jimmy "T99" Nelson's 1999 album "Rockin' And Shoutin' The Blues" was hands down the year's finest comeback and the Houston singer remains at the top of his game on his follow-up "Take Your Pick."

 T99's heyday was back in the late 40's and 50's cutting some exceptionally hip Big Joe Turner influenced records for the Modern label. Nelson earned his moniker with the 1951 smash "T-99 Blues" which hit the upper reaches of the R&B charts. Records like "Second-Hand Fool", "Meet Me with Your Black Dress On" and "Cry Hard Luck" were every bit as good but failed to dent the charts. Nelson bounced his way through several labels in the 50's and 60's but with little success. In the 80's Nelson began to focus on music again playing locally in the Houston clubs and to adoring fans overseas. Like his aforementioned 1999 comeback, "Take Your Pick" is a swinging, horn driven return to the glory days of R&B from a true master.

 Nelson is the last of a dying breed, a booming blues shouter in the tradition of Big Joe Turner blessed with a hip delivery and the knack for writing memorable songs. In fact it was Turner who was one of the first to impart a few tricks of the trade to a young Nelson when he was just starting out. Nelson carries on the tradition with no let up in his vocal prowess aided by the same swinging band that made his last record such a success. The band includes a number of ex-Roomful of Blues horn players who have an impeccable feel for vintage R&B and in lieu of the late great Clarence Hollimon the guitar shoes are filled by the versatile Duke Robillard. The bulk of the songs are Nelson originals and he's a masterful songwriter who really knows how to tell a story and his songs are filled with plenty of good humored wit and wordplay. The chugging "Nasty Mean" kicks things off about a woman who's giving poor Jimmy nothing but grief and closes with a wonderful trombone solo from Carl Querfurth, the swinging "Come On" is joyous good time blues, while on "Deep Sleeping" Nelson takes his time on a fine after hours blues, "Son Listen To Me" has a rock solid shuffle featuring some great fills from Robillard and "Mornin' Noon And Night" is a thumping good time rocker. Nelson's music is absolutely timeless and radiates a cool hipness that these new retro bands will never emulate.

 Jimmy "T99" Nelson remains one of the last of the great blues shouters and what's more he hasn't lost a beat. If you want to hear a true master at work pick up "Take Your Pick" and crank it up. On a related note why Nelson's classic 40's and 50's sides have remained out of print for so long is anybody's guess. Let's hope this new disc will spur someone to reissue that classic material.

-Check out this related review:
Rockin' And Shoutin' The Blues

(Jeff Harris)