SO....this project began from an odd-ball add on disc in an unusual 2 disc Blind Lemon Jefferson set that had an entire disc of non-Jefferson material. The alleged lure of the set was the remastering, but the Jefferson material did not sound better to me, so I was left with a nicely done, but oddly tagged 25 track set of Country Blues that was good as far as it went, but incomplete by my reckoning. I've pumped it up to 32 at this point. I've already thought of a few more guys, how about you?
Tuesday, July 8, 2014
The Road to Robert Johnson: A Rough Guide to Country Blues
My friend Cliff and I share the opinion that perhaps a bit of artificial
importance is currently given to Robert Johnson, due to the timing and
circumstances of his recordings being re-released. Here is a 32 track
odyssey that places him amongst his actual peers and predecessors and
perhaps shines a more realistic light on his place in the pantheon. He
is, to me, a later synthesis of many players, songs and verses that came
before him; his 'signature licks' often a simplification, a codifying
of more complicated originals. Some of this may well be attributable to
his sudden rise (by all accounts) from a barely able to play youth to a
surprisingly polished young man in around 2 years. His true genius may
well have been his ability to adapt 'licks' to his own skill set with
exceptional timing, and his ability to combine song fragments and
floating verses into powerful, coherent stories.
SO....this project began from an odd-ball add on disc in an unusual 2 disc Blind Lemon Jefferson set that had an entire disc of non-Jefferson material. The alleged lure of the set was the remastering, but the Jefferson material did not sound better to me, so I was left with a nicely done, but oddly tagged 25 track set of Country Blues that was good as far as it went, but incomplete by my reckoning. I've pumped it up to 32 at this point. I've already thought of a few more guys, how about you?
SO....this project began from an odd-ball add on disc in an unusual 2 disc Blind Lemon Jefferson set that had an entire disc of non-Jefferson material. The alleged lure of the set was the remastering, but the Jefferson material did not sound better to me, so I was left with a nicely done, but oddly tagged 25 track set of Country Blues that was good as far as it went, but incomplete by my reckoning. I've pumped it up to 32 at this point. I've already thought of a few more guys, how about you?
8 comments:
Yes - I'm with you and Cliff. Guaranteed the notion, or our name for it, originates with one of those long-dead clever French fouqueres, but I have been messing with the blues as a "field of discourse" - meaning that people (usually guys) argue about it and those with the most power and/or influence get to come out on top in "contested cultural terrain". Between the scholars and archivists and collectors and compilers of the '50s revivalist era, the big myth was made out of Robert Johnson. But at the time, in his time, to the people of his time, he appears to have meant very little of any popular significance. Compared to the other working musicians. Myths have become a fascination for me.
John V.-Right on you guys! Its so good to hear some people say what I've been thinking for many years. Johnson was great but when you place him in context with other players of his time and before you just have give those others their props. I just never understood why a Charlie Patton, Blind Lemon Jefferson,Blind Willie Johnson, etc.,etc.(you know them) don't seem to be held in the same esteem. I've always felt they were the monsters. King, I think your characterization of Johnson as a synthesizer is spot on. However I also think in synthesizing many elements from many sources he also "froze" the form and the improvisatory feel of those licks was lost.....
Oooo---interesting point - I think the freezing moment comes when every young Blues hound guitarist on both sides of the pond in the early 60's hears something he can actually PLAY within a week or two.
Well KC knows my love of RJ
Sure he was influenced in every way by his predecessors...that's evolution and progress...He's the height and most perfect example of rural acoustic blues...due to the fact he learnt from recordings as well as live experience...and thus had an early advantage to perfect this genre...His spiritual son...Muddy Waters...took RJ to Chicago and became the King of Electric Blues ...Nuff Said
...And after 45 years of playing the guitar...I'm still amazed at his talent...and adore his voice !
Yes. Being a giant in the blues tradition means echoing your forefathers, synthesizing, and finding your own original direction. Robert Johnson did all of that in a profound manner (IMO). In contrast to Gus, Johnson is not my personal favorite country blues artist, but I recognize his greatness in the same way that Guitar Gus does. And, yes, I also think that Charley Patton, Tommy Johnson, Blind Lemon Jefferson, Son House, and Skip James were every bit as great as Johnson.
Yes. Being a giant in the blues tradition means echoing your forefathers, synthesizing, and finding your own original direction. Robert Johnson did all of that in a profound manner (IMO). In contrast to Gus, Johnson is not my personal favorite country blues artist, but I recognize his greatness in the same way that Guitar Gus does. And, yes, I also think that Charley Patton, Tommy Johnson, Blind Lemon Jefferson, Son House, and Skip James were every bit as great as Johnson.
This and the following stream are great listens. Any chance of obtaining them as downloadable collections as well? I'll be getting back into the swing of putting some stuff on here soon . . . time again to pay back to the community. Thanks for all you do in making this an essential daily stop.
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