Something about vintage blues performed by the original artists thrills me; resonates in my bones. For many years, I tried to listen to a lot of well-meaning white musicians playing the same songs and tried get the same kicks, but with a few exceptions, most of the recordings just didn’t do it for me. Elmore James is Elmore James, and you can’t duplicate that, no matter how many expensive guitars you own and how many lessons you take. Or J.B. Lenoir and that gorgeous, fuzzy sound. Or Bo Diddley’s bouncing grooves. Or Junior Wells’ harmonica, messin’ with that kid. Buddy. B.B. I don’t have to even finish the names, they’re so good. You know exactly who I’m talking about, don’t you?
While some folks would call that the very definition of a blues purist, I came to realize it was just me being a blues dickhead. Some white guys can bring just as much blues game, I now admit (but not Clapton, yet).
Still, I have a hard time enjoying much blues outside the classics, despite trying to keep an open mind on the matter. Lately–like, say the last five years–I’ve become a 1960s garage rock junkie, collecting as many obscurities in that realm as I can afford. Sifting through that stuff, I can testify that there are some smokin’ renditions of Bo Diddley and Muddy to be heard in garage milieu, performed with more joy and respect than some of Muddy’s peers who were out on the touring circuit at the time, doing pat run-throughs of “Hoochie Coochie Man” just to please the crowd and getting the college kids to yell dope-fueled “YEAHHHs” and “AMENs” between phrases. (more…)
In his long and (not necessarily positive) storied career, Stephen Stills has constantly been overshadowed, in the press and in the court of popular opinion, by his longtime friend, band mate, and occasional sparring partner, Neil Young. While it’s certainly true that Stills has brought a lot of this on himself, it’s a shame that some very fine music has been overlooked as a result.
