With many thanks to David Henley for suggesting this treat.
Tommy on the guitar, Jason on the vocals. Rural Alabama collaborates with rural Australia.
Both are by the “Altered Five” and I’ve posted one of them before.
But “On My List to Quit” is so damned good, and so catchy, that I want to make sure you see it. Frankly, it is caught in my head, happily repeating.
The second one, “Take me back to Three Forks, 1938,” refers to the location of the juke joint where Robert Johnson was poisoned that year. Another great song.
Btw, if you look at the image on “ZipDialog Presents the Blues,” you will see the signs for Mississippi Highways 49 and 61. They are the great blues highways in the Delta, both named in countless songs.
They meet in Clarksdale and that town claims them as the “crossroads” as the one where the devil taught Robert Johnson how to play. (Those of us from around there know it as the place where the devil taught Abe Davis how to make great BBQ.) In the “Three Forks” song, you’ll hear highway 49 in the lyrics.
A two-fer of 1930s blues/jazz/gospel from the movie, The Great Debater, courtesy of Sharon Jones, Alvin Youngblood Hart, and The Carolina Chocolate Drops.
Great music, interlaced with video from the film. Fine combo.
Special thanks to Seth Weinberger for suggesting it. I never even knew, and, man, was I missing something.
Totally different: some very sexy blues by Sharon Jones.
Great music, especially Jeff Taylor’s growling vocals and Jeff Schroedl’s masterful guitar.
The two Jeffs wrote the song, too.
Not hard to figure out the metaphors.
I’m charmed and dangerous.
I want to be your bad boy
Promise you darlin’,
I’ll fill you full of joy
If you liked that one from A5, try another, “It’s on my list to quit.”
How could you come up with a better title? And it is a great, hoppin’ song.
We’re so used to Muddy drivin’ hard, as he, Willie Dixon, Howlin’ Wolf, and others transformed the acoustic sound of the Delta into the electric sound of Chicago in the 1950s and 1960s.
But Muddy is different here.
His slow, simmering version drenches the song in sexuality.
And just listen to James Cotton’s harmonica and Willie “Big Eyes” Smith on drums.
Recorded in 1975, produced by the great Johnny Winter.