“Another Mule Kickin’ in Your Stall,” is supposed to be metaphorical.
In this case, though, it’s all-too-real. Elvin Bishop does a great, laid-back version of this Muddy Waters song. There are several great versions, if you are interested. Junior Wells has a fine rendition, featuring his harmonica. So does the great blues piano player, Otis Spann, here. Bobby “Blue” Bland does a growling version here.
France puts a massive police presence on the streets ahead of Sunday’s elections
Comment: Why would Islamic terrorists strike so close to the election, in such prominent spot? What’s the logic?
They surely know it will increase support for the most hardline anti-Islam candidates. They must calculate that such candidates will strengthen their own radical basic in poor, bitter, poorly-integrated areas in France and across Europe. That is, they want to drive a wedge between French Muslims and the rest of the country, hoping the Muslims will then side with ISIS.
The high-profile attack also signals strength to their supporters around the world. They are saying, in effect, that we may be losing their territorial Caliphate in Iraq/Syria, but we can still cause death and destruction to the Infidels. Of course, all non-Muslims and perhaps even Muslims who are not in ISIS are infidels.
Meanwhile, Europe itself is in the midst of a cultural, political, and organizational crisis, besieged on several fronts with no clear leaders and confusion over what to do about Islamic immigrants, Russia, the EU, and Turkey.
The comments came from Larry Fink, CEO of BlackRock, the world’s largest asset manager (over $5 trillion). Fink stressed how much depends on corporate earning and political action in Washington.
The stock market needs validation that U.S. corporate earnings will stay strong and that the policies of President Donald Trump regarding taxes, regulation and infrastructure will advance in Congress in order to move higher, Fink said.
“If we don’t have earnings validated in these higher P/Es [price/earnings ratios] we could adjust downward 5 or 10 percent from here,” Fink said. “If the administration does succeed on some of these items then the market will then reassert itself going higher.” –Larry Fink, interviewed by Bloomberg News
It comments on the Alluvian Hotel in Greenwood, Doe’s Eat Place in Greenville, and a lifelong favorite of mine, Chamoun’s Rest Haven (Lebanese food) in Clarksdale.
Comment: The omission of Abe’s Bar-B-Q is a serious error of omission that should be corrected immediately by the Clarion-Ledger.
People don’t go to Abe’s for the view or white table cloths. They go for some serious pulled-pork sandwiches.
In other Mississippi news: Gov. Phil Bryant vetoes a budget line-item spending $50,000 on a PR campaign telling people wild hogs are dangerous. His point: they are dangerous, but you should already know that unless you are an idiot. He was more polite.
Here is Cotton playing Muddy’s blues standard, Got My Mojo Working (1966, at the height of their powers).
Listen for Cotton’s brief, hard-driving solos.
Muddy had his pick of musicians, and he chose the best: Otis Spann on piano, Jimmy Rogers on guitar, Willie Dixon on bass, Willie “Big Eyes” Smith on drums, and first Little Walter Jacobs and then James Cotton on harmonica.
Born to sharecroppers in Tunica, Mississippi, north of Clarksdale, in 1935, he learned harmonica from his mother, who used it to imitate chickens and trains.
But it was Sonny Boy Williamson II who really taught him the instrument. Williamson, actually named Rice Miller, was one of several harmonica players who named themselves “Sonny Boy” after the great blues harmonica player from the 1930s. Williamson was a star on “King Biscuit Time,” just across the Mississippi River from Tunica, and young James Cotton loved hearing him. Better yet, Williamson began mentoring Cotton.
“I wanted to be just like Sonny Boy,” [Cotton] recalled. “I watched every move he made, every word he said.”
“If he played it tonight,” Mr. Cotton added, “I played it tomorrow.” –James Cotton in the New York Times
By the early 1950s, Cotton was in Memphis, working with Howlin’ Wolf and recording his own songs at Sam Phillips’ Sun Studios.
Later, he would join the great bluesmen in Chicago–most of them, like Muddy, Wolf, and Cotton, natives of the Mississippi Delta, weaned on acoustic blues, now creating the urban form of electric blues.
Cotton would go on to win all the awards blues music had to offer.
James Cotton, Rest in Peace.
To me, the most moving memorial for blues greats we have lost is “Six Strings Down.” Robert Cray wrote it after his lost his friend Stevie Ray Vaughn.
Heaven done called another blues singer back home
The song goes on to name so many of the greats.
Here’s a version led by the great Hubert Sumlin, the guitarist in Howlin’ Wolf’s band. He’s got oxygen tubes in his nose! But he’s laying down the blues for his departed friends. It’s all the more touching knowing that he has now joined them.
Special bonus question: Behind Jimmy Vaughan is Robert Cray (with the black and white guitar). What was his first movie? His role was uncredited but, I guarantee you, you’ve seen it.
If you need a hint, here it is in two words: “My man!”
That’s why Rodney Dangerfield’s “I can’t get no respect” is so great. It is a universal human cry, and his whole persona manages to convey it.
It is the comedic version of Death of a Salesman’s Willie Loman. As Willie’s wife says of him “attention must be paid.”
Willy Loman never made a lot of money. His name was never in the paper. He’s not the finest character that ever lived. But he’s a human being, and a terrible thing is happening to him. So attention must be paid. He’s not to be allowed to fall into his grave like an old dog. Attention, attention must be finally paid to such a person.
–Linda Loman speaking of her husband, Willie Loman in Arthur Miller’s Death of a Salesman
Blues music is filled with such universal cries from the heart. One that particularly resonates is Albert King’s 1967 classic, Born Under a Bad Sign (lyrics by William Bell, music by Booker T. Jones). Albert King’s version is a landmark in electric-blues history, leavening the self-pity with humor: “if it wasn’t for bad luck, I wouldn’t have no luck at all.” (The original recording is here.)
Here is Joe Bonamassa, one of today’s best blues/rock guitarists, with backup singers that remind me of Ray Charles’ “Raylettes.”
Mose Allison, who died today after a long, influential life in music, transformed the Delta Blues, played on acoustic guitars and harmonicas, into modern piano jazz, often inflected with wry humor. The last line of the song is the killer (pun intended). The NYT obituary is here.
Mose Allison’s Powerful Influence
Allison’s ability to transform and update Delta Blues had a huge impact on British rockers in the late 1960s, looking to create their own genre, based on the Delta originals. Here are some of these Brits remembering how popular Mose’s “Parchman Farm” was in England and how it influenced their own music.
Johnny Winter, the great Texas guitarist, does Mose’s version with the same humor and a blues/rock edge:
I love the hard blues/rock version of Albert Castiglia.
And a traditional blues song about the prison farm, to give you a sense of Allison’s point of departure
To understand the depth and originality of Mose Allison’s version, listen to this powerful, traditional version of “Parchman Farm Blues” by Bukka White. It’s not the same song, but it one of many written about the iconic Mississippi Prison, where so many blacks and whites, men and women, served hard time in the cotton fields.