Sunday 3 October 2010

STAR BLUES on 3rd October 2010 at 22:00

Of all the blues magazines, few if any can match the longevity and influence of Living Blues, published 6 times every year to the world - and now celebrating the 40th anniversary. To mark the achievement they've chosen albums that define each decade and STAR BLUES reflects them yesterday and on the next three shows. We did music from twenty-two of the thirty in the Seventies selection to show the depth and quality of blues on offer.

1970 was a watershed for the blues purists and for our music in general as the emphasis moved away from singles on 45 or 78 towards the long playing vinyl format. It also meant that a blues song could be recorded in one than one studio at more than one time and pieced together later (previously blues was done in one or two takes with everyone present in the same studio for the session). Blues was documented as discographies showing who played with who and when, how players interacted to spark a unique or compelling performance. The Seventies for some meant the end of that "innocence" and a move towards a moguls-view of blues as a business commodity shifting emphasis away from artists. Not sure if I subscribe to those notions but it gives you an idea of the background to the birth of America's first international blues publication. (Prior to then we Brits showed our interest in blues, soul and gospel in a number of monthly magazines).

It was a great chance to remind ourselves how good the music was back then even if it was very hard to come by after the Sixties boom finished. Hound Dog Taylor set the tone with a rambunctious workout, Fenton Robinson, urbane and anguished followed and so lesser Muddy Waters opened the show. Bukka White, Lightnin' Hopkins and John Lee Hooker all had substantial careers already by the turn of the decade so no surprise to see them in the list. Eric Clapton and Dr. John were on hand for Buddy Guy and Jr Wells seminal "play the Blues" album and two Alberts Collins and King did what they did best at opposite ends of the Seventies. Hugh Hefner kickstarted Phillip Walker's career by signing him to the Playboy label and Walkers old mentor Clifton Chenier was on hand with a vibrant zydeco version of "The Hucklebuck". Lonnie Brooks got his start in Chenier's band and his "Bayou Lightnin'" gave us "Breakfast In Bed". His energetic sound effects won't be encouraged or in keeping with the family image our slender man has on the weekday breakfast extravaganza.

The soulful side got a good representation from ted Taylor, Bobby Bland, Little Milton, McKinley Mitchell and Geater Davis. The last pair being very difficult to find on cd at the moment. You can make a white tee shirt very happy if you can come up with more info on discs on either man. I'll leave you with that conundrum as I set about putting an Eighties setlist together for next Sunday. Until then take care of yourselves and take care of those that take care of you.

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