14. Rev. Gary Davis: Samson & Delilah
Reverend Gary Davis was the master of the East Coast ragtime guitar, creating a unique and distinctive guitar style that not only influenced many rock-era musicians, but also had a big influence an many of the blues players who came along after Davis recorded his greatest work in the 1930's. His influences were a mix of gospel, ragtime, jazz, minstrel, and blues. He recorded a number of extremely sophisticated records in the 30's before abruptly stopping when he became an ordained minister. He played sporadically after that, in between preching, but generally avoided blues, sticking mainly to gospel. His rediscovery came in the mid-1950's, and he was coaxed into appearing at the 1959 Newport Folk Festival, where he sang sermons; most notably "Samson and Delilah", a roof raising shouter, later recorded by the Grateful Dead. In his later years, he taught younger guitarists, among his notable pupils were Jorma Kaukonen of Jefferson Airplane, who covered Davis on his solo albums and with Hot Tuna, Ry Cooder, and David Bromberg.
15. John Lee Hooker: One Bourbon, One Scotch, One Beer
John Lee Hooker, from Mississippi, had something of a nomadic musical career before finding a niche on the Detroit blues circuit in 1943. He had a maverick approach to playing; known for a mournful guitar sound that could also erupt into heated boogie, often relying on a rhythmic single chord, his career took off in 1948 when "Boogie Chillin'", the B-side of his debut single "Sally Mae" reached the top of the r&b charts. Several more boogie-themed hits followed, all unaccompanied, and then Hooker branched out, recording for anyone offering a microphone, regardless of who he was signed to at the time. His early 50's output is spread across at least a dozen labels, if not two, before Vee Jay reeled him in and got him to record with a band. "One Bourbon, One Scotch, One Beer", written by Rudy Toombs, is one of Hooker's most covered recordings, including George Thorogood's popular version. Many Hooker compositions have also become rock standards, including "Boom Boom" and "Baby Please Don't Go". Hooker kept busy recording and making appearances right until his death in 2001.
16. Memphis Minnie: Me and My Chauffeur Blues
Memphis Minnie (Lizzie Douglas) was not only a great belter of blues songs, she was also an accomplished guitarist. In a career spanning from the 1920's through the 1950's, she routinely earned the sometimes grudging respect of male blues guitarists in a nearly all-male field with her singing and playing, which was largely in the Chicago tradition. Born in Louisiana in 1897, her recording career began in 1924; considering the cards stacked against her, her four decade career is not only a miracle but an inspiration. "Me and My Chauffeur Blues", from 1941, is full of double entendre and given a spirited performance; it may be her most enduring song. Jefferson Airplane covered it in 1966, and Maria Muldaur gave it a sexy workout in 1970. Memphis Minnie died in 1973.
Article comments
1 - Jones Violet
Perfect for a Sunday morning. Great stuff here, uao.
2 - uao
Thank you Jones Violet. I put a lot of effort into this one; I appreciate the kind word. :-)
3 - Phillip Winn
Wow, there's so much here it is hard to know where to even begin!
Blind Lemon Jefferson is worshipped around these parts, with a historical marker in downtown Dallas and a club (Blind Lemon) named after him.
Leadbelly is another amazing artist. I didn't know about his personal history, but I love his "King of the 12-string" album.
It's also nice to see Big Mama Thornton given some recognition here; she deserved more acclaim than she ever got.
You've got a couple of albums on here I don't think I've ever heard. Thanks for the recommendations; I'm going to spend a lot of time going through this.
4 - Taloran
An excellent read. You've covered some daunting ground here, and as you said, have barely scratched the surface. I look forward to future installments.
5 - hayduke
howlin wolf was named chester burnett, not arthur.... wasn't arthur the prez? Shoot wolf should of been president...
also willie dixon wrote songs for wolf and muddy. i thinks he gave them to the first one interested, not necessarily for one person in particular. He was an astute man who made alot of money in publishing, and holding a track for one person in particular, seems unlikely.
great records all that you cite. well done....
6 - uao
Thanks much guys. You're right hayduke, Chester Arthur was a president; my mind sometimes confuses names like that; good catch.
Now that you mention it, Dixon probably didn't write that tune "specifically" for Waters; like you said, it's more likely it was in his bagforthe first comer.
I do think that Dixon may have written stuff specifically for Koko Taylor, whose career he shepherded, but I may be wrong.
Thanks everyone for the thoughts and comments. I had a lot of fun writing this one, and even more fun listening to it along the way.
7 - TJ
Great article!
One question, though: I thought Mose Alison wrote "Parchman Farm?" Is this a different song entirely, or did Mose just "borrow" it?
8 - uao
Hmmm. Good question, TJ. I double checked it; "Parchman Farm Blues" is credited to Bukka White, although Mose Allison is listed as composer for "Parchman Farm" I haven't heard Allison's version, so I'm not sure if it is the same song. White's version would have predated Allison's by at least a decade, so White seems to indeed have written his version.
On Howlin' Wolf's name; turns out, I wasn't completely off. His full name was Chester Arthur Burnett, and he was named after Chester Arthur, the President.
9 - Joanie
Excellent dip into rock's historic link to the blues.
I'd love to see a part two!