After unsuccessfully resisting the urge to begin this post with a really bad Elvis Presley joke ( "What was Elvis' last hit?" - "The floor" (I don't have to explain that, do I?) ) I decided I should be charitable and try to address Elvis' impact on culture. Ironically, the textbook I use for my mass media classes identifies Elvis' appearence on Ed Sullivan as the high point of "low" culture. You've probably heard the "high" and "low" labels before but the labels are pretty transparent - "high" means museums, dance recitals, symphonies , Shakespearean plays - culture with a capital "C" - while "low" means professional wrestling, pop music, reality TV - culture for the so-called masses. This model held up pretty well when there was a vast socio-economic gap between the "high" and "low" classes, but it doesn't carry as much weight with the advent of the dominant middle class. Most of us are trapped in the morass of "middle" America, the suburban stew of credit cards, college loans and adjustable rate mortgages.
I certainly would never label Elvis Presley as "low" culture, mainly because I've always felt that any successful artist needs recognition in the marketplace to be respected; from my point of view, that makes Elvis' transition from a Mississippi shack to a Memphis mansion more significant than Michelangelo fawning for the Pope so he could finish the Sistine Chapel. Presley's stage persona appealed to wholesome white kids in the 50s because he was the personification of "race" music - a white man with a black voice.
The mushrooming middle class ( its growth fueled by the plethora of consumer products and the American postwar economy) adapted Elvis. They watched him grow from the skinny kid who just happened to cut "That's Alright" on the flip side of a record he was making for his Mama at Sun Records to a relentless performer enthroned in that mecca of middle class dreams - Las Vegas. Presley's life mirrored their experiences - he got drafted, he got married, he settled down with children, he got divorced, he dabbled with alcohol and drugs - reinforcing their shared identity.
When the crowd gathered at Graceland earlier this month to celebrate Elvis Presley's 75th birthday, they weren't concerned with "high" or "low" culture. Instead, they were mourning the death of a true middle class icon, the first man to bring the sound of the ghetto to Levittown.
Monday, January 25, 2010
Friday, January 1, 2010
L'Esperance Mandolin Ensemble 12/31/09
With all the confusion in the music industry as the record labels continue to grapple with the impact of i-Pods, ringtones, downloads and the demise of radio, it's refreshing to hear a local live performance like that of the L'Esperance Mandolin Ensemble, who played on New Year's Eve as part of Bright Night Providence at the Mathewson Street Church. This is pure entertainment, music without the incessant hype, people who play together on their own time strictly for enjoyment. The concert was an electic mix of genres and styles adapted for strings, presided over by Josh Bell , Concertmaster of the Providence Mandolin Orchestra and Director of the L'Esperance Mandolin Ensemble. BSRR spoke with Josh after the show.
BSRR:
Can you tell me how the orchestra started and when you got involved in it?
JOSH BELL:
Hibbard Perry was a mandolin and guitar teacher back in the late "Teens" and early 1920s. Starting in 1923, he began to conduct the first version of the Providence Mandolin Orchestra which he conducted until the popularity of the mandolin faded in 1939-1940. It was his dream from 1940 on to re-form this kind of music and we started playing together in 1971-72.
BSRR:
I've been told that Providence has a long standing association with the mandolin.
JOSH:
Giuseppe Pettini came to this country in the late 1880s as one of the first Italians to emigrate to America. He was already an accomplished mandolinist in Italy and when he arrived here (in Providence), he was probably in his late teens. He lied about his age and continued to lie about it until he was in his late 90s or early 100s. He died in 1966. In fact, his grandnephew is a member of our ensemble.
BSRR:
What are the different components of the mandolin orchestra?
JOSH:
Very much like a string orchestra. We have the second mandolins (which) play the same parts as first and second violins. We have a section of mandola players and a mandocello which is tuned the same as a cello in a string orchestra. A mandobass is tuned the same as a bass in string orchestra. We also have a guitar section.
BSRR:
How much classical material do you perform?
JOSH:
We do a lot of classical stuff. This program was designed more for a New Year's Eve celebration. The biggest market for classical music today is in TV and movie scores and commercials so it's not a stretch for us to be playing music that becomes popular in that way.
BSRR:
Just like John Williams.
JOSH:
I first played a John Williams number when I was in the seventh grade. He had written a piece for high school band that we played back in the 60s. He's just kept going.
BSRR:
One of the selections you did tonight was the "James Bond theme". What was the lawsuit you referred to during the introduction?
JOSH:
That piece was originally written for an Indian picture "A House For Mr. Biswa". The song from that movie featured that "dum de dum - dum" riff. When it was brought over to the James Bond theme, it was never actually given a name.
BSRR:
How about the theme from "The Magnificent 7"?
JOSH:
I think Duane - one of our mandolin players - found it first and said - 'Hey, why don't we play that one'?
(Other selections included "Ghostbusters", "Lady Madonna", and "Nutcracker Suite" - Editor's Note)
BSRR:
What message do you have for mandolin afcionadoes in relation to the future of the instrument and the popularity of the music?
JOSH:
The number one thing about the mandolin is it's an instrument that's accessible for people who want to play music. It's mostly about the joy of playing with other people. It's a very welcoming community of players. Within a year or two, almost anybody can find a group that they can play with and have a lot of fun making music.
Come to think of it, especially as we embark on a new decade, isn't that really what music is about?
BSRR:
Can you tell me how the orchestra started and when you got involved in it?
JOSH BELL:
Hibbard Perry was a mandolin and guitar teacher back in the late "Teens" and early 1920s. Starting in 1923, he began to conduct the first version of the Providence Mandolin Orchestra which he conducted until the popularity of the mandolin faded in 1939-1940. It was his dream from 1940 on to re-form this kind of music and we started playing together in 1971-72.
BSRR:
I've been told that Providence has a long standing association with the mandolin.
JOSH:
Giuseppe Pettini came to this country in the late 1880s as one of the first Italians to emigrate to America. He was already an accomplished mandolinist in Italy and when he arrived here (in Providence), he was probably in his late teens. He lied about his age and continued to lie about it until he was in his late 90s or early 100s. He died in 1966. In fact, his grandnephew is a member of our ensemble.
BSRR:
What are the different components of the mandolin orchestra?
JOSH:
Very much like a string orchestra. We have the second mandolins (which) play the same parts as first and second violins. We have a section of mandola players and a mandocello which is tuned the same as a cello in a string orchestra. A mandobass is tuned the same as a bass in string orchestra. We also have a guitar section.
BSRR:
How much classical material do you perform?
JOSH:
We do a lot of classical stuff. This program was designed more for a New Year's Eve celebration. The biggest market for classical music today is in TV and movie scores and commercials so it's not a stretch for us to be playing music that becomes popular in that way.
BSRR:
Just like John Williams.
JOSH:
I first played a John Williams number when I was in the seventh grade. He had written a piece for high school band that we played back in the 60s. He's just kept going.
BSRR:
One of the selections you did tonight was the "James Bond theme". What was the lawsuit you referred to during the introduction?
JOSH:
That piece was originally written for an Indian picture "A House For Mr. Biswa". The song from that movie featured that "dum de dum - dum" riff. When it was brought over to the James Bond theme, it was never actually given a name.
BSRR:
How about the theme from "The Magnificent 7"?
JOSH:
I think Duane - one of our mandolin players - found it first and said - 'Hey, why don't we play that one'?
(Other selections included "Ghostbusters", "Lady Madonna", and "Nutcracker Suite" - Editor's Note)
BSRR:
What message do you have for mandolin afcionadoes in relation to the future of the instrument and the popularity of the music?
JOSH:
The number one thing about the mandolin is it's an instrument that's accessible for people who want to play music. It's mostly about the joy of playing with other people. It's a very welcoming community of players. Within a year or two, almost anybody can find a group that they can play with and have a lot of fun making music.
Come to think of it, especially as we embark on a new decade, isn't that really what music is about?
Tuesday, December 8, 2009
Blue(s) From Santa
What - still confused over what to get your favorite blues fan for Christmas ? Here's some suggested stocking stuffers that might be a better choice than that tie with the really irritating color scheme or another reindeer sweater:
1. Hard Believer - Tommy Castro - Alligator
I first heard Tommy Castro's music back in the 90s courtesy of an exhibitor in the trade shows I used to run and liked his music from the start - uptempo, bluesy and tongue-in-cheek lyrics. His latest ranges from the energetic mix of horns and guitar solos a la Jimi Hendrix on "Monkey's Paradise" to the straight ahead, flat out road runner flavor of "Make It Back To Memphis" with solid blues ballads like "Backup Plan" and "It Is What It Is", not to mention my favorite new theme song of the economic meltdown - "Trimmin' Fat". or Castro's soul drenched version of "Ninety Nine and a Half".
2. The Blues Rolls On - Elvin Bishop - Delta Groove
Elvin Bishop probably deserves an "I'm Still Here" lifetime award , or at least a few pats on the back for outliving most of the members of the original Paul Butterfield band, not to mention his stint on the Billboard charts with "Fooled Around and Fell In Love". Bishop knows how to put a song together as evidenced by the presence of - surprise - Tommy Castro, James Cotton, George Thorogood,B.B. King and others on his latest. My personal favorite is "Who's The Fool?" featuring John Nemeth and Kid Anderson. BB King and "Lucille" help Elvin pay homage to Roy Milton and a bit of BB's past in "Keep A Dollar in Your Pocket". Bishop's rendition of Ray Charles' "Night Time Is The Right Time" , "Yonders Wall" , and the title cut are all worth a listen.
3. Acquired Taste - Delbert McClinton - New West Records
Delbert McClinton is another blues survivor, although my favorite Delbert tune - "Shakey Ground" - is more funk than blues. The tune that first caught my ear from"Acquired" is one called "Can't Nobody Say I Didn't Try", featuring a tear-drenched vocal accompanied by a Nashville sounding slide guitar that punctuates the late night lyrics about love lost. "I Need To Know" , "Mama's Little Baby" , and "Starting A Rumor" are just a few examples of Delbert's ability to borrow from country,blues , soul and even a little jazz, a testament to his extensive talent.
More next week - I have to go shopping.
1. Hard Believer - Tommy Castro - Alligator
I first heard Tommy Castro's music back in the 90s courtesy of an exhibitor in the trade shows I used to run and liked his music from the start - uptempo, bluesy and tongue-in-cheek lyrics. His latest ranges from the energetic mix of horns and guitar solos a la Jimi Hendrix on "Monkey's Paradise" to the straight ahead, flat out road runner flavor of "Make It Back To Memphis" with solid blues ballads like "Backup Plan" and "It Is What It Is", not to mention my favorite new theme song of the economic meltdown - "Trimmin' Fat". or Castro's soul drenched version of "Ninety Nine and a Half".
2. The Blues Rolls On - Elvin Bishop - Delta Groove
Elvin Bishop probably deserves an "I'm Still Here" lifetime award , or at least a few pats on the back for outliving most of the members of the original Paul Butterfield band, not to mention his stint on the Billboard charts with "Fooled Around and Fell In Love". Bishop knows how to put a song together as evidenced by the presence of - surprise - Tommy Castro, James Cotton, George Thorogood,B.B. King and others on his latest. My personal favorite is "Who's The Fool?" featuring John Nemeth and Kid Anderson. BB King and "Lucille" help Elvin pay homage to Roy Milton and a bit of BB's past in "Keep A Dollar in Your Pocket". Bishop's rendition of Ray Charles' "Night Time Is The Right Time" , "Yonders Wall" , and the title cut are all worth a listen.
3. Acquired Taste - Delbert McClinton - New West Records
Delbert McClinton is another blues survivor, although my favorite Delbert tune - "Shakey Ground" - is more funk than blues. The tune that first caught my ear from"Acquired" is one called "Can't Nobody Say I Didn't Try", featuring a tear-drenched vocal accompanied by a Nashville sounding slide guitar that punctuates the late night lyrics about love lost. "I Need To Know" , "Mama's Little Baby" , and "Starting A Rumor" are just a few examples of Delbert's ability to borrow from country,blues , soul and even a little jazz, a testament to his extensive talent.
More next week - I have to go shopping.
Tuesday, November 24, 2009
MJ RIP ?
I haven't written a single thing about Michael Jackson's death, but I probably should have (out of guilt? neglect?). Unfortunately, the sequence of events just seemed a bit too orchestrated, as if the death was a promo for the BIG public celebration which was a promotion for the movie release which cross -promoted all of MJ's music, all of which promoted the funeral. Germaine and Tito had their 15 minutes all over again - even LaToya got another sixty seconds. The only one still bitching is Joe Jackson, who always seems venomous even when he's pretending to be human. The family drama always seemed to nearly eclipse and submerge MJ's considerable talent, the tabloid tsunami revelations sweeping away his ability to emote, move and most of all entertain.
I would venture to say that our collective memories began with a beaming kid who looked just old enough to be singing about "A-B-C - easy as 1-2-3", and ended with an emaciated semi-white nose less freak. What happened in between has been the source of perpetual debate - the fame, the kids, the trials, the lifestyle - so adding anything would just be redundant. Michael Jackson was unlucky enough to grow up in a fishbowl under a microscope surrounded by constant volleys of flashbulbs and chattering stalkerazzi. He never seemed evil - confused, maybe, but not malicious - but low key, shy and - thanks to the autopsy report - possibly stoned out of his gourd. Could be he just drifted through life - comfortably numb -and let everybody else make decisions for him, which would explain the trail of bad business deals, broken promises and lost assets.
The final irony for Michael Jackson is the fact that this really was a good career move. Not only are his CDs suddenly hot commodities after all these years, but also "This is It" shows that he still has - HAD - all the right moves. Once the court battles are resolved, and the tabloids no longer have any Jackson family exposes, MJ's legacy will finally stand alone, reaffirming his impact on popular culture as a mega-talent.
I would venture to say that our collective memories began with a beaming kid who looked just old enough to be singing about "A-B-C - easy as 1-2-3", and ended with an emaciated semi-white nose less freak. What happened in between has been the source of perpetual debate - the fame, the kids, the trials, the lifestyle - so adding anything would just be redundant. Michael Jackson was unlucky enough to grow up in a fishbowl under a microscope surrounded by constant volleys of flashbulbs and chattering stalkerazzi. He never seemed evil - confused, maybe, but not malicious - but low key, shy and - thanks to the autopsy report - possibly stoned out of his gourd. Could be he just drifted through life - comfortably numb -and let everybody else make decisions for him, which would explain the trail of bad business deals, broken promises and lost assets.
The final irony for Michael Jackson is the fact that this really was a good career move. Not only are his CDs suddenly hot commodities after all these years, but also "This is It" shows that he still has - HAD - all the right moves. Once the court battles are resolved, and the tabloids no longer have any Jackson family exposes, MJ's legacy will finally stand alone, reaffirming his impact on popular culture as a mega-talent.
Sunday, November 8, 2009
Bnois King Speaks:The RI Return of the Blood Brothers
It may be a little hard to believe that most of Rhode Island's best blues shows are held at Chan's in Woonsocket, but don't just take my word for it - check it out for yourself, especially when Smokin' Joe Kubek and Bnois King are in town. The Blood Brothers' latest Blackstone Valley gig happened last Friday night (November 6), featuring penetrating guitar solos as Bnois and Smokin' Joe traded leads on standards like "Two Trains Running", "Ain't Superstitious" and "Stop Drinking", which is on their latest Alligator CD "Blues Brothers". BSRR caught up with Bnois between sets:
BSRR:
Tonight sounded a lot like fusion to me.
Bnois King:
It was kind of fusion a little bit, you know. Some nights you just play differently. It's got a lot to do with how you feel each night, you know.
BSRR:
So how do you pick what you're going to play?
Bnois King:
We have a set but we don't necessarily go down the set depending on how we feel - we might not go verbatim down the line, you know.
BSRR:
Are you heading back to the studio?
Bnois:
We were supposed to go back this month but I don't think it'll happen. It might happen in December.
BSRR:
Will it be a lot like what we heard tonight?
Bnois:
We probably won't be doing any of the stuff we played tonight. We haven't had a chance to really rehearse them with the band, you know. The material has been presented to the record company and they're reviewing it, they're checking it out.
BSRR:
We talk about Chicago blues, Memphis Blues, but if somebody asked you how to describe Texas blues, what would you say?
Bnois:
I would say more high energy, more aggressive.
The Blood Brothers are in the area twice a year, according to Bnois King, so make sure you catch them next time around. The combination of Bnois' melodic vocals, Smokin' Joe's spine straightening slide guitar, and the stinging riffs they trade off during sets is blues at its best. Chan's offers a year round "buffet" of blues -check Chan's website to see who's next. For more Blood Brothers' music , visit the gator - http://www.alligator.com/.
BSRR:
Tonight sounded a lot like fusion to me.
Bnois King:
It was kind of fusion a little bit, you know. Some nights you just play differently. It's got a lot to do with how you feel each night, you know.
BSRR:
So how do you pick what you're going to play?
Bnois King:
We have a set but we don't necessarily go down the set depending on how we feel - we might not go verbatim down the line, you know.
BSRR:
Are you heading back to the studio?
Bnois:
We were supposed to go back this month but I don't think it'll happen. It might happen in December.
BSRR:
Will it be a lot like what we heard tonight?
Bnois:
We probably won't be doing any of the stuff we played tonight. We haven't had a chance to really rehearse them with the band, you know. The material has been presented to the record company and they're reviewing it, they're checking it out.
BSRR:
We talk about Chicago blues, Memphis Blues, but if somebody asked you how to describe Texas blues, what would you say?
Bnois:
I would say more high energy, more aggressive.
The Blood Brothers are in the area twice a year, according to Bnois King, so make sure you catch them next time around. The combination of Bnois' melodic vocals, Smokin' Joe's spine straightening slide guitar, and the stinging riffs they trade off during sets is blues at its best. Chan's offers a year round "buffet" of blues -check Chan's website to see who's next. For more Blood Brothers' music , visit the gator - http://www.alligator.com/.
Friday, October 23, 2009
Excavating The Blues
I'm starting to think of myself as an archaeologist when I go to the - can't call it record anymore -to the music store. I'm still willing to dig through the mounds of bargain CDs searching for the discarded gems of Chicago, the Mississippi Delta, Detroit, the whole universe of blues, jazz, funk and soul that barely exists in the chain store galaxy. True, they do relegate tiny categories in distant aisles to the genres, but the real action takes place out front.
You can spot them as you approach the corporate logo mounted on some giant neon arch that is visible halfway across the mall, the rows of hastily assembled wire bins brimming with this week's offerring of already obsolete DVDs and CDs priced to move at 3.99 - 7.99 (funny how nobody ever says 4.00 or 8.00 - it's like the .01 makes a big difference ?). In preparation for a dig last week, I steeled myself with firm resolve - I would not buy anything that cost more than ten bucks. Armed with only my debit card, I began my methodical examination of the glittering plastic sea arrayed in the CD repository beneath, orange dots across their spines tossing like whitecaps in an ocean of "loss leaders" - basically artists dumped unceremoniously by the labels.
Forty five minutes of intense scrutiny unearthed Little Walter's Greatest Hits for about five bucks, plus Leon Russell's and Tina Turner's Greatest Hits at seven each. A word about alleged "hit" collections - make sure you read the back carefully to ensure it's not the typical scam of including one decent song with lots of sort of hits - a vicious fraud perpetrated on me in numerous purchases of James Brown collections or - even worse - Canned Heat.
Case in point - Henry Vestine passed away in October, so I thought I'd try to find some really good Vestine/Canned Heat licks to play on my show. The guy's face went blank when I asked innocently at the music store in what turned out to be a vain attempt to find anything by the group at all - I wanted "Evil Woman" and "Fried Hockey Boogie" off the one and only Heat album I ever bought. My new found buddy searched his database only to announce that the tunes in question were available on a French re-release of the original (ironically, I found out later that Henry actually passed away at the end of the band's tour in France- is there a link??) which nobody in the Western Hemisphere has a copy of.
Over the years, my expeditions have uncovered lost treasures in the hundreds: Muddy Waters and John Lee Hooker back to back, dozens of re-released, re-mastered versions of Robert Johnson, not to mention Chuck Berry, Bo Diddley, Howling Wolf, or Paul Butterfield, Buddy Guy, Albert Collins, Lonnie Mack, or Albert King, Leadbelly, and Lightnin' Hopkins - just to name a very few - plus all of those Motown Golden Hits compilations - the Temps, the Miracles, Jr Walker , Stevie, etc - , as well as all the Jukebox collections, the Blues one being superior for its inclusion of artists like Champion Jack Dupree, Memphis Slim, Roosevelt Sykes, Jimmy Witherspoon, Lowell Fulsom, Bessie Smith , Big Joe Williams- the greats that rarely get the recognition they deserve- if any at all.
There's a great big wilderness of unexplored low price bins out there waiting for intrepid explorers just like you. I say - forget the Pyramids, the Acropolis and the Taj Mahal - head for your local record - I mean - music store instead.
You can spot them as you approach the corporate logo mounted on some giant neon arch that is visible halfway across the mall, the rows of hastily assembled wire bins brimming with this week's offerring of already obsolete DVDs and CDs priced to move at 3.99 - 7.99 (funny how nobody ever says 4.00 or 8.00 - it's like the .01 makes a big difference ?). In preparation for a dig last week, I steeled myself with firm resolve - I would not buy anything that cost more than ten bucks. Armed with only my debit card, I began my methodical examination of the glittering plastic sea arrayed in the CD repository beneath, orange dots across their spines tossing like whitecaps in an ocean of "loss leaders" - basically artists dumped unceremoniously by the labels.
Forty five minutes of intense scrutiny unearthed Little Walter's Greatest Hits for about five bucks, plus Leon Russell's and Tina Turner's Greatest Hits at seven each. A word about alleged "hit" collections - make sure you read the back carefully to ensure it's not the typical scam of including one decent song with lots of sort of hits - a vicious fraud perpetrated on me in numerous purchases of James Brown collections or - even worse - Canned Heat.
Case in point - Henry Vestine passed away in October, so I thought I'd try to find some really good Vestine/Canned Heat licks to play on my show. The guy's face went blank when I asked innocently at the music store in what turned out to be a vain attempt to find anything by the group at all - I wanted "Evil Woman" and "Fried Hockey Boogie" off the one and only Heat album I ever bought. My new found buddy searched his database only to announce that the tunes in question were available on a French re-release of the original (ironically, I found out later that Henry actually passed away at the end of the band's tour in France- is there a link??) which nobody in the Western Hemisphere has a copy of.
Over the years, my expeditions have uncovered lost treasures in the hundreds: Muddy Waters and John Lee Hooker back to back, dozens of re-released, re-mastered versions of Robert Johnson, not to mention Chuck Berry, Bo Diddley, Howling Wolf, or Paul Butterfield, Buddy Guy, Albert Collins, Lonnie Mack, or Albert King, Leadbelly, and Lightnin' Hopkins - just to name a very few - plus all of those Motown Golden Hits compilations - the Temps, the Miracles, Jr Walker , Stevie, etc - , as well as all the Jukebox collections, the Blues one being superior for its inclusion of artists like Champion Jack Dupree, Memphis Slim, Roosevelt Sykes, Jimmy Witherspoon, Lowell Fulsom, Bessie Smith , Big Joe Williams- the greats that rarely get the recognition they deserve- if any at all.
There's a great big wilderness of unexplored low price bins out there waiting for intrepid explorers just like you. I say - forget the Pyramids, the Acropolis and the Taj Mahal - head for your local record - I mean - music store instead.
Monday, October 5, 2009
Chilling With The Iceman
I'm not sure when I first heard Albert Collins, but once I did, I couldn't get enough. His style is unmistakable - the stinging notes ripped out of his guitar to hang in the ear like icicles - so hot they're COLD - hence the nickname Iceman. Born outside Houston in October, 1932, Collins' career spanned session work (He replaced Jimi Hendrix in Little Richard's back up band) and years of patiently waiting for his turn to step into the spotlight. It took so long that Collins had to keep working construction jobs to make ends meet.
Could be that's why the Iceman's songs are so down to earth. "The Lights Are On But Nobody's Home" deals with mundane marital issues - his mother-in-law, infidelity, money - showcased by some of the best, sharpest "chicken picking" leads contemporary blues has to offer. "Too Many Dirty Dishes" not only features Albert actually "washing" pots and pans by sliding his fingers up and down the guitar's neck - as well as the sound of water filling a glass - but also depicts the suspicious husband getting home to find dirty dishes in the sink, his wife's infidelity also evidenced by the residue of steak and caviar and other delicacies that she never serves him. Despite Collins' musical musings on infidelity, he was married to the same woman for most of his life.
Could be that's why the Iceman's songs are so down to earth. "The Lights Are On But Nobody's Home" deals with mundane marital issues - his mother-in-law, infidelity, money - showcased by some of the best, sharpest "chicken picking" leads contemporary blues has to offer. "Too Many Dirty Dishes" not only features Albert actually "washing" pots and pans by sliding his fingers up and down the guitar's neck - as well as the sound of water filling a glass - but also depicts the suspicious husband getting home to find dirty dishes in the sink, his wife's infidelity also evidenced by the residue of steak and caviar and other delicacies that she never serves him. Despite Collins' musical musings on infidelity, he was married to the same woman for most of his life.
Besides love, Albert Collins' best tunes deal with another familiar topic - money. Songs like "Master Charge", in which the Iceman makes fun of his wife for constantly overloading the credit card (The refrain simply repeats "Master Charge - Bank Americard" over and over), "When the Welfare Turns Its Back on You ", or "Travellin' South" , the lyrics pointing out that the singer "has no money for the telephone", heading "back down to Texas" on the shoeleather express. "If Trouble Was Money" features one of the best refrains in blues in my opinion, pointing out that: "If trouble was money / I'd be a millionaire". Last but not least, Collins first came to prominence with his instrumental tunes - "Frostbite", "Don't Lose Your Cool", and "Meltdown" , just to name a few.
Albert Collins died in Las Vegas of lung cancer , way too soon. Fortunately, he left behind some of the coldest blues tunes ever recorded - too bad it was just the tip of the iceberg.
Subscribe to:
Posts (Atom)
