Roots of the Blues - Part One

Fortunately, acoustic blues are not dead but carefully preserved on compilations like Smithsonian Folkways Recording's "Classic Blues". Folkways is dedicated to documenting some of our best known as well as least appreciated musical talents with authentic, high quality,original recordings, and this particular assortment reaches back to document the rural Southern country blues and barrelhouse piano of the early Twentieth Century. Most of the major icons of the genre are represented with at least one cut.

Sonnie Terry and Brownie McGhee's "Old Jabo" evokes the rolling fields of their native North Carolina, its' lyrics suggesting African roots, Terry's vibrant harmonica dancing over McGhee's nimble guitar. Big Bill Broonzey's Depression-era "Mule-Ridin' Blues" is a steady, smooth talking blues laced with Broonzey's sardonic humor and easy picking, infusing animals with human sensibilities like Pink Anderson's tongue-in-cheek tale of the devastation caused by the scourge of the old, cotton-picking South - the "Boll Weevil". Reverend Gary Davis does a whimsical version of "Candy Man", his roughened, street preacher's voice sounding strangely gentle. One of the most haunting tunes is sung a Capella by Vera Hall, her soaring, full-bodied voice creating its own rhythmic refrain with the lyrics of "Black Woman." The legendary Son House relates a straightforward commentary on crime and punishment, his throbbing baritone combining with ominous guitar chords on "County Farm Blues."

True roadhouse, jukejoint piano is personified here by Memphis Slim , Champion Jack Dupree and Roosevelt Sykes, whose frantic assault on the ivories, called "Run the Blues Out of My Window", was originally recorded in 1936. His driving melody and pounding rt hymn combine with a frenetic vocal and shouted refrain: " I'm gonna ride - the train they call the Cannonball!" Probably the funniest song in the collection is "Beer Drinking Woman", in which a mournful Memphis Slim, accompanied by Willie Dixon, relates the story of the battle between his wallet and a woman with two hollow legs. "Clog Dance (Stomping Blues)" is an energetic romp for New Orleans bluesman Champion Jack DuPree, the ex-boxer pummeling the keyboard in melodic bursts, struggling to be heard above the handclaps and cascading feet. Edith North Johnson's mocking vocal , classic piano and mellow horns highlight "Nickel's Worth of Liver", a comic rendition of a lover's quarrel.

One of the truly great blues instrumentals of all time has to be "One Dime Blues", featuring the virtuoso guitar of the late Etta James. Her fluid finger picking caresses the ear, infused with a sense of muted resignation, the melody and rt hymn flowing seamlessly together. Although the original was recorded on Tradition Records in 1956, this live version dates from the Folk Master Series in 1992.

Leadbelly's rough, plaintive wail is showcased on "Leaving Blues" in contrast to Josh White's mellow , modulated "Careless Love". Big Joe Williams is characterized by his usual controlled but frantic pace, begging "Don't You Leave Me Here", while Lightnin' Hopkins' unique style of talking blues infuses "Come Go Home With Me." The legendary David "Honeyboy" Williams makes a rare appearance with "Pony Blues", his musicianship matched by the fact that he claims to have been with Robert Johnson the night he died.

These are just some of the artists on Classic Blues, but their work reinforces the music as a truly homemade cultural influence, creating the tradition that would travel further up the Delta and beyond Beale Street, ultimately becoming electrified and amplified in Chicago and Detroit. It is ironic to consider the fact that gangster rap may have had its roots back in those sarcastic Depression era commentaries passed off as "talking" blues. These musicians were the originals, and they deserve a listen.

*************************************************************************************
"One of the Top Ten Short Film Festivals in the United States...Don't miss it."
Chris Gore, Ultimate Film Festival Survival Guide

The Rhode Island International Film Festival ...Rhode Island's Premiere Cinema Event
Get information or get involved at www.RIIFF.org or www.RIFilmFest.org

The Cutlass Three

The Cutlass Three cut right to the bone, their killer combination of penetrating lead, "war" drums, solid bass and authoritative vocals creating ironclad jams punctuated with a chopping reggae/ska rthymn that evokes the best of the Clash, filtered through metal, hillbilly, blues and their own sometimes ironic twist. Whether you catch TCT live on the Southern New England club circuit, or pick up their just out EP " Ready To Strike" (Available at gigs or at www.myspace.com/thecutlassband ), you'll be amazed that three people can put out such an onslaught of sound.

The Three are brothers David - lead guitar, lead vocals - and Brenden DePrest - drums, backing vocals - plus Steve Cannella - bass, backing vocals. TheDePrests have been playing together for about six years or "for as long as they've been playing" as bassist Cannella puts it. David DePrest writes most of the lyrics, while all three combine on the music. Since the band formed about a year ago, they've been at the Century Lounge in Providence, Gillary's and The Elbow Room in Bristol, the Abbey Lounge and the Empress Ballroom, just to name a few, as well as getting airplay on the college stations and WAAF 97.7 FM in Boston.

Some of my favorite TCT cuts: "The Chills", an ominous warning that " the war is coming", underscored by Brenden DePrest's militaristic drumbeats and David DePrest's hard driving solos. It builds to a crescendo, then devolves into a dependable reggae beat, echoing the haunting refrain. "Cadillac Blues" is a frantic, raunchy tribute to a luxury ride that slyly points out " When I fill her up I feel soiled/cuz my government decided to use blood to pay for oil."

The true test of a great bar band is whether they have to compromise on their own tunes to deliver those crowd-pleasing covers, but The Cutlass Three plays 99 and 44/100% original music, like "Faraway Man", straightforward ska to get the crowd moving. One of their few covers is the Bobby Fuller Four classic "I Fought The Law" which TCT turns into its own with frenetic, soaring guitar solos and tongue-in-cheek vocals.

What's the name all about? TCT is closer to a brotherhood than an average band, according to Steve Cannella: " It's like the Three Musketeers, it's unity. There will never be another member or different members, we are the Cutlass Three."

Check out TCT's website for club dates, general band information and sample cuts from of "Ready To Strike" at www.myspace.com/thecutlassband