Descrizione
PREMESSA: LA SUPERIORITA’ DELLA MUSICA SU VINILE E’ ANCOR OGGI SANCITA, NOTORIA ED EVIDENTE. NON TANTO DA UN PUNTO DI VISTA DI RESA, QUALITA’ E PULIZIA DEL SUONO, TANTOMENO DA QUELLO DEL RIMPIANTO RETROSPETTIVO E NOSTALGICO , MA SOPRATTUTTO DA QUELLO PIU’ PALPABILE ED INOPPUGNABILE DELL’ ESSENZA, DELL’ ANIMA E DELLA SUBLIMAZIONE CREATIVA. IL DISCO IN VINILE HA PULSAZIONE ARTISTICA, PASSIONE ARMONICA E SPLENDORE GRAFICO , E’ PIACEVOLE DA OSSERVARE E DA TENERE IN MANO, RISPLENDE, PROFUMA E VIBRA DI VITA, DI EMOZIONE E DI SENSIBILITA’. E’ TUTTO QUELLO CHE NON E’ E NON POTRA’ MAI ESSERE IL CD, CHE AL CONTRARIO E’ SOLO UN OGGETTO MERAMENTE COMMERCIALE, POVERO, ARIDO, CINICO, STERILE ED ORWELLIANO, UNA DEGENERAZIONE INDUSTRIALE SCHIZOFRENICA E NECROFILA, LA DESOLANTE SOLUZIONE FINALE DELL’ AVIDITA’ DEL MERCATO E DELL’ ARROGANZA DEI DISCOGRAFICI .
MUDDY WATERS
rock me
Disco LP 33 giri , 1984, Cleo, LP NR CL0015983, holland
OTTIME CONDIZIONI, vinyl ex++/NM, cover ex++/NM
Energica compilation di stampa olandese probabilmente postuma (risale più o meno al 1984) con una sontuosa scorpacciata di alcuni tra i brani più struggenti ed indimenticabili del fenomenale “Acque Fangose”
Muddy Waters, nato McKinley Morganfield (Rolling Fork, 4 aprile 1915 – Westmont, 30 aprile 1983), è stato un cantante e chitarrista statunitense, generalmente considerato “il padre del blues di Chicago“. È anche il padre dei musicisti blues Big Bill Morganfield e Mud Morganfield.
Considerato uno dei più grandi bluesman di tutti i tempi nonché uno degli artisti più influenti del ventesimo secolo, Muddy Waters è stato di grande ispirazione per l’esplosione della musica beat britannica degli anni sessanta e punto di riferimento per gruppi come Rolling Stones e Yardbirds.
Nel 2004 Muddy Waters è stato posizionato al 17esimo posto nella lista dei “100 Greatest Artists of All Time” stilata dalla rivista Rolling Stone.
Venne soprannominato fin da bambino Muddy Waters (“acque fangose”)
dalla nonna per via della sua abitudine di sguazzare nel fango in riva
al Mississippi.
Suo padre, Ollie Morganfield, era un contadino e un musicista; sua
madre, Berta Jones, morì quando Muddy Waters aveva appena 3 anni,
lasciando ben 10 figli. In seguito alla morte della madre, Muddy seguì
la nonna a Clarksdale. Qui, all’età di 9 anni iniziò a suonare l’armonica e ai 16 la chitarra.
Nonostante guadagnasse qualche centesimo suonando a feste e pic-nic
nei dintorni di Clarksdale, lavorava, come la maggior parte dei neri
del Sud, come raccoglitore nei campi di cotone dei bianchi. Son Slims, violinista e chitarrista, fu uno dei suoi primi maestri e con esso fece la sua prima registrazione per l’esperto in folklore Alan Lomax (1942). Le registrazioni non vennero mai pubblicate, e Muddy Waters decise di andare a cercar fortuna a Chicago dove il blues stava ormai dilagando. Arrivato nella capitale dell’Illinois, lavorava di giorno come autista e di sera suonava nei bar e in piccoli club. Fece così conoscenza di Sonny Boy Williamson e Tampa Red. Trovò presto un contratto con la casa discografica blues Chess che in seguito avrebbe acquistato bluesmen come Little Walter, Howlin’ Wolf e Chuck Berry.
Muddy Waters morì nel sonno il 30 aprile 1983 nella sua casa di Westmont, Illinois,
poche settimane dopo il suo 68esimo compleanno. Al suo funerale, una
folla di musicisti blues e fans rese omaggio ad una delle forme d’arte
più genuine.
Due anni dopo la sua morte, la città di Chicago
onorò il suo ricordo rinominando una parte della 43esima Street in
“Honorary Muddy Waters Drive”, laddove un tempo egli aveva abitato.
A proposito della morte di Muddy Waters, B.B. King dichiarò a Guitar World:
“Dovranno passare anni e anni prima che la maggior parte della gente
realizzi quanto è stato grandioso per la storia della musica americana”.
- Interprete: Muddy Waters
- Etichetta: Cleo / Music Distributor
- Catalogo: CL 0015983
- Data di pubblicazione: amid 1980’s
- Supporto:vinile 33 giri
- Tipo audio: stereo
- Dimensioni: 30 cm.
- Facciate: 2
Track Listing
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| McKinley Morganfield (April 4, 1913 – April 30, 1983), known as Muddy Waters, was an American blues musician, generally considered “the Father of Chicago blues“. He is also the actual father of blues musicians Big Bill Morganfield and Larry “Mud Morganfield” Williams. A major inspiration for the British blues explosion in the 1960s, Muddy was ranked #17 in Rolling Stone magazine’s list of the 100 Greatest Artists of All Time. |
Life and career
Early life
Although in his later years Muddy usually said that he was born in Rolling Fork, Mississippi in 1915, he was actually born at Jug’s Corner in neighboring Issaquena County, Mississippi.
Recent research has uncovered documentation showing that in the 1930s
and 1940s he had reported his birth year as 1913 on both his marriage
license and musicians’ union card. A 1955 interview in the Chicago Defender
is the earliest claim of 1915 as his year of birth, which he continued
to use in interviews from that point onward. On the other hand, the
1920 census lists him as five years old as of March 6, 1920, suggesting
that his birth year may have been 1914. The Social Security Death
Index, relying on his Social Security card application, lists him as
being born April 5, 1915.
His grandmother Della Grant raised him after his mother died shortly
after his birth. His fondness for playing in mud earned him the
nickname “Muddy” at an early age. He later changed it to “Muddy Water”
and finally “Muddy Waters”.
He started out on harmonica but by age seventeen he was playing the
guitar at parties emulating two blues artists who were extremely
popular in the south, Son House and Robert Johnson.
“His thick heavy voice, the dark coloration of his tone and his firm,
almost solid, personality were all clearly derived from House,” wrote
music critic Peter Guralnick in Feel Like Going Home, “but the embellishments which he added, the imaginative slide technique and more agile rhythms, were closer to Johnson.”
On November 20, 1932 Muddy married Mabel Berry; Robert Nighthawk
played guitar at the wedding, and the party reportedly got so wild the
floor fell in. Mabel left Muddy three years later when Muddy’s first
child was born – the child’s mother was Leola Spain, sixteen years old,
“married to a man named Steve” and “going with a guy named Tucker”.
Leola was the only one of his girlfriends with whom Muddy would stay in
touch throughout his life; they never married. By the time he finally
cut out for Chicago in 1943, there was another Mrs. Morganfield left
behind, a girl called Sallie Ann.
Early career
In 1940, Muddy moved to Chicago for the first time. He played with Silas Green
a year later, and then returned to Mississippi. In the early part of
the decade he ran a juke joint, complete with gambling, moonshine and a
jukebox; he also performed music there himself. In the summer of 1941 Alan Lomax went to Stovall, Mississippi, on behalf of the Library of Congress to record various country blues musicians. “He brought his stuff down and recorded me right in my house,” Muddy recalled in Rolling Stone,
“and when he played back the first song I sounded just like anybody’s
records. Man, you don’t know how I felt that Saturday afternoon when I
heard that voice and it was my own voice. Later on he sent me two
copies of the pressing and a check for twenty bucks, and I carried that
record up to the corner and put it on the jukebox. Just played it and
played it and said, `I can do it, I can do it.'” Lomax came back again
in July 1942 to record Muddy again. Both sessions were eventually
released as Down On Stovall’s Plantation on the Testament label.
In 1943, Muddy headed back to Chicago with the hope of becoming a
full-time professional musician. He lived with a relative for a short
period while driving a truck and working in a factory by day and
performing at night. Big Bill Broonzy,
one of the leading bluesmen in Chicago at the time, helped Muddy break
into the very competitive market by allowing him to open for his shows
in the rowdy clubs. In 1945, his uncle Joe Grant gave him his first electric guitar which enabled him to be heard above the noisy crowds.
In 1946, he recorded some tunes for Mayo Williams at Columbia but they weren’t released at the time. Later that year he began recording for Aristocrat, a newly-formed label run by two brothers, Leonard and Phil Chess. In 1947, he played guitar with Sunnyland Slim
on piano on the cuts “Gypsy Woman” and “Little Anna Mae.” These were
also shelved, but in 1948 “I Can’t Be Satisfied” and “I Feel Like Going
Home” became big hits and his popularity in clubs began to take off.
Soon after, Aristocrat changed their label name to Chess Records and Muddy’s signature tune “Rollin’ Stone” also became a smash hit.
Success
Initially, the Chess brothers would not allow Muddy to use his own
musicians in the recording studio; instead he was provided with a
backing bass by Ernest “Big” Crawford, or by musicians assembled
specifically for the recording session, including “Baby Face” Leroy Foster and Johnny Jones. Gradually Chess relented, and by September 1953 he was recording with arguably the best blues group ever: Little Walter Jacobs on harmonica; Jimmy Rogers on guitar; Elga Edmonds (a.k.a. Elgin Evans) on drums; Otis Spann on piano. The band recorded a series of blues classics during the early 1950s, some with the help of bassist/songwriter Willie Dixon, including “Hoochie Coochie Man” (Number 8 on the R&B charts), “I Just Want to Make Love to You” (Number 4), and “I’m Ready“. These three were “the most macho songs in his repertoire,” wrote Robert Palmer in Rolling Stone.
“Muddy would never have composed anything so unsubtle. But they gave
him a succession of showstoppers and an image, which were important for
a bluesman trying to break out of the grind of local gigs into national
prominence.”
Muddy, along with his former harmonica player Little Walter Jacobs and recent southern transplant Howlin’ Wolf,
reigned over the early 1950s Chicago blues scene, his band becoming a
proving ground for some of the city’s best blues talent. While Little
Walter continued a collaborative relationship long after he left
Muddy’s band in 1952, appearing on most of Muddy’s classic recordings
throughout the 1950s, Muddy developed a long-running but generally
good-natured rivalry with Wolf. Wolf’s band, like Muddy’s, featured an
all-star lineup, including the now-legendary guitarist Hubert Sumlin. Wolf also competed with Waters for the songwriting attention of Willie Dixon and recorded a number of Dixon tunes.
By 1954, Muddy was at the height of his career. “By the time he
achieved his popular peak, Muddy Waters had become a shouting,
declamatory kind of singer who had forsaken his guitar as a kind of
anachronism and whose band played with a single pulsating rhythm,”
wrote Peter Guralnick in his book The Listener’s Guide to The Blues.
The success of Muddy’s ensemble paved the way for others in his
group to break away and enjoy their own solo careers. In 1952 Little
Walter left when his single “Juke”
became a hit, and in 1955 Rogers quit to work exclusively with his own
band, which had been a sideline until that time. Although he continued
working with Muddy’s band, Otis Spann enjoyed a solo career and many
releases under his own name beginning in the mid-1950s.
England and low profile
Muddy headed to England in 1958 and shocked audiences (whose only
previous exposure to blues had come via the acoustic folk/blues sounds
of acts such as Sonny Terry & Brownie McGhee and Big Bill Broonzy) with his loud, amplified electric guitar and thunderous beat. His performance at the 1960 Newport Jazz Festival, recorded and released as his first live album, At Newport 1960,
helped turn on a whole new generation to Waters’ sound. He expressed
dismay when he realized that members of his own race were turning their
backs on the genre while a white audience had shown increasing respect
for the blues.
However, for the better part of twenty years (since his last big hit
in 1956, “I’m Ready”) Muddy was put on the back shelf by the Chess
label and recorded albums with various “popular” themes: Brass And The Blues, Electric Mud, etc. In 1967, he joined forces with Bo Diddley, Little Walter and Howlin’ Wolf to record the Super Blues and The Super Super Blues Band pair of albums of Chess blues standards. In 1972 he went back to England to record The London Muddy Waters Sessions with Rory Gallagher, Steve Winwood, Rick Grech and Mitch Mitchell —
but their playing was not up to his standards. “These boys are top
musicians, they can play with me, put the book before ‘em and play it,
you know,” he told Guralnick. “But that ain’t what I need to sell my
people, it ain’t the Muddy Waters sound. An’ if you change my sound,
then you gonna change the whole man.”
Muddy’s sound was basically Delta blues electrified, but his use of microtones, in both his vocals and slide playing, made it extremely difficult to duplicate and follow correctly. “When I plays onstage with my band, I have to get in there with my guitar and try to bring the sound down to me,” he said in Rolling Stone.
“But no sooner than I quit playing, it goes back to another, different
sound. My blues look so simple, so easy to do, but it’s not. They say
my blues is the hardest blues in the world to play.”
Comeback
Muddy’s long-time wife Geneva died of cancer on March 15, 1973. A
devastated Muddy was taken to a doctor and told to quit smoking, which
he did. Gaining custody of some of his “outside kids”, he moved them
into his home, eventually buying a new house in suburban, all-white
Westmont. Another teenage daughter turned up while on tour in New
Orleans; Big Bill Morganfield was introduced to his Dad after a gig in
Florida. Florida was also where Muddy met his future wife, the
19-year-old Marva Jean Brooks whom he nicknamed “Sunshine”.
On November 25, 1976, Muddy Waters performed at The Band‘s farewell concert at Winterland in San Francisco. The concert was released as both a record and a film, The Last Waltz, featuring a performance of “Mannish Boy” with Paul Butterfield on harmonica.
In 1977 Johnny Winter convinced his label, Blue Sky, to sign Muddy, the beginning of a fruitful partnership. His “comeback” LP, Hard Again,
was recorded in just two days and was a return to the original Chicago
sound he had created 25 years earlier, thanks to Winter’s production.
Former sideman James Cotton contributed harmonica on the Grammy Award-winning album and a brief but well-received tour followed.
The Muddy Waters Blues Band included guitarist Bob Margolin, pianist Pinetop Perkins, and drummer Willie “Big Eyes” Smith. Winter played guitar in addition to producing. Muddy asked James Cotton
to play harp on the session, and Cotton brought his bassist Charles
Calmese. According to Margolin’s liner notes, Muddy did not play guitar
during these sessions. The album covers a broad spectrum of styles,
from the opening of “Mannish Boy”, with shouts and hollers throughout,
to the old-style Delta blues of “I Can’t Be Satisfied”, with a National
Steel solo by Winter, to Cotton’s screeching intro to “The Blues Had a
Baby”, to the moaning closer “Little Girl”. Its live feel harks back to
the Chess Records days, and it evokes a feeling of intimacy and
cooperative musicianship. The expanded reissue includes one bonus
track, a remake of the 1950s single “Walking Through the Park”. The
other outtakes from the album sessions appear on King Bee. Margolin’s notes state that the reissued album was remastered but that remixing was not considered to be necessary. Hard Again was the first studio collaboration between Waters and Winter, who produced his final four albums, the others being I’m Ready, King Bee, and Muddy “Mississippi” Waters – Live, for Blue Sky, a Columbia Records subsidiary.[citation needed]
In 1978 Winter recruited two of Muddy’s cohorts from the early ’50s, Big Walter Horton and Jimmy Rogers, and brought in the rest of his touring band at the time (harmonica player Jerry Portnoy, guitarist Luther “Guitar Junior” Johnson, and bassist Calvin Jones) to record Waters’ I’m Ready LP, which came close to the critical and commercial success of Hard Again.
The comeback continued in 1979 with the lauded LP Muddy “Mississippi” Waters Live. “Muddy was loose for this one,” wrote Jas Obrecht in Guitar Player,
“and the result is the next best thing to being ringside at one of his
foot-thumping, head-nodding, downhome blues shows.” On the album, Muddy
is accompanied by his touring band, augmented by Johnny Winter on
guitar. The set list contains most of his biggest hits, and the album
has an energetic feel. King Bee the following year concluded
Waters’ reign at Blue Sky, and these last four LPs turned out to be his
biggest-selling albums ever. King Bee was the last album Muddy
Waters recorded. Coming last in a trio of studio outings produced by
Johnny Winter, it is also a mixed bag. During the sessions for King Bee,
Waters, his manager, and his band were involved in a dispute over
money. According to the liner notes by Bob Margolin, the conflict arose
from Waters’ health being on the wane and consequently playing fewer
engagements. The bandmembers wanted more money for each of the fewer
gigs they did play in order to make ends meet. Ultimately a split
occurred and the entire band quit. Because of the tensions in the
studio preceding the split, Winter felt the sessions had not produced
enough solid material to yield an entire album. He subsequently filled
out King Bee with outtakes from earlier Blue Sky sessions and the cover photograph was by David Michael Kennedy. For the listener, King Bee
is a leaner and meaner record. Less of the good-time exuberance present
on the previous two outings is present here. The title track, “Mean Old
Frisco”, “Sad Sad Day”, and “I Feel Like Going Home”, are all blues
with ensemble work. The Sony Legacy issue features completely
remastered sound and Margolin’s notes, and also hosts two bonus tracks
from the King Bee sessions that Winter didn’t see fit to release the first time.
In 1981, Waters was invited to perform at ChicagoFest, the city’s top outdoor music festival. He was joined onstage by Johnny Winter
— who had successfully produced Waters’ most recent albums — and played
classics like “Mannish Boy,” “Trouble No More” and “Mojo Working” to a
new generation of fans. This historic performance was made available on
DVD in 2009 by Shout! Factory.
In 1982, declining health dramatically curtailed Muddy’s performance
schedule. Muddy Waters’ last public performance took place when he sat
in with Eric Clapton‘s band at a Clapton concert in Florida in autumn of 1982.
Influence
His influence is tremendous, over a variety of music genres: blues, rhythm and blues, rock ‘n’ roll, folk, jazz, and country. He also helped Chuck Berry get his first record contract.
His 1958 tour of England marked possibly the first time amplified,
modern urban blues was heard there, although on his first tour he was
the only one amplified. His backing was provided by Englishman Chris Barber‘s trad jazz group. (One critic retreated to the toilets to write his review because he found the band so loud.)
The Rolling Stones named themselves after his 1950 song “Rollin’ Stone“, (also known as “Catfish Blues”, which Jimi Hendrix
covered as well). Hendrix recalled “the first guitar player I was aware
of was Muddy Waters. I first heard him as a little boy and it scared me
to death”. Cream covered “Rollin’ and Tumblin’” on their 1966 debut album Fresh Cream, as Eric Clapton
was a big fan of Muddy Waters when he was growing up, and his music
influenced Clapton’s music career. The song was also covered by Canned Heat at the legendary Monterey Pop Festival and later adapted by Bob Dylan on the album Modern Times. One of Led Zeppelin‘s biggest hits, “Whole Lotta Love“, is lyrically based upon the Muddy Waters hit “You Need Love”, written by Willie Dixon. Dixon wrote some of Muddy Waters’ most famous songs, including “I Just Want to Make Love to You” (a big radio hit for Etta James, as well as the 1970s rock band Foghat), “Hoochie Coochie Man,” which The Allman Brothers Band famously covered, and “I’m Ready”, which was covered by Humble Pie. In 1993, Paul Rodgers released the album Muddy Water Blues: A Tribute to Muddy Waters,
on which he covered a number of Muddy Waters songs, including
“Louisiana Blues”, “Rollin’ Stone”, “Hoochie Coochie Man” and “I’m
Ready” (among others) in collaboration with a number of famous
guitarists such as Brian May and Jeff Beck.
Angus Young of the rock group AC/DC has cited Muddy Waters as one of his influences. The song title “You Shook Me All Night Long” came from lyrics of the Muddy Waters song “You Shook Me“, written by Willie Dixon and J. B. Lenoir. Earl Hooker first recorded it as an instrumental which was then overdubbed with vocals by Muddy Waters in 1962.
Muddy Waters’ songs have been featured in long-time fan Martin Scorsese‘s movies, including The Color of Money, Casino and Goodfellas. Muddy Waters’ 1970s recording of his mid-’50s hit “Mannish Boy” (a.k.a. “I’m A Man“) was used in Goodfellas and the hit film Risky Business.
Screenwriter David Simon has written an unproduced teleplay about Muddy Waters’ life.
The 2006 Family Guy episode “Saving Private Brian”
includes a parody of Muddy Waters trying to pass a kidney stone; his
screams of pain form a call and response with the Chicago blues band in
his bathroom.
In 2008, Jeffrey Wright portrayed Muddy in the biopic Cadillac Records, a film about the rise and fall of Chess Records and the lives of its recording artists. A second 2008 film about Leonard Chess and Chess Records, Who Do You Love, also covers Muddy’s time at Chess Records. Who Do You Love premiered at the 2008 Toronto International Film Festival; David Oyelowo portrays Muddy Waters.
Death
On April 30, 1983 Muddy Waters died in his sleep, at his home in Westmont, Illinois. At his funeral at Restvale Cemetery in Alsip, Illinois,
throngs of blues musicians and fans showed up to pay tribute to one of
the true originals of the art form. “Muddy was a master of just the
right notes,” John P. Hammond, told Guitar World
magazine. “It was profound guitar playing, deep and simple… more
country blues transposed to the electric guitar, the kind of playing
that enhanced the lyrics, gave profundity to the words themselves.” Two
years after his death, Chicago honored him by designating the one-block
section between 900 and 1000 E. 43rd Street near his former home on the
south side “Honorary Muddy Waters Drive”
More recently, the Chicago suburb of Westmont, where Waters lived the
last decade of his life, named a section of Cass Avenue near his home
“Honorary Muddy Waters Way”. Following Waters’ death, B.B. King told Guitar World, “It’s going to be years and years before most people realize how greatly he contributed to American music”.
Attesting to the historic place of Muddy Waters in the development of the blues in Mississippi, a Mississippi Blues Trail marker has been placed in Clarksdale, Mississippi by the Mississippi Blues Commission designating the site of Muddy Waters’ cabin to commemorate his importance.
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