Muddy Waters

Muddy Waters

 

A con­flu­ence of fac­tors, almost like Delta streams, has me think­ing about the Delta Blues and Chicago Blues and the man who did the most to elec­trify them, Muddy Waters (1913 — 1983).

A new movie due out next week, Cadil­lac Records, tells the story of a truly rev­o­lu­tion­ary period in Amer­i­can music. Chess Records was piv­otal in bring­ing great Blues and R&B leg­ends like Etta James, Willie Dixon and Muddy Waters to a larger audi­ence, and is the sub­ject of the film. The broth­ers Chess — Leonard and Phil — rec­og­nized the com­mer­cial poten­tial for a wide array of musi­cal genius, and helped set the table for Rock N Roll. The new film stars Bey­once Knowles, Jef­frey Wright and Adrien Brody.

Bey­once Knowles (as Etta James) just rips the heart out of this song and plays it back to us, updated, tremendous:

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Cadil­lac Records

Ret­ro­spec­tives pro­voke us. Send us. Bring new rounds of reval­u­a­tions. They often cre­ate new pat­terns of influ­ence, new hier­ar­chies of debt and pay­back. Lis­ten­ing to a recent Fresh Air, a repeat inter­view with Robert Gor­don (the author of a bio of Muddy Waters), I heard proof of the changes the man from Mis­sis­sippi brought to Amer­i­can music. It was more than just another ret­ro­spec­tive. It was a chance to be moved, yet again, but some of the rawest and most direct music we have on tape.

The song Man­nish Boy was first recorded in 1955, and pro­vided the name for a rather obscure band from Eng­land. The video is from 1970:

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Words just get in the way some­times, and then music says it all. And music in the hands of Muddy Waters cuts through lay­ers of sed­i­ment, cen­turies of stul­ti­fy­ing civ­i­liza­tion and pre­tense. The power of that music can melt hes­i­ta­tion and anx­i­ety, like snow under a new south­ern sun. He took Occam’s razor, elec­tri­fied it, plugged it in and applied it to 20th cen­tury Amer­ica. Some­times you just have to be a rolling stone.

 

 

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