The Blues Aint Nothing But Lucille On Your Mind- With B.B. King’s Lucille In Mind 

 

 

 

Here is the drill. I started out life listening to singer like Frank Sinatra, Bing Crosby (and his brother Bob), Miss Patti Page, Miss Rosemary Clooney, Miss Peggy Lee, the Andrew, McGuire, Dooley sisters, and all the big swing bands from the 1940s like Harry James, Tommy Dorsey (and his brother Jimmy who had his own band) as background music on the family radio in the 1950s which my mother had always during the day to get her workaday daytime household world and on Saturday night when my father joined in. Joined in so they could listen to Bill Marlin on local radio station WJDA and his Memory Lane show from seven to eleven where they could listen to the music that got them (and their generation) through the “from hunger” times of the 1930s Great Depression and then when they slogged through (either in some watery European theater or Pacific one take your pick) or anxiously waited at home for the other shoe to drop during World War II. I am not saying that they should not have had their memory music after all of that but frankly that stuff then (and now although less so) made me grind my teeth. But I was a captive audience then and so to this day I can sing off Rum and Coca Cola, Don’t Sit Under The Apple Tree (the Glenn Miller version not the Andrew Sister) and Vera Lynn’s White Cliffs of Dover from memory. But that was not my music, okay. 

Then of course since we are speaking about the 1950s came the great musical break-out, the age of classic rock and roll which I “dug” seriously dug to the point of dreaming my own jailbreak dreams about rock futures (and girls) but that Elvis-etched time too was just a bit soon for me to be able to unlike my older brother, Prescott, call that the music that I came of age to. Although the echoes of that time still run through my mind and I can quote chapter and verse One Night With You (Elvis version, including the salacious One Night Of Sin original), Sweet Little Sixteen (Chuck Berry, of course), Let’s Have A Party ( the much underrated  Wanda Jackson), Be-Bop-a-Lula (Gene Vincent in the great one hit wonder night but what a hit), Bo Diddley (Bo, of course), Peggy Sue (Buddy Holly) and a whole bunch more.   

The music that I can really call my own is the stuff from the folk minute of the 1960s which dovetailed with my coming of chronological, political and social age (that last in the sense of recognizing, if not always acting on, the fact that there were others, kindred, out there beside myself filled with angst, alienation and good will to seek solidarity with which I did not connect with until later after getting out of my dinky hometown of Carver and off into the big cities and campus towns where just at that moment there were kindred by the thousands with the same maladies and same desire to turn  the world upside down). You know the mountain tunes of the first generation of the Carter Family coming out of Clinch Mountain, Buell Kazell (from Harry Smith Anthology of American Folk Music times), Jimmy Rodgers the Texas yodeler who found fame at the same time as the Carters in old Podunk Bristol, Tennessee, the old country Child ballads (Northwest Europe old country collected by Child in Cambridge in the 1850s and taken up in that town again one hundred years later in some kind of act historical affinity), the blue grass music (which grabbed me by the throat when Everett Lally, a college friend and member of the famed Lally Brothers blue grass band let me in on his treasure trove of music from that genre), and the protest songs, songs against the madnesses of the times, nuclear war, brushfire war in places like Vietnam, against Mister James Crows midnight ways, against the barbaric death penalty, against a lot of what songwriter Malvina Reynolds called the ticky-tack little box existences we were slated for by the likes of Bob Dylan, Joan Baez, Tom Paxton, Dave Von Ronk and Phil Ochs. The latter songs being what drove a lot of my interest once I connected their work with the Harvard Square coffeehouse scene (and the adjacent hanging out at the Hayes-Bickford Cafeteria which I have written plenty about elsewhere where I hung on poverty nights, meaning many nights).

 

A lot of the drive toward folk music was to get out from under the anti-rock and rock musical counter-revolution that I kept hearing on my transistor radio during that early 1960s period with pretty boy singers and vapid young female-driven female singer stuff. (Of course being nothing but one of those alienated teenagers whom the high-brow sociologists were fretting about like we were what ailed the candid world I would not have characterized that trend that way it would take a few decades to see what was what then the music just gave me a a headache). Also to seek out roots music that I kept hearing in the coffeehouses and on the radio once I found a station (accidently) which featured such music and got intrigued by the sounds. Part of that search, a big search over the long haul, was to get deeply immersed in the blues, mainly at first country blues and later the city, you know, Chicago blues. Those country guys though intrigued me once they were “discovered” down south in little towns plying away in the fields or some such work and were brought up to Newport to enflame a new generation of aficionados. The likes of Son House the mad man preacher-sinner man, Skip James with that falsetto voice singing out about how he would rather be the devil than to be that woman’s man, Bukka White (sweating blood and  salt on that National Steel on Aberdeen Mississippi Woman and Panama Limited of course Creole Belle candy man Mississippi John Hurt.

But those guys basically stayed in the South went about their local business and vanished from big view until they were “discovered” by folk aficionados who headed south looking for, well, looking for roots, looking for something to hang onto  and it took a younger generation like Howlin’ Wolf, Muddy Waters, and the guy whose photograph graces this sketch, B.B. King, to move north, to follow the northern star to the big industrial cities (with a stop at Memphis going up river) to put some electric juice in those old guitars and chase my blues away just by playing like they too had made their own pacts with the devil. And made a lot of angst and alienation just a shade more bearable.  Praise be.