I’m Glad, I’m Glad, I’m Glad

The 50’s and 60’s gave us a lot of delta blues dressed up, first as rock and roll, then as blues rock.  No surprise that Cream applied that treatment – brilliantly, in my books - to I’m So Glad by Skip James.

So if you’re a contemporary of Cream, you go looking for another tune, right?  I mean, what’s the point in re-doing See See Rider after the Animals?  No wait, someone did.  Actually, lots of people.  Nevermind.

Anyway, it turned out if you were Deep Purple you could re-do I’m So Glad and make it totally new.  You know, just weave Rimsky-Korsakov’s Scheherezade around it.  Obvious! 

Not really, and that’s what made that psychedelic era so freakin’ amazing.  Thanks to the fearless, restless exploration that dominated the times, a simple little ditty became a psychedelic, early prog rock tour de force.

Hoochie Coochie Man

Q: What do Muddy Waters, Howlin’ Wolf, Cream, Led Zeppelin, The Doors, Steppenwolf, the Allman Brothers, Otis Rush, Gary Moore, Koko Taylor, Canned Heat, the Stones, Steve Miller, the Animals, Tom Petty, Sam Cooke, Little Walter, Bo Diddley, Elvis, and the Everly Brothers all have in common?

A: Willie Dixon.  They all recorded Willie Dixon songs, per Gibson’s 10 Great Willie Dixon Songs.

Oh, and Paul Butterfield, Savoy Brown, Ten Years After, Etta James, the Pointer Sisters, Jeff Beck, James Cotton, Hendrix, Megadeth and the White Stripes.

That’s quite a list.  A hall of fame, who’s-who, Desert Island, best-ever-playlist kind of list.

You can make your case for Robert Johnson, or Muddy or B.B. as the most influential blues musician of all time, but when it comes to blues songwriting, no one else comes close.  It’s Willie Dixon that make the world wanna know what this all about.

Dude, What’s That Chord?

Gibson’s Top 10 Songs For Six-String Beginners brings back some memories.

It’s the list of songs all beginners start with, the ones that drive the music store employees and patrons nuts, they say.

Here’s the list:

Sweet Child O’ Mine – GNR

Eruption – Van Halen

Wild Thing – The Troggs

Knockin’ On Heaven’s Door – Dylan

Rockin’ In The Free World – Neil Young

Smoke On The Water – Deep Purple

Iron Man – Sabbath

Seventh Nation Army – White Stripes

Working Class Hero – John Lennon

No Rain – Blind Melon

Eruption?  Really?  For beginners?

Wild Thing would have been on the list when I started out.  As would House Of The Rising Sun, Satisfaction, Gloria, Twist And Shout, Blowing In The Wind, Spoonful, Whole Lotta Love and Purple Haze.

And, like Smoke On The Water, who ever learned all of Purple Haze?

Interesting that Lennon replaced The Beatles and Dylan replaced himself.

At my school, guitar players were a community, and we all taught stuff to each other – even if it was wrong.  There was no internet, there were no tabs, no YouTube lessons, and if you picked up the needle and dropped it too many times, you would toast the record.  If you could afford it you could buy sheet music and songbooks, but the riffs were always missing and the chords were usually wrong.

Still not sure about Eruption, but what I hear kids playing in music stores definitely reflects a higher level of skill than it was in my day.  Chalk one up for the internet. 

I hope the community thing is still going on, though.  That was the best part of learning.

Rules Are Meant To Be Broken

The formula for a hit song is simple: intro, verse, chorus, verse, chorus, bridge, verse, chorus, chorus again, out.

Other than songs based on 12 bar blues, the above pattern is ubiquitous, predictable, universal.  One of these formulas applies to all your favourite songs.

That is, until you get closer.  Then you notice The Beatles starting a song with the chorus (Nowhere Man), or stretching a 12 bar blues pattern into 14 bars (Revolution).  Or The Animals using two different turnarounds on a 12 bar pattern (See See Rider), or The Doors going verse-verse fragment-chorus-bridge-verse fragmant-chorus-verse (Love Her Madly).  Or ZZ Top refusing to be consistent in how many times they play the intro/hook in between verses (Sharp Dressed Man), an attitude employed by The Stones on Brown Sugar.

Maybe these dudes didn’t know the rules they were breaking.  Maybe they didn’t care.  Or maybe, the rules aren’t creative straight jackets at all.  Maybe they are ignition switches.

Good News For Denver

I started playing with my U.S. music map, plotting where I thought some British artists would land. It looks like this:
 

I've already described how I thought The Beatles belonged in Ohio to reflect their

twin influences of Nashville and Motown, and how Cat Stevens sounds to me like a blend between Memphis and Motown.

The Stones? Chicago and Memphis, so they're neighbours of the Cat.

Eric Clapton's ancestors came from The Delta, Chicago and Texas, placing him somewhere on the Arkansas/Oklahoma border.

U2 and The Kinks split that Motown pop sensibility with a NY punk attitude, putting the somewhere in Penn state (OK, let's give U2 to Buffalo).

Bands like ELO and Queen blend that Motown pop gift with the Hollywood production thing (and jazz complexity), placing them squarely in the middle of the country.

Cream and The Animals blended their love of Chicago blues with a touch of California weirdness, making them natives of Colorado (there you go Denver). Zeppelin: about the same but with a pull from The Delta.

Deep Purple and Pink Floyd have lots of the Hollywood production and complexity, with a bit of pull from the eastern styles, which I guess lands them in the southwestern desert.

Neil Young lands in West Virgina (sorry Winnipeg), given an equal pull from Nashville and NY. And yes, I know he's Canadian.

Elvis Costello? A bit more NY punk.

Dire Straits? Nashville, Memphis, Delta.

Van Morrison: Memphis, Delta (maybe a bit of Motown?)

David Bowie was tough. NY punk and Motown pop pulling hard against California - landing him in Nashville of all places.

Hmmm ... there's a whole new twist on the idea of "Music City."