Salvaged from the ravages of the deleted Michael's Music Review on BlogMaestro.Com
|I wrote a poem entitled, "Would I Sing The Blues", in 2006 ( included within THE WRITING SAMPLER - A Faster World Keeps ) that analogizes the foundation and inspiration of the "blues" ( a musical art form engendered from the exigencies of personal, economic, and social oppression ) with a canon of African-American literature to determine the role and responsibility of my own writing. ( Forever the impervious iconoclast ), in conclusion, the poem resolves any conflict by acknowledging that one's own writing ( if a true "voice" ) is necessarily and personally developed from the "individual" tradition ( one's own "life" experience ) which might be inextricably bound to that of others.
What other genre of music best demonstrates and typifies with significance this notion of being "bound" with humanity or even with the "suffering" of others? Even when two of the world's most popular, most durable "bluesmen" ( Howlin' Wolf ) ( Muddy Waters ) perform their distinctive styles and "brand" of music, the poignancy and "mortification", the wrenching heart-felt sorrows, pains, and miseries are readily communicated to an audience. This album encapsulates this tradition ( with less of the "commercial" lyricism, "rambunctiousness" or even "sweet" harmonies ) for its rudimentary elements including musical excellence.
If Gershwin's "Southern Rhapsody" does "things" that Joplin simply could never do, then that debate within musical legend and "diatribe" pertaining to whether African-Americans in music are exploited or annotated remains more a question about the role and significance of "every" music, its "success", and its "listener". Misanthropy and self-loathing are never "kind" or forgiving ( especially for those who are or seem to be indifferent about their own "identities" ) yet "musical" preferences seem to be a common ground.
The influence of the blues genre music is widespread ( yet universally more for musicians than, for example, "reggae" for audiences ) The other artists upon this album are also quite notable for their contributions to the "world" of music, developing their own "styles" within blues and rock ( superb musicians ). Unfortunately, my favorite selections, "Can't Lose What You Ain't Never Had", "The Red Rooster", and "Do The Do" are more driven by their lyrics ( although the latter song is joyfully evocative of a well-coordinated instrumental improvisation ).
This music is timeless ( if only because it is self-reflexive and ubiquitous ) and the performers upon this great album graciously contribute to the proliferation of musical legend and fanfare.