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Music: Muddy Waters – The Anthology, 1947-1972

Muddy Waters is one of the greatest blues singers of all time, if not the greatest. His classic 1950’s tracks had a profound influence on music as we know it today, particularly rock and roll. If your music collection has no Muddy Waters, then there’s a huge hole that needs to be filled. If you really want to get into this classic music, Muddy Waters’ Anthology is a great place to start. I personally don’t own it. I have the two Chess collections His Best: 1947-1955 and His Best: 1956-1964, both of which are excellent.

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However “The Anthology” would be a much better choice because it has nearly everything that’s on those two CDs, plus many more songs that aren’t on them. Particularly from the early years, there are many more songs here that aren’t on 1947-1955. Anthology has 50 songs total, and the two His Best collections combined have 40, so you get ten more songs with Anthology. Those additional tracks may not exactly be classics, the most essential stuff is contained on the His Best collections, however any Muddy Waters music is worth hearing and the more, the better.

Muddy’s early songs are mostly raw and stripped down. Muddy plays an awesome slide guitar which is all over the early stuff. There’s very little harmonica and also no bass and very little percussion. The songs are significantly less melodic than the later stuff. It’s simply electrified delta blues. Then the stuff later has a more prominent rhythm section and the songs tend to be more catchy and not quite as raw. Unfortunately, Muddy’s slide guitar also disappears for the most part as Jimmy Rogers takes over guitar duties. However, the great Little Walter plays an excellent harmonica on many of the tracks which is always a welcome addition. Sit back with a fine beverage,  light your favorite cigar and listen to some blues. #SGDG

Biography

In the late 1940s and early ’50s, Chicago was the epicenter of the blues explosion; all the roads led there, from Mississippi Delta, the Midwest and the Southeast. It all began in 1948 with the release of a 78-rpm single by a singer-guitarist called Muddy Waters. Aristocrat 1305 bore a pair of traditional Mississippi Delta-styled pieces “I Can’t Be Satisfied” and “I Feel Like Going Home”, and on them, Waters powerfully syllabized mighty singing. It was exactly what moved the musicologist Alan Lomax who, on behalf of Library of Congress, traveled through Stovall’s to find and field-record new talents performing original, pure blues at its very source. He found Muddy or McKinley Morganfield as he was known at the time. At the age of thirteen Muddy took up the harmonica and four years later he made the switch to guitar. “You see, I was digging Son House and Robert Johnson.”, the two absolute masters of that typical “bottleneck” guitar style. This technique made the sliding ?bottleneck? guitar a perfect extension and a mimer of a bluesman voice, matching the dips, twists, glissandos and all the shady tonal skips within its12-bar score. Pianists Sunnyland Slim and Eddie Boyd and guitarist Blue Smitty played with Muddy on the very beginning of his Chicago’s South Side fame.

Sunnyland was especially involved in Muddy’s career take-off; he invited Muddy to participate in his 1947 Aristocrat session (?Johnson Machine Gun?) and immediately after, Muddy had his own Aristocrat debut with his ?Gypsy Woman?. But, nothing compares to the ? I Can’t Be Satisfied? clamour that became Muddy’s first national R&B hit in 1948. When Muddy Waters put together his own band with Little Walter on harmonica, Jimmy Rogers as the second guitar and Baby Face Leroy Foster on drums (and guitar), all of them powerful singers, he knew their superiority among the South Side performers and beyond, was ubiquitous. By 1951 Waters was already the R&B charts king producing one hit after another. ?Louisiana Blues?, ?Long Distance Call?, ?Honey Bee?, ?Still A Fool?, ?She Moves Me? and ?Mad Love? are just a few titles that marked the epoch.

His 1950 classic ?Rollin’ Stone? didn’t chart, but it brought a good fortune to young, emerging British band. With Willie Dixon, the veteran bassist and a talented songwriter, the band was finally complete, enabling Waters to achieve even wider success through the many songs he wrote (?I’m Your Hoochie Coochie Man?, ?Just Make Love To Me?, ?I’m Ready?). Another major change occurred when James Cotton replaced Little Walter in 1954. With rock & roll making its way through and the modernism of Chuck Berry, Bo Diddley, the Moonglows and the Flamingos, Muddy was changing too.

After 1958 his titles are totally urban, like ?Walking Thru The Park? “You Can’t Lose What You Ain’t Never Had” and the anthemic “Got My Mojo Working,” and ?She’s Nineteen Years Old? among others. Muddy’s blues survived the big changes of the ?60s (think of B.B. King on one hand and all mass phenomena like James Brown on the other) and became a world-known classic in the ?70s. When his fire burnt out quietly in his sleep on April 30, 1983, in Westmont, Illinois, a human life was outlived by a spirit that had reshaped the course of the blues, reaching deep in the heart of all modern popular music.

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