The Blues (2003): Season 1, Episode 6 - Red, White and Blues - full transcript
Documenting the blues explosion in 1960's England and it's influence and reinterpretation by musicians at the time.
Once I had a pretty little girl
I lose my baby,ain't that sad?
Once I had a pretty little girl
I lose my baby, ain't that sad?
You know you can't
Spend what you ain't got
You can't lose
What you ain't never had
Well, you know you can't
Spend what you ain't got
You can't lose
What you ain't never had
- We'll take it fancy, just however.
- Well, that's, that's good.
- That's gonna work.
- That's really getting there.
- There's no changes in there, is there?
- No, none.
Am I wrong
Only in loving you?
Tell me
Am I wrong
Only in loving you?
While your other man
Was out there
Cheating and lying
Stepping all over you
Am I wrong
Going that way?
How's it going?
Good.
- What is it called?
- Lush life.
It just starts right in.
One, two, three.
I'm known as a rambler
And my home is in
No one man's town
I'm known as a rambler
And my home is in
No one man's town
And I ain't gonna let nobody
Ever gonna tie me down
The judges all knows me
As a man with a smiling' face
The judges all knows me
As a man with a smiling' face
And there's no man
There's ever gonna take my place
You gotta to find, my baby
If you wanna get along with me
You got to, got to, got to,
Got to, got to, got to
Find, my baby
If you wanna get along with me
Hand to the child
Hand to the child
I'm not that fool
That I used to be
Every morning the sun comes up
With the evening
In the evening the sun goes down
Every morning the sun comes up
In the evening the sun goes down
I gotta live
Fast in your town
Key of E?
No, it's fine,
but it's a hard key for alto, though.
It is.
- Yeah, how was that?
- Beautiful.
And the most popular
form of popular music...
was the big band style
from the posh hotels.
Ambrose and his orchestra from
the Mayfair Hotel...
somebody else. Sidney Lipton
from the Dorchester and all that.
The dance bands were
the big thing in those days.
Musicians played
in big bands...
slaving over hot scores
to earn their money...
and then went down and played jazz
after hours for nothing...
for the love of it.
Bear in mind that in the forties
the jazz scene was these clubs...
where people played records
and discussed it in...
serious sorts of tones, you know.
There was no Blues scene.
Here was half a dozen people
in Britain who knew what it was.
It began in the late,
very late forties, really.
It didn't get into a big scale
with the public until...
I suppose really when we started up
in the band in '53 with Ken Colyer...
in '54 when I took
the band over. About then.
The first jazz band that I ever saw
was the Freddy Randall Jazz Band.
Shortly, very shortly after that
I saw the Humphrey Lyttelton band...
which was much more sort
of what I would call authentic.
When I got to London...
I discovered that there was this
movement led by Humphrey Littleton...
the revivalist movement, not
the traditional movement...
playing jazz of the kind that was
recorded in the 20s in Chicago.
Oliver, Armstrong, Morton and so on.
It was a revivalist thing in the sense,
so it was...
those of us who played it
and I was one of them.
Had this idea that
we were going to pick up where...
Jelly Roll Morton
and all those people left off.
Woke up this morning'
When chickens was crowing' for day
Felt on the right side
Of my pilla'
My man had gone away
By his pilla'
He left a note
Reading', I'm sorry, Jane
You got my goat
No time to marry
No time to settle down
I'm a young woman
And ain't done running' 'round
The revivalists, for instance,
wouldn't tolerate Bebop.
- Really?
- No.
And the Bebop people
wouldn't tolerate revivalism...
they called us moldy figs.
And then came Ken Colyer and that again
sort of sub-split the split anyway.
Ken was a strange man actually.
Great trumpet player.
He's a man who's been...
who's been, I feel rather...
misrepresented by many people who...
claimed to represent
his ideals and everything else.
And I first knew Ken, indeed my first
band was a revival style band.
We got together with Ken in 1948.
He liked George Lewis and revived
archaic New Orleans was his bag.
While classic New Orleans
was our bag...
so we thought: It doesn't really work,
so it didn't.
I don't think we've had a New Orleans
style trumpet player of his equal.
Finally he managed to get...
he got to New Orleans...
by joining the merchant Navy and
jumping ship at Mobile Alabama...
and got to new Orleans without
a passport or a work permit.
He went over there and found all these
very old boys and played with them.
And adopted the way they played.
There are legends that he...
- pay slightly out of tune to get...
- No.
- Not true?
- Rubbish.
No, rubbish.
Total rubbish. Ken never
played out of tune.
Ken was a wonderful ear.
Sadly he didn't know any music...
cause he'd have been better off
if he had known music.
He never punched me.
He threatened to.
But that as I said has nothing
to do with it at all.
Ken Colyer was the closest
thing to George Lewis...
I think that you can find on this side
of the water. I didn't know it...
it's interesting to someone
who wasn't even nowhere near being...
musically savvy at that time. I was
a young teenager, I could know that.
It was all
so it has to be intuitive.
What was amusing was that
there was Ken Colyer in the club.
Louis Armstrong played
and I watched Ken, you know...
because Ken,
he'd been the great deviator...
the man that stopped jazz being jazz
by killing the New Orleans tradition.
- The Devil.
- Yes. The Devil.
So when he'd finished blowing
wonderfully, with Humph, I think...
I went over to Ken and said
"What do you think Ken?"
I was so mischievous
Ken said: "He'll do".
I also sat and listened enthralled
to Big Bill Broonzy...
sitting on a chair in the middle
of the room, playing the guitar...
and talking about the Blues.
He was one of the first
to come over.
Billed as the last of
the Mississippi Bluesmen...
in 1951 when he first came over
or '50.
And of course since then
there have been about a hundred.
We also went
on tour with Big Bill Broonzy...
who was a lovely man.
A terrible liar, of course.
He said that he owned
eight farms and all that...
and when he died,
he left nothing at all, but why not?
Broonzy had a big body of work,
which not everyone is familiar with...
being in bands playing
with piano players.
We booked Broonzy
for the concert but asked him...
not to play
the electric guitar...
and also to play the old field blues,
country blues.
He was living a kind of a lie,
as we found out later...
because one got the impression
he'd come straight from the Delta...
into a studio and then into fame.
But that was an important lie,
though, wasn't it?
An important lie, but the real
truth was he came out of Chicago...
where he'd sung rhythm and blues
at one time.
It didn't matter, did it?
He could play and
he could sing wonderfully.
He was in fact a forerunner...
of the Muddy Waterses and
the Buddy Guys and people like that.
Think about how all the people
who came up through Big Bill Broonzy...
he was like the Art Blakey
of the Blues world, you know.
He had, you know, Memphis Slim
and the original Sonny Boy Williamson...
Jazz Gillum, Big Maceo,
Josh Altheimer.
So many people.
Broonzy got shown on TV, too.
The other things was that
he was big here...
was because on something
like "News Night"...
or one of those they showed some
footage and it was so spellbinding...
that I think anyone that was leaning
in that direction got it from there.
Big Bill Broonzy was
the first singer I heard.
He came over and
it was on Six-Five Special, I think.
I just loved the rawness of it,
but he was very musical with it.
To me, the connotation
was Black music was acoustic...
and White rock 'n ' roll
was electric.
Also Brownie McGhee.
Now I know that Brownie himself
actually played in the club...
I was in and I was there at that time
as a boy sitting at his feet, you know.
That was the first time close up I'd
ever seen somebody play the Blues.
Hey
Hey
Hey Lord, Lord hey, Lord
Hey, hey, hey Lord, Lord, Lord
The blind one wants
to go for a pee...
so the crippled one says...
"Better go with him.
He don't always aim", and so on.
At that moment, he came back
in the door: "What are you saying?"
They had a terrible
race round the table.
The crippled one trying to escape
from the stick of the blind one.
And the room was full of
quite valuable pictures and objects...
it was a heart-rending moment.
'57 Rosetta Tharpe came with a fender,
with a solid fender...
and an amp...
and '58 Sonny and Brownie,
and Brownie had a little amp...
and acoustic guitar
with pick up on it.
And of course, later in '58 Muddy
Waters with an amp and electric guitar.
Sister Rosetta Tharpe
was big in my life at that point.
Sister played most, really good
rock 'n ' roll blues guitar.
Ripping into gospel songs
and she played electric guitar...
and had Hammond B3
and a drummer you know...
as a part of church music,
which was...
The thing was Sister Rosetta
Tharpe onstage, of course...
had a practically halo...
but offstage she liked her brandy...
and was quite randy, as well,
I was rhyming on purpose.
And behaved very badly,
I'm glad to say.
Mulligan was quite worried
before we went on tour with her...
but he soon wasn't, in fact you used
to have to lock his door.
We came on the old John Bee
My grand pappy and me
Old seven sea
We did
It was very much a part of my...
introduction to like Lonnie Donegan's
skiffle...
all of that stuff,
and it was kind of on the way out...
by the time
I got my hands on a guitar...
but it was very much for
formative stuff for me.
Became too broken
I wanna go home
Skiffle was an influence
as well I, you know...
tried to play in skiffle
bands when we were young.
Once I heard Lonnie Donegan that was it.
I had to pick up a guitar.
The thing about skiffle,
it was an accessible music...
- that couple of people with guitars...
- It was sort of British, wasn't it?
It was purely British.
We played spirituals,
gospel, blues, jazz...
pop songs of the day.
Lonnie Donegan, when he first started
and all the hits he had...
I didn't realize at the time that
they were all Lead Belly songs.
Me and my wife settled down
But me and my wife have parted
'Cause it was only much later
in the kind of late 80's...
I suddenly realized where all,
all these songs had...
had come from, probably
thirty years later.
Well it is a total mix...
of primarily Afro-American,
but not exclusively.
Donegan was...
he was huge then...
and this skiffle phenomenon
was starting then.
Was there a comparable movement
in the States?
There was a comparable movement yes,
which was just plain folk song.
The American student age generation
discovered their own folk music.
You mean like Peter,
Paul and Mary?
Yes and the Kingston Trio
and people like that.
In the spring of '55 Jack
and June arrived in London...
to find a burgeoning and surprisingly
passionate folk scene.
Would be folkies
were putting a new...
spin on traditional tunes.
This do it yourself take on folk
music became known as skiffle.
I don't know what train he's on
Won't you tell me where he's gone
Skiffle ain't worth shit. I don't even
want to talk about it, it's disgusting.
It was some half-assed
non-musicians...
who thought it'd be a cute idea to buy
a guitar learn one chord and sing...
Takes a worried man
To sing a worried song
Were you influenced by people
like Ramblin' Jack Elliot?
Did you meet him
when he came to London?
Yeah.
- Did he make an impact?
- No. Next.
- Really not?
- No.
I always thought he was a faker.
Well, I'm a Woody Guthrie man, you know.
So somebody who does imitations of Woody
Guthrie doesn't impress me. I do that.
I think Lonnie Donegan took his name
from Lonnie Johnson...
and it would be Alonso, would have been
his name actually in Spanish, Alonso.
Turn your face a little
And turn your head a while
But everybody knows
She's only putting on this time
Right? That's not a folk song,
that's a pop song.
Actually, since I've been going'
a lot to middle Tennessee...
I've realized now where a lot
of these skiffle tunes came from.
They were renditions
of bluegrass tunes...
which originally came out from
to the Appalachians...
you have via Scottish
and Irish settlers...
although the songs were
rewritten, songs like...
"Down in the Mines" and
"Rock Island Line".
Ken Colyer did the skiffle thing...
in the intermission or whatever
of the trad jazz band thing, and then...
when Chris Barber had got his own band
and Chris started doing it...
then Lonnie Donegan was part of that,
he was a banjo player...
but he played guitar
in the skiffle stuff.
All of this was evolving out of what
you called jazz, then.
All of it came under
the heading of jazz.
A couple of years ago I went
with Van Morrision to Belfast...
and we put on what you call the skiffle
sessions, skiffle concert right...
coincidentally that Dr. John
was working round the corner...
gave him a whistle
and he came roaring around...
and Lonnie Donegan:
"Oh, my God...
Rock Island Line was the greatest record
was ever made and you started me off".
I say: I started you off?
Have we got this right?
There was a kind of hybrid between
skiffle and traditional jazz...
that occasionally flirted
with blues...
and that was also
very interesting.
The first real British blues record
I think I heard...
was Humphrey Lyttleton's
Bad Penny Blues...
which was instrumental...
and Johnny Parker,
the pianist in the band...
played a fantastic
boogie-woogie on that.
Yeah, it doesn't stop.
Yeah, muted trumpet...
and apparently they did
that song like that...
because half his band didn't show up
or something.
- Right.
- So it just was his rhythm section.
- Good job, hey.
- Exactly.
I said to Johnny Parker,
the piano player at that time...
"Let's do that thing
we play in the club".
When I heard it I was horrified.
Had I heard a test pressing
of it before I'd gone on holiday...
I have said I'm not
having that put out.
He said he only had
a few musicians there...
so he had to make it sound big.
Left hand of the piano
was distorted...
had a sort of bonging noise:
Bonga bonga bon...
the drums were heavily over,
off-offbeat brushes...
and the brushes were heavily
over-recorded, and...
it was actually balanced
in the studio by Joe Meek.
That a later became famous
in pop circles.
Yeah, Joe Meek. So...
cause I recorded with him in,
you know, early sixties...
and he was starting to mic...
that's why the piano was so loud.
I've always referred to him as
the first of the creative sound mixers.
In other words, he was doing
a whole lot of things that...
I wouldn't have approved of at the time.
But when I came back from holiday...
and found it was number 19
in the top twenty, I kind of shut up.
With Joe Meek, you know, to each his
own, I mean, I've got nothing against...
I don't hold it against anybody
but, I mean, whatever, but it when it...
when it gets in the way
of the music...
instead of getting the music done,
there's something else...
it's like for good looking girls,
it's the casting couch...
you know what I mean,
with heterosexual men...
cause he was like
"You got as bit of a, you know".
I said "yeah, those jeans
fit you well, don't they?"
I said well "fuck yeah",
I said...
"Looks like you
got a bit of a..."
and I said "yeah, well it serves
its purpose, you know".
So it was all that, I thought
what the fuck is he on about.
So then he was carrying on.
And then he was saying that
he was gonna get these tapes released...
and, yeah,
EMI was gonna have it...
we went to EMI and
they didn't know anything about it...
then I went to Decca,
they didn't know anything...
so then I went for him and went
back to the thing and said "You fuck"...
so I went across the desk at him...
and it was the first time
I ever saw anybody fly.
I mean, it's unbelievable.
It was like Peter Pan.
Next thing I knew he was,
he was...
one minute he was standing there
at the desk...
and the next minute
he was sitting on the mantelpiece.
I thought,
"How the fuck did he get up there?"
Bad Penny Blues.
"Bad Penny Blues".
Yeah, that was the...
Johnny Parker's solo
out of Bad Penny Blues...
was used on Lady Madonna,
wasn't it?
Quite right, yeah.
Lady Madonna
Children at your feet
Wonder how you manage
To make ends meet
Note for note, it was
the same kind of feel.
It was a four bar thing but with eight
to a bar overlaid on the top.
When we turned up to the rehearsal room
and Eddie Cochran was sitting there...
with his leather waistcoat, leather
trousers, and his Gretsch Guitar...
and his cowboy boots and Eddie said:
"Anybody ever heard of Ray Charles?"
And I don't think anybody put their hand
up. I hadn't heard of him...
and he said: "Well, this is one tune
I wanna do in my show"...
and he went...
Started that Ray Charles lick
called "What I'd Say"...
and we all went:
"What was that?"
Hey mama
Don't you treat me wrong
Come and love your daddy all night long
All right now
Hey hey
Eddie Cochran introduced the music of Ray
Charles to the masses of this country...
on that tragic tour
when he was killed.
Well, because John Lee Hooker was the
first one to come over for a club tour.
He had previously been over on one
of the blues packages in concert...
but this was, you know, when
he came over to do a tour with us...
it was that was a big success.
We backed Muddy Waters,
John Lee Hooker, T-Bone Walker...
Champion Jack Dupree, and...
Memphis Slim, Jimmy Witherspoon.
The time I was with John,
I was asked to play, by Mike Vernon...
I was asked to play with Muddy
and Otis Spann...
and they came to London to do, I think,
like a promotional tour or something...
and that was unbelievable,
and they were in their heyday...
and they had these big
silk suits on...
man, I was just gob smacked,
I could hardly move.
Had a little girl
But I lose my baby boy
Ain't that bad?
Had a little girl
I lose my baby boy
Ain't that bad?
You can't spend
What you ain't got
You can't lose some girl
You never had
When I was called to the session...
and everything was
in the key of F-sharp...
or B-natural...
and in those days I could only play
in like three or four keys, C, G, F...
and now having to play
with guitar players...
I could play a bit in E and A.
As long as I kept good time...
that's all, I felt really proud
of myself just doing that because...
I never had the technique...
and it never actually interested me...
the only technique that I have
is just by default...
because I played so long or...
when someone shouts
change the something in the chorus...
I still don't know
what the chorus is...
I'm like playing
with Sonny Boy...
where they just change and...
and believe me, they're right
and you're wrong.
Had money in the bank
But I got busted people
Ain't that bad?
And I saw Muddy
a few years later...
and I just mentioned to him I said:
"That recording session, man"...
I said: "It was terrible, you know...
everything was in F-sharp or B".
I said: "I was very uncomfortable.
I'm sorry about that".
He said: "Shit, man. You should have
told me. I would have moved the capo".
But you were so in awe of somebody
like Muddy Waters...
you didn't say:
"Hey man, can you change the key?"
Had a sweet little home
But it got burned down people
Ain't that bad?
Had my own home
People, ain't that bad?
You can't spend
What you ain't got
You can't lose some new girl
You ain't never had
Well, T-Bone Walker
did a tour with us.
He was the second one
who did the actual complete tour...
and they did scattered performances here
and there with Sonny Boy Williamson.
Sonny Boy Williamson
came to play with the Yardbirds...
and Sonny Boy stayed on
in Europe for quite a while...
and they... because Georgio
had this band, the Yardbirds...
and it seemed like a good idea
to put the two things together...
and that was a hardcore experience...
and quite frightening, I mean,
it almost coulda turned me off, I think...
what was life-saving about it
for me was that...
I wasn't a huge fan of Sonny Boy
in the first place.
And because I was like a bit of
a mouth around this stuff, too...
I think we didn't hit it off
very well.
More with some musicians
than others. I mean...
John Lee Hooker
was notorious for doing all kinds of...
which actually was part
of what made his music, his music.
It's kind of rough
because you know he's...
got no idea, no concept of chord
changes or where they come...
or anything like that, so you
really have to be on your toes...
all you really have to know
was the key of E and...
just watch carefully
also like intuitively feel...
where he was going
to make the changes.
But John Lee wouldn't give you a clue,
you had to hear it and feel it.
But that was the magic
of the original Delta blues...
because they'd just change
whenever they felt like it...
they weren't limited
to a structure...
but to play with these guys
was an education...
because they took us right
back to the roots again.
Love letters straight
From your heart
Keep us so near
While apart
I'm not alone
In the night
When I can have
All the love you write
I memorize
Every line
And I kiss the name
That you sign
And darling then
I read again
Right from the start
Love letters straight
From your heart
I'm not alone
In the night
When I can have
All the love you write
I memorize
Every line
And I kiss the name
That you sign
And darling then
I read again
Right from the start
Love letters straight
From your heart
- That was the best, wasn't it?
- Yeah, it was.
That was gorgeous.
Jumpin' with my boss Sid in the city
Jumpin' with my boss Sid in the city
Mr. President of the DJ committee
So I'd heard all that before we started
working down the Flamingo, so...
we had some of that kind of stuff and
a bit of Ray Charles under our belts...
so when we started down
the Flamingo and...
all the black American G I's were in to
there they thought, "this is home, boy".
I could go to the West End to the
Sin Club when I was fifteen years old...
and to the Flamingo when I was
seventeen, eighteen years old.
We landed ourselves a job
round the corner at the Flamingo Club...
which was a jazz club...
but on weekends
it was rented out by a guy...
that later became our manager,
his name was Rick Gone.
And Rick used to put on all night
sessions as a jazz club...
with an R and B band
playing for dancing.
The place was really frequented
by Black American GI's...
that were stationed over here
in the Air Force.
The best place and the place that
I was scared to go...
until I actually was in bands
was the Flamingo.
One night it would be Larry Williamson,
John Guitar Watson...
next night would be John Lee Hooker,
next night, Howlin' Wolf.
There was a great sort of West Indian
contingent and night people...
club people, that worked
in other clubs until three am...
and they'd come down
to the Flamingo...
'cause we'd start at midnight
and end at six am...
every Friday, every Saturday...
and on Sundays play afternoon
sessions...
for the stragglers that couldn't
get back to base.
Next weekend would be Chuck Berry,
Nina Simone.
You could go and see
all these people...
and sit there
and actually learn your trade.
Please write my mama
Tell her the shape I'm in
Please
Write my mama
And tell her the shape I'm in
And tell her to pray for me
And forgive me for my sins
The Flamingo was
an established Jazz club.
There was a small, there was
a baby grand piano in there...
for the jazz musicians.
They wouldn't let me play it because
I was playing Fats Domino.
It was just a sweaty place that
never seemed to close...
particularly in the hours of darkness.
People like John Mayall would drive
down from Manchester on a weekend...
to hang out in the club and play
in the club and sit in at the club...
before John got the chance to bring his
own musicians down from Manchester.
It was primarily a black club,
you know.
It was like mostly West Indians would go
in there maybe to listen to blue beat...
or Ska or jazz or whatever.
It was all night, it was nice, most
nights I think it'd go pretty late...
and on the weekends it'd be all night
and people would get hurt.
You could do ten gigs a week, you know,
just based around the Flamingo...
and just around the London area.
- Was it always pretty full?
- Oh yeah, it was packed out.
There was a great Jamaican disc jockey
called Count Suckle who had...
a Jamaican club
in Carnaby Street...
of all places they called it
"The Roaring Twenties"...
and it was just a Jamaican club.
We opened it as a band with...
Count Suckle's records and Suckle had
this fantastic record collection...
James Brown's "Night Train,"
he had the mixture...
he had a great source in Memphis...
who used to send
all the black American imports...
and plus he had
all the West Indian stuff.
The roaring twenties seeing a lot of the
ska music in the early days... Flamingo.
We was in the Flamingo
one night playing...
and someone said to me...
"Did you see that black guy
sitting in the front of the row looking".
Well there all black there, all Gis.
I say: "They are all black, GI's, they
come down for the weekend, you know?"
"No, it's Otis Redding." I say:
"Go away, Otis Redding. Get off."
I'm sitting in the dressing room, the
door opens and Otis Redding walks in.
Comes up to me and says:
"You are a great singer".
I says: "Oh, dear me,
it's Otis Redding, it is.
"So, Otis, how you doing?"
He said: "I want you to be on my...
I'm doing a TV show next week...
called 'Ready, Steady, Go',
he said: "I want you to be my guest".
And I say: "pinch me",
I think, this is one night, you know?
I've been loving you
Too long
To stop now
My manager and I opened
the club in Brixton...
called the Ramjam Club.
And I saw Otis, I saw that Stax review
on a Sunday afternoon...
I biked over, I cycled from Chelsea
over the river to Brixton...
to see that Sunday afternoon
session. It was fantastic.
Very exciting. Because I come from
Guilford, you know, country boy...
coming up...
and probably sleeping on the Charing
Cross Station and stuff like that.
But very exciting.
And I hated the name
Georgie Fame...
because I been saddled
with this name by Larry Ponds...
as one of his exotic
rock 'n ' roll stable of singers.
But when we went down to Flamingo
and the GI's are saying...
"Hey, Fame motha"',
It sounded ok, it sounded hip.
And in return
You could give up yours
Before we think
Straight?
Okay, I need to look you in the eyes.
What would we do later on?
What kind of life would we have
Just in case we both were wrong?
I'd give up my woman
You'd give your man
But it don't make sense to
The whole thing kind of took off for me
when I met John Mayall.
I mean, I had already got
a long way down the road...
but he had a massive
collection of records.
Lived in Blackheath I lived in a sort
of wardrobe in the top of his house...
and I would spend all day just
going through his record collection...
listening to stuff and deciding what
the band was gonna play, God bless him.
I know you told me
I'll play.
Yeah, we need lyrics, if we're gonna
do this again we need lyrics.
That you want me
That you want me
I was off listening to Ray Charles
and Mose Allison...
and then I started to hear people
like Oscar Brown Jr.
There was a Muddy Waters EP...
I think there was
a Little Walter EP.
Then maybe Josh White.
Josh White? Yeah.
As a matter of fact Josh White
singing "House of the Rising Sun".
- Really.
- Yeah.
B-side was "Strange Fruit".
And Art college kids who
were these enthusiasts...
so they would take me down
to record shops and give me records.
And when I heard Sarah Vaughn,
she was my favorite.
Jeri Southern was my favorite
jazz singer.
I started to hear some
of the early Vee-Jay recordings.
John Lee Hooker, Jimmie Reed.
Jerry Lee Lewis, Elvis Presley,
Chuck Berry, Little Richard.
Great guitar players,
that was what really caught my ear.
It was Cliff Gallup
with Gene Vincent...
James Burton who played
with Ricky Nelson.
Sonnie Terry, Brownie McGhee,
Lightnin' Hopkins...
and of course Ray Charles
who was a big discovery.
- My mother told me
- My mother told me
- Before she passed away
- Before she passed away
- Said son when I'm gone
- Said son when I'm gone
- Don't forget to pray
- Don't forget to pray
- 'Cause there'll be hard times
- There'll be hard times
- Hard times
- Hard times
- Oh yeah?
- Oh yeah?
- Who knows
- Who knows
- Better than I?
- Better than I?
And so I got caught up
with Monk and Mingus...
and all of those guys
in the same period...
and was listening to it all
at the same time.
And I would buy a John Lee Hooker album
on Riverside and someone...
you know,
a Lee Morgan album on Riverside...
and it all to me it was all,
it was all the same thing.
I had a woman, Lord
- Who was always around
- Who was always around
- You know he's gone up the octave.
- But when I lost my money
- But when I lost my money
- She put me down
- Yes, save it, save it.
- She put me down
After that, I heard Lead Belly
and Lonnie Johnson.
In my collection I had
a whole lot of people.
I had Mahalia Jackson
in the gospel field...
and John Lee Hooker,
Memphis Slim, Muddy Waters.
Canal Street Blues.
Dippermouth Blues".
- So I bought those as well...
- As long as it had blues in it?
Yeah, as long as it had
the name blues on it, I bought it.
We would find
some list somewhere...
or some American record store...
where we could write off and get lists
of stuff and we'd kind of take potluck.
I got it through a vintage magazine
called Vintage Jazz Mart...
which was a for sale or auction thing,
you know, private collectors.
I mainly got them,
got them through there.
The first long playing record I ever
owned as a 14, 15 year old kid...
was a Fats Domino LP with a lot
of great tunes on it, you know.
I'm goin' to the river
Gonna jump all board and drown
My parents bought me
a record player one Christmas...
and there was two records
that came with it...
and they came via
a seaman who lived downstairs to me...
and was always going to the US.
You know if somebody had been to America
they'd always bring back a blueser.
I was given some blues records,
three or four blues albums...
and I was studying those, and taking,
finding out what I liked.
Oh, tell me baby
Oh, tell me baby
Stay that night
But don't you hear me crying
At art school somebody turned me on to
the Folk Festival of the Blues album"...
with Buddy playing just
the most amazing stuff.
O disco de Muddy Waters,
Buddy Guy, Howlin Wolf...
blue, dark blue cover...
Sonny Boy Williamson, Sonny Boy
Williamson sings "Bring It On Home"...
and um Howlin' Wolf sings
"Sugar Mama"...
and that's got Buddy Guy on it
singing "Worried Blues"...
and "Don't Know Which Way to Go".
Booker T and the MG's "Green Onions".
I'd never heard that...
that style of playing.
It just happens to be that record
is a milestone in most rock 'n' roll.
We used to have record listening
parties, you know on...
on Saturday nights and go
all the way through the night...
just listening to all,
'cause I used to get...
this is when LP's were around...
and I used to get
the American imports...
and get all the latest Horace
Silver stuff, and Erroll Garner...
Cannonball Adderley
and all these things...
cause we knew what they...
with the cardboard covers.
The cardboard was thick.
This is the real thing, you know...
and all the Prestige stuff,
and the Riverside, you know?
- Sitting on top of the world
- Sitting on top of the world
Yeah, there's an extra...
it's like an extra bar,
an extra two bars.
That's Wolf playing harmonica,
I think.
Then he used it's James Cotton,
Little Walter.
Yeah...
Little Walter, yeah.
Sitting on top of the world
Another great source was
American Forces Network.
Again every house had
a pretty good radio and...
you could tune into AFN which
was beamed from Frankfurt.
I used to hear
the American Forces Network...
they had their own radio program.
This is Willis Conover,
from Washington D. C...
and like for us, Washington D.C.
Was another planet.
So I got, you know, all day this great
input of American folk music.
I used to send requests for jazz records
into the March of Dimes, into the AFN...
Bunk Johnson and Kid Ory
and Louis Armstrong.
They call it stormy Monday
They tell Tuesday's just as bad
Yes, they do
They call it stormy Monday
They tell Tuesday's just as bad
They tell me Wednesday is no good
And Thursday's just as sad
Stormy Monday Blues
Part I and Part II.
We were doing a session
for Chris Blackwell...
from Island Records,
Guy Stevens...
and while they were setting up
all the equipment...
and all that, they just said to us
just play a couple of numbers...
so we can get the mics all tested out...
and we just did
Stormy Monday Blues.
And then we did some other things,
and then a couple of months later...
I saw this come out under Little
Joe Cook and I thought...
they never told me it was gonna
be under Little Joe Cook...
they never did in those days
it was just it, you know.
The eagle flies on a Friday
And on Saturday
I go out to play
The eagle flies on Friday
And on Saturday I go out to play
And then Vicki Wickham got a hold
of it with Ready, Steady, Go...
and she got in touch with
the office the Rick Gunn office...
and said: "We'd like to book Little
Joe Cook for Ready Steady Go"...
and they said: He's not available",
and they said: "Why not?
We can't get in touch with him".
And then, they got in touch
with Island Records and said...
"We want this guy on". But when
I said it was Chris Farlowe...
you couldn't have your Joe Cook 'cause
it's a pseudonym for Chris Farlowe...
they didn't believe it, they said:
Come on, come on, don't be silly.
And it was us,
me and Albert and the band.
'Cause I like to sing the blues
I also like to sing the rock 'n rolls
Let's hear some guitar playing
in here.
And I was in America
a little while ago, last year...
and I was introduced to a guy,
a black blues musician...
forgot his name now.
Well known.
The guy said: "I'd like to introduce
you to an English singer"...
he said: "Yeah? What's his name?"
He said: "Chris Farlowe."
He said: "Chris Farlowe?"Damn,
I know two Chris Farlowes".
And I looked at him, I said:
"Two Chris Farlowes?"
He said: "Yeah, you're Chris Farlowe
and I know another Chris Farlowe...
he sang Stormy Monday Blues".
And I said: "That's me."
And he looks at me and he went:
"No, no, this guy's black".
And wherever round I'm gonna do
They call it Stormy Monday Blues
So this has been a very important
record for me and...
I think for all of us...
'cause it's regarded as one of the great
blues records ever made in England.
You know, I started
with a cheap acoustic...
I played a year borrowing guitars
from friends...
whatever I could get my hands
on, you know...
but then, the first decent
guitar was 1958, I think...
Christmas of '58 my folks
bought me a H?fner Archtop guitar.
About eleven, twelve...
with a two string guitar,
I couldn't afford the other strings.
But it was a shop made guitar,
which is good...
hard to believe
when you looked at it, but it was.
I took up the guitar
when I was about nine.
I had... I guess I would have had
a H?fner Senator... H?fner Senator.
It was an acoustic, but acoustic guitar,
we used to stick microphones behind it.
And then put that through sometimes
a homemade amplifier.
I started off on ukulele...
because the action on my father's
guitar was so high...
you needed a pair of pliers
to press the strings down, you know, so.
So ukulele was what
I started off with...
the George Formby
do-it-yourself method.
I bought my first guitar, a Spanish
guitar with steel strings on them...
got the bridge off.
Somebody brought me back to his house
and played me some Lonnie Johnson.
I thought it was the best thing
I ever heard.
I think the first electric guitar
I had was a H?fner.
And then I bought myself a solid with
three pick-ups and a tremolo...
and I thought it was the same guitar
that Buddy Holly played...
turned out it was a cheap imitation,
it was a Grazioso or something.
When I went in the army
and was in Korea...
I bought a twelve... a six string guitar,
and I had the bottom two strings.
Harmony.
I had a couple of Harmonys...
one was a semi-acoustic one,
and one was more of a solid.
Eric Clapton brought
the Gibson...
into me anyway.
It was a Les Paul.
There was a Gretch Eddie Cochran,
what did he play...
Eddie Cochran it was a Gretsch,
it was Gretsch or maybe a Gibson...
it was a Gretsch.
I mean, you couldn't get a hold
of American instruments at that time...
you just got...
you bought what you could, you know.
It was an actual finish color and they
called it cherry...
the color was cherry,
but it used to fade...
and it'd look like there was a lot of
finish actually involved in that guitar.
There were some other
odd kind of European makes which...
sometimes if you if you cranked
that through an amp...
you actually got
quite an interesting sound.
We only had an old Vox amplifier,
it was a lovely old thing.
A great big light on it,
like an ignition light.
Scotty Moore's Guitar playing on
"Trying to get to you"...
Leiber and Stoller,
you know "My Baby Left Me".
I loved Scotty Moore's
guitar playing...
I'd have liked... if I was a blues person,
nothing else, I really would try...
and take it up
with Scotty Moore somehow.
The first time I heard it that way
was with Freddie King...
and I had or a friend
had "Hideaway", on the single...
but the single had the other B side
of "Hideaway" was "I Loved the Woman"...
with a guitar solo in it
that was single note...
and bend lots of
bending things and...
but and almost kind of rhapsodic
in its composition.
It was perfect, and that became
the new Holy Grail, you know, for me.
You would hear these records doing
all these bends...
and you would say
how are they doing that?
Then we eventually figured out they had,
you know, they had very light strings.
Well, they were bending strings,
you know, way back in the...
Johnny Otis and the...
you know Johnny Otis...
what everyone...
and right in the middle of it he goes...
well, I thought: "That's it! That's what
I want to do for the rest of my life".
Milk Cow blues and I don't know
who wrote that or recorded that...
because Eddie Cochran
was the first guy I heard it...
and he had a kind of T-Bone Walker
introduction on guitar.
And I thought: "That's real
blues guitar playing".
You could tell that there was something
going on there... it wasn't...
it was...
a major sort of minor major bend.
I would take the guitar every time
I pick it up and trill my hand.
A lot of the kids think
I push up and down...
but I don't,
I just trill like that.
Everybody knows I'm here
Now, knows I'm here, man
Everybody knows I'm here
And then when Alexis Korner
and Cyril Davies...
kinda kicked off the thing
at the Marquee...
mainly an experimental
type of situation...
really in the trad-dominated
club world.
When Alexis formed the new
"Blues Incorporated"...
he took Graham Bond,
Dick Heckstall-Smith...
Ginger Baker,
and Jack Bruce with him...
and they were all part of the regular
Friday night jam session, jazz group...
at the Flamingo club.
And it was that thing of seeing a guy,
an English guy playing electric...
the first English guy I saw playing
the electric guitar was when Alexis...
I picked up the "Melody Maker" one day
and the headline was, you know...
Alexis brings amps into...
into the club...
and you know this deafening noise...
which in actual fact was probably
one Marshall amplifier.
I'm gonna make you pretty women
Lead me by my hand
Till the world will know
The hoochie coochie man
- And he had a Kay and I got a Kay...
- Right.
And covered it in Fablon cause
I didn't like, black Fablon...
because I didn't like the, the color.
When Eric Clapton
came in the band...
of course that revolutionized
the whole thing...
because he was a person who knew
the music thoroughly...
and knew the feel of it,
had the right touch...
that nobody else seemed to have
at that time.
I thought Clapton
was a great blues player.
I didn't think he was God,
despite what people wrote on walls.
But "Clapton is God",
they used to write.
I don't know what God
thought about it, but...
he was a very good blues player.
I had a little following from a band
called the Yardbirds, you know...
and I left in a very public way,
you know...
sort of threw my toys out of
the pram...
because they wanted a hit and...
and I was very conscious of having
a mission, like a blues mission.
And so I kinda said:
"Well, I'm quitting. You know? I'm out".
And then John asked me to join.
I had a 3 week period or a month where
I wasn't sure what I was gonna do...
- and then John called me.
- Where had the mission come from?
Interesting, I don't know.
I don't know.
I felt like...
I was convinced that some point
in my teens...
that if I didn't
do it no one would...
or that someone had to do it and I was,
I'd been chosen, you know?
- Really?
- Yeah.
- You were so passionate about it?
- Yeah! And arrogant, too...
I was like the self-appointed ambassador
of blues music to this country...
and was very judgmental
about anybody who wasn't doing it...
the way I thought it should be done.
The early sixties there was
absolutely no acceptance...
of any other kind of music...
I mean I know now people get degrees
in jazz and all other kinds of things.
But in the early sixties, I distinctly
remember being asked at music college...
what kind of music I liked...
and so I said: Well, I do like Paul
Hindemith and lgor Stravinsky...
but I also like Fats Domino
and Ray Charles...
and the teacher said...
"Well you've got a choice:
Either forget about that or go".
We arrived at Birmingham University to
play at one of these university dances...
one of our first gigs
outside of London, I think...
and we're carrying the gear upstairs to
get to the place where we're playing...
and there was a band onstage already,
and it was The Spencer Davis Group...
and Steve was singing
"Georgia on My Mind".
And I'll never forget it the sound
of that voice and his delivery.
Georgia, yeah
Oh, Georgia
A song of love
Comes as sweet and clear
As the moonlight through the pines
As a musician, let's say, and
probably as a piano player as well...
having learned harmony and playing
e-flat and all that kind of stuff...
I was really more interested
in the music...
rather than the whole
social change...
which that was
the massive thing really.
Black cloud crossed my mind
Blue mist round my soul
Feel so suicidal
Even hate my rock and roll
I wanna yeah
I wanna die
If I ain't dead
Already
Oh girl, you know the reason why
The Beatles was doing what
they called rock 'n' roll...
a different type of thing,
but I could still feel...
and hear blues in what
they were doing.
I think the Beatles
had a lot of influence on...
encouraging people who didn't know
how to read or write music...
they could pick up an instrument, make
some music and actually be accepted.
And all it took was for them
to get to the top of the charts...
"It is possible! We'll have a go!"
The Beatles were a little more
sophisticated, I guess...
and they were writing their own material,
based on American culture.
But the way they took it back
to America...
with its innocent charm, if you like,
and its freshness, was an eye opener...
and that took that music
into mainstream America...
whereas before it had been kinda
the lid had been kept on.
The Beatles did in the early days sing
few blues and so on...
but on the whole they
were very inventive.
The Stones less so, weren't they?
Some people used to call it
the Thames valley cotton fields.
I don't want
'Cause I'm sad and blue
I just want to make love to you,
Baby
Love to you, baby
Sweet love to you, baby
Love to you
The Stones were a straight-ahead
blues band, basically.
Jagger had a genuine feeling for it
and so did Richards and...
their early music I think
is pretty powerful...
and definitely black influenced...
but it doesn't sound like it,
not imitative quite.
And there was a few comments when they
went to America from black artists...
"It's fine,
white boys playing this stuff...
more people going to listen to us",
which is probably true.
I'm gonna get high
I'm gonna get high
Sure
Wait no more
Stick by my riffle
I ain't gonna be messing around
With no cocaine
British blues were John Mayall...
I think he's the master of it.
He's about the first that I can think
that really brought it out.
But then I started
hearing many others.
When Cream came that was it.
I had met Jack and Ginger on and off
around the Ealing club and the Marquee.
But, I mean, I admired
these guys tremendously, and...
for start because they were
kind of a generation before me.
And they were onstage when
I was in the audience at the Marquee.
So these were the real thing, I mean,
it was like back to that again.
And even in the band,
when it came into fruition...
I was still, I kinda stayed in that
place, I was in the audience really...
for most of their shenanigans.
By then all the whole blues,
rock blues thing...
was in full swing
on a worldwide basis.
In other words, several years before
when not many people knew about it.
Now it was the music.
You know, it dominated everything.
Well I'm going down to Rosedale
Take my rider by my side
Going down to Rosedale
Take my rider by my side
You can still barrelhouse, baby
On the riverside
Cream were enormous in America.
And thanks to Eric Clapton,
Jack Bruce, and Ginger Baker...
and that band in particular...
who drew from a very blues influence
between them, and jazz...
they went out and played it
live to American audiences.
Early 1968, I first went to America
with Traffic as a three piece...
with Jim Capaldi and Chris Wood.
And so, of course,
I think the idea there is...
I really wanted to stop...
trying to, trying
to copy this music.
We're taken into the depths
of Chicago...
these little white guys,
you know.
Mike Vernon, who was in charge
of our label, Blue Horizon...
arranged for us to go record
at the Chess studios...
and Willie Dixon, Buddy Guy
was there...
J.T. Brown, the horn player
from Elmore James...
and Shakey Horton.
Been in Stax/Volt
recording sessions...
watching Otis Redding
record "Daytripper"...
Sam and Dave cut
"Hold on, I'm Coming"...
playing with an interracial band,
a white black band.
When Jeremy playing with
J.T. Brown during the bass section...
it was like living out the wildest
fantasies that you could possibly want.
Peter had a confidence
about what he played...
and felt that he could play...
but he was...
We're all thrilled.
I had a woman, Lord
Who was always around
But when I lost all my money
You know she put me down
Talking bout hard times
You know about hard times
And who knows
Better than I?
Yeah, Lord
You know better
One of these days
There'll be no more sorrow
When I pass away
Talking bout hard times
I said no more hard times
And who knows
Better than I?
As long as you sounded real...
they didn't mind if you were white
or you know, whatever...
as long as it was real, and then
I thought that's great because...
I thought I might have gotten
a bit of um flack...
with singing some of the tunes,
you know, and being white.
To be blunt, for us
to play their music...
in studios that
they recorded those songs in...
could have gone horribly wrong.
It truly didn't.
But there was a moment when
there was a testing of our situation.
I do remember that.
And then suddenly and I hope it, in fact
I feel it had something to with that...
they were blown away...
as to how this little group
of English kids could sound and...
J.T. Brown turned around and
I know genuinely was saying...
"That's pretty damn cool",
you know.
Because it was so
heartfelt from us bunch.
When they would do tunes
that had been recorded by...
shall we say, Big Boy Crudup,
Muddy Waters, and so on...
whoever wrote the tune, man,
ought have been glad...
because it became a hit...
and it was sold to many more people
then they were ever able to sell it to.
That was the beginning
of those fantastic bills where...
you get the Freddie Kings,
you know, playing with Richie Havens...
and Fleetwood Mac
and Janis Joplin.
And I noticed then that white America
started paying attention to blues.
And so it started to opening a lot
of doors that had been closed to us.
Like Albert King said he was,
was staggered...
by the Fillmore was packed
just had no concept of...
how it could be that
what he was playing...
could be appreciated
by so many people, you know.
And white people, you know?
Where did they come from?
And we were having fun,
we had a lot of fun.
But musically
I kept stepping back and going...
this isn't it, this isn't really
what I want to do...
or this isn't what I hold up.
This isn't working to the principles
that I've been following all this time.
And consequently when I heard
music from Big Pink...
I thought:
Well, this is a contemporary band...
that is approaching where
the blues can be taken".
And
You put the load right on me
And it doesn't have to be like that...
because what we're doing
is starting to become a bit of a circus.
Playing in places where
all the audience was stoned...
you know, doing tours of America,
the Fillmore and the Fillmore East...
and all kinds of places
where you know that we encouraged...
to get to do just silly
things rambling, meaningless...
self-indulgent music, really.
I wanted to take it seriously.
I wanted. My music was
a very serious thing to me...
and I felt like I was starting
to betray myself.
Tell me how long
Oh baby how long
Has that evening
Has that evening train been gone
How long
Has that evening
Train been gone
My definition of it would be that
it was someone making music...
purely for themselves in a way...
and without any conscious effort
to be communicative.
A branch of folk music...
that is to say, it's a rather natural
expression rather than a contrived one.
It's an uplifting music.
I wouldn't necessarily say
it's happy but up...
it's definitely uplifting,
energizing...
all those kind of things that
you come away from it saying...
- "That was great".
- Tell me how long
Has that evening
Train been gone
Well, the blues is
so many things...
but basically speaking
it's developed into a 12 by format...
with fairly simple chord progressions
in the first place...
which could have been extended,
you know, as jazz has got more modern.
What it really means is
the singer or player...
is actually playing from his heart.
It's like he's singing the truth.
It's simple,
anybody can play it.
It has the magical structure
of three chords...
which you can tie into earth,
sun, moon, man, woman, God.
Life.
Life as we live it today.
Life as we lived it in the past...
and life as I believe
we'll live it in the future.
Has to do with people.
I think that's one of the reasons
that kids picks it.
It has to do with people,
places, and things.
It's kind of like religion,
really blues music.
I've recently,
only recently sort of got the...
started to get the hang of it,
you know?
What it means...
because it's a story when you say
Bill Broonzy...
it's his words, it's his lyrics
or you're listening to the guitar player...
and someone who doesn't play guitar
or listen to the words...
they might get it right like that
and sort of understand what it is.
It's two lines which
are the same.
First line more
or less repeated...
and then the third
one which completes the sense.
But I think it's more a feeling.
I guess it's a feel, isn't it?
It's an emotion.
We didn't even know the words.
We couldn't understand
a lot of lyrics...
of what these guys were singing.
But the whole feel...
Yeah, there's no black no white.
It's got to, it has to do with the truth.
Blues is the truth.
I think it's a kind of a plea,
it's a musical plea for something.
It's a way of expressing
a need or a want.
It could and almost should be
a part of all music and...
if it isn't, then I feel that
the music is somehow lacking.
We're still sitting here talking about
something that's so real, so alive...
just when you think
it's off the radar.
I don't think it ever will be, because
of the absolute power that it has.
It brings a tear
Into my eyes
When I begin
To realize
I've cried so much
Since you've been gone
I'm absolutely sure that,
if you asked a black blues musician...
whether his life was enhanced,
I think they'd say, yeah.
I mean, that would probably be
the better person to ask.
I don't know for myself
how further the ripple has spread...
but Robert Johnson is
a household name now.
I just sit and cry
Just like a child
The United States suddenly started
paying tribute to a wonderful legacy...
of the roots of rock 'n' roll
and blues...
and by this reverse
of triggering mechanism...
that came from all those things
in England the bands going back.
And hey, you see the Rolling Stones,
when they first landed...
they're all talking about
Muddy Waters and people...
and people are going like
"Who the hell is he?"
That you gonna be home soon
It's alright
I believe I'm gonna
Drown
In my own tears
The Brits took
what the Americans...
culturally threw into
the trash bin.
There was a definite move
to trash that culture...
and keep it away
from white kids.
Oh some rain
I know some rain is gonna pour
There's probably a feeling in the early
days of blues, English blues...
of wanting to bring this music
to people's attention...
to show them what a interesting,
wonderful form it was.
That it just keeps raining
Raining, raining, raining, raining
More and more
Why don't you
Come on home
Without it, I don't think American black
musicians and black blues players...
would have really made it
to the extent they have...
because if you talk
to any of them...
they'll say well these
English guys they came over...
and they spread
the word about us...
and, you know, they made a larger
awareness on the world scale.
'Cause if you don't think
That you gonna be home soon
It's alright
I believe I'm gonna
Drown in my own tears
It gave people a chance to play
and to be somebody...
and to do something
with their music.
People who were disregarded and
worth nothing at the time over there.
As the jazz revival had.
It gave people, you know,
Americans something to feel...
they've done something to be important,
for the music to be important.
Drown in my own tears
Yes, I'm gonna
Drown in my own tears
Black American culture
if you want to call it, which it is...
the greatest art form that came out
of America really, modern America.
Sing a song tonight
Sing a song tonight
If it wasn't
for the British musicians...
a lot of us black musicians
in America...
would still be catching the hell
that we caught long before.
So thanks to them,
thanks to all you guys...
you opened doors that I don't think
would have been opened in my lifetime.
Thank you very much.
My own
My own
Tears
Good God Almighty
That was alright except
for that last little bit...
that I did not give
any indication on.
That was quite beautiful, yeah.
- Let's do...
- Listen, can we get that bar?
I lose my baby,ain't that sad?
Once I had a pretty little girl
I lose my baby, ain't that sad?
You know you can't
Spend what you ain't got
You can't lose
What you ain't never had
Well, you know you can't
Spend what you ain't got
You can't lose
What you ain't never had
- We'll take it fancy, just however.
- Well, that's, that's good.
- That's gonna work.
- That's really getting there.
- There's no changes in there, is there?
- No, none.
Am I wrong
Only in loving you?
Tell me
Am I wrong
Only in loving you?
While your other man
Was out there
Cheating and lying
Stepping all over you
Am I wrong
Going that way?
How's it going?
Good.
- What is it called?
- Lush life.
It just starts right in.
One, two, three.
I'm known as a rambler
And my home is in
No one man's town
I'm known as a rambler
And my home is in
No one man's town
And I ain't gonna let nobody
Ever gonna tie me down
The judges all knows me
As a man with a smiling' face
The judges all knows me
As a man with a smiling' face
And there's no man
There's ever gonna take my place
You gotta to find, my baby
If you wanna get along with me
You got to, got to, got to,
Got to, got to, got to
Find, my baby
If you wanna get along with me
Hand to the child
Hand to the child
I'm not that fool
That I used to be
Every morning the sun comes up
With the evening
In the evening the sun goes down
Every morning the sun comes up
In the evening the sun goes down
I gotta live
Fast in your town
Key of E?
No, it's fine,
but it's a hard key for alto, though.
It is.
- Yeah, how was that?
- Beautiful.
And the most popular
form of popular music...
was the big band style
from the posh hotels.
Ambrose and his orchestra from
the Mayfair Hotel...
somebody else. Sidney Lipton
from the Dorchester and all that.
The dance bands were
the big thing in those days.
Musicians played
in big bands...
slaving over hot scores
to earn their money...
and then went down and played jazz
after hours for nothing...
for the love of it.
Bear in mind that in the forties
the jazz scene was these clubs...
where people played records
and discussed it in...
serious sorts of tones, you know.
There was no Blues scene.
Here was half a dozen people
in Britain who knew what it was.
It began in the late,
very late forties, really.
It didn't get into a big scale
with the public until...
I suppose really when we started up
in the band in '53 with Ken Colyer...
in '54 when I took
the band over. About then.
The first jazz band that I ever saw
was the Freddy Randall Jazz Band.
Shortly, very shortly after that
I saw the Humphrey Lyttelton band...
which was much more sort
of what I would call authentic.
When I got to London...
I discovered that there was this
movement led by Humphrey Littleton...
the revivalist movement, not
the traditional movement...
playing jazz of the kind that was
recorded in the 20s in Chicago.
Oliver, Armstrong, Morton and so on.
It was a revivalist thing in the sense,
so it was...
those of us who played it
and I was one of them.
Had this idea that
we were going to pick up where...
Jelly Roll Morton
and all those people left off.
Woke up this morning'
When chickens was crowing' for day
Felt on the right side
Of my pilla'
My man had gone away
By his pilla'
He left a note
Reading', I'm sorry, Jane
You got my goat
No time to marry
No time to settle down
I'm a young woman
And ain't done running' 'round
The revivalists, for instance,
wouldn't tolerate Bebop.
- Really?
- No.
And the Bebop people
wouldn't tolerate revivalism...
they called us moldy figs.
And then came Ken Colyer and that again
sort of sub-split the split anyway.
Ken was a strange man actually.
Great trumpet player.
He's a man who's been...
who's been, I feel rather...
misrepresented by many people who...
claimed to represent
his ideals and everything else.
And I first knew Ken, indeed my first
band was a revival style band.
We got together with Ken in 1948.
He liked George Lewis and revived
archaic New Orleans was his bag.
While classic New Orleans
was our bag...
so we thought: It doesn't really work,
so it didn't.
I don't think we've had a New Orleans
style trumpet player of his equal.
Finally he managed to get...
he got to New Orleans...
by joining the merchant Navy and
jumping ship at Mobile Alabama...
and got to new Orleans without
a passport or a work permit.
He went over there and found all these
very old boys and played with them.
And adopted the way they played.
There are legends that he...
- pay slightly out of tune to get...
- No.
- Not true?
- Rubbish.
No, rubbish.
Total rubbish. Ken never
played out of tune.
Ken was a wonderful ear.
Sadly he didn't know any music...
cause he'd have been better off
if he had known music.
He never punched me.
He threatened to.
But that as I said has nothing
to do with it at all.
Ken Colyer was the closest
thing to George Lewis...
I think that you can find on this side
of the water. I didn't know it...
it's interesting to someone
who wasn't even nowhere near being...
musically savvy at that time. I was
a young teenager, I could know that.
It was all
so it has to be intuitive.
What was amusing was that
there was Ken Colyer in the club.
Louis Armstrong played
and I watched Ken, you know...
because Ken,
he'd been the great deviator...
the man that stopped jazz being jazz
by killing the New Orleans tradition.
- The Devil.
- Yes. The Devil.
So when he'd finished blowing
wonderfully, with Humph, I think...
I went over to Ken and said
"What do you think Ken?"
I was so mischievous
Ken said: "He'll do".
I also sat and listened enthralled
to Big Bill Broonzy...
sitting on a chair in the middle
of the room, playing the guitar...
and talking about the Blues.
He was one of the first
to come over.
Billed as the last of
the Mississippi Bluesmen...
in 1951 when he first came over
or '50.
And of course since then
there have been about a hundred.
We also went
on tour with Big Bill Broonzy...
who was a lovely man.
A terrible liar, of course.
He said that he owned
eight farms and all that...
and when he died,
he left nothing at all, but why not?
Broonzy had a big body of work,
which not everyone is familiar with...
being in bands playing
with piano players.
We booked Broonzy
for the concert but asked him...
not to play
the electric guitar...
and also to play the old field blues,
country blues.
He was living a kind of a lie,
as we found out later...
because one got the impression
he'd come straight from the Delta...
into a studio and then into fame.
But that was an important lie,
though, wasn't it?
An important lie, but the real
truth was he came out of Chicago...
where he'd sung rhythm and blues
at one time.
It didn't matter, did it?
He could play and
he could sing wonderfully.
He was in fact a forerunner...
of the Muddy Waterses and
the Buddy Guys and people like that.
Think about how all the people
who came up through Big Bill Broonzy...
he was like the Art Blakey
of the Blues world, you know.
He had, you know, Memphis Slim
and the original Sonny Boy Williamson...
Jazz Gillum, Big Maceo,
Josh Altheimer.
So many people.
Broonzy got shown on TV, too.
The other things was that
he was big here...
was because on something
like "News Night"...
or one of those they showed some
footage and it was so spellbinding...
that I think anyone that was leaning
in that direction got it from there.
Big Bill Broonzy was
the first singer I heard.
He came over and
it was on Six-Five Special, I think.
I just loved the rawness of it,
but he was very musical with it.
To me, the connotation
was Black music was acoustic...
and White rock 'n ' roll
was electric.
Also Brownie McGhee.
Now I know that Brownie himself
actually played in the club...
I was in and I was there at that time
as a boy sitting at his feet, you know.
That was the first time close up I'd
ever seen somebody play the Blues.
Hey
Hey
Hey Lord, Lord hey, Lord
Hey, hey, hey Lord, Lord, Lord
The blind one wants
to go for a pee...
so the crippled one says...
"Better go with him.
He don't always aim", and so on.
At that moment, he came back
in the door: "What are you saying?"
They had a terrible
race round the table.
The crippled one trying to escape
from the stick of the blind one.
And the room was full of
quite valuable pictures and objects...
it was a heart-rending moment.
'57 Rosetta Tharpe came with a fender,
with a solid fender...
and an amp...
and '58 Sonny and Brownie,
and Brownie had a little amp...
and acoustic guitar
with pick up on it.
And of course, later in '58 Muddy
Waters with an amp and electric guitar.
Sister Rosetta Tharpe
was big in my life at that point.
Sister played most, really good
rock 'n ' roll blues guitar.
Ripping into gospel songs
and she played electric guitar...
and had Hammond B3
and a drummer you know...
as a part of church music,
which was...
The thing was Sister Rosetta
Tharpe onstage, of course...
had a practically halo...
but offstage she liked her brandy...
and was quite randy, as well,
I was rhyming on purpose.
And behaved very badly,
I'm glad to say.
Mulligan was quite worried
before we went on tour with her...
but he soon wasn't, in fact you used
to have to lock his door.
We came on the old John Bee
My grand pappy and me
Old seven sea
We did
It was very much a part of my...
introduction to like Lonnie Donegan's
skiffle...
all of that stuff,
and it was kind of on the way out...
by the time
I got my hands on a guitar...
but it was very much for
formative stuff for me.
Became too broken
I wanna go home
Skiffle was an influence
as well I, you know...
tried to play in skiffle
bands when we were young.
Once I heard Lonnie Donegan that was it.
I had to pick up a guitar.
The thing about skiffle,
it was an accessible music...
- that couple of people with guitars...
- It was sort of British, wasn't it?
It was purely British.
We played spirituals,
gospel, blues, jazz...
pop songs of the day.
Lonnie Donegan, when he first started
and all the hits he had...
I didn't realize at the time that
they were all Lead Belly songs.
Me and my wife settled down
But me and my wife have parted
'Cause it was only much later
in the kind of late 80's...
I suddenly realized where all,
all these songs had...
had come from, probably
thirty years later.
Well it is a total mix...
of primarily Afro-American,
but not exclusively.
Donegan was...
he was huge then...
and this skiffle phenomenon
was starting then.
Was there a comparable movement
in the States?
There was a comparable movement yes,
which was just plain folk song.
The American student age generation
discovered their own folk music.
You mean like Peter,
Paul and Mary?
Yes and the Kingston Trio
and people like that.
In the spring of '55 Jack
and June arrived in London...
to find a burgeoning and surprisingly
passionate folk scene.
Would be folkies
were putting a new...
spin on traditional tunes.
This do it yourself take on folk
music became known as skiffle.
I don't know what train he's on
Won't you tell me where he's gone
Skiffle ain't worth shit. I don't even
want to talk about it, it's disgusting.
It was some half-assed
non-musicians...
who thought it'd be a cute idea to buy
a guitar learn one chord and sing...
Takes a worried man
To sing a worried song
Were you influenced by people
like Ramblin' Jack Elliot?
Did you meet him
when he came to London?
Yeah.
- Did he make an impact?
- No. Next.
- Really not?
- No.
I always thought he was a faker.
Well, I'm a Woody Guthrie man, you know.
So somebody who does imitations of Woody
Guthrie doesn't impress me. I do that.
I think Lonnie Donegan took his name
from Lonnie Johnson...
and it would be Alonso, would have been
his name actually in Spanish, Alonso.
Turn your face a little
And turn your head a while
But everybody knows
She's only putting on this time
Right? That's not a folk song,
that's a pop song.
Actually, since I've been going'
a lot to middle Tennessee...
I've realized now where a lot
of these skiffle tunes came from.
They were renditions
of bluegrass tunes...
which originally came out from
to the Appalachians...
you have via Scottish
and Irish settlers...
although the songs were
rewritten, songs like...
"Down in the Mines" and
"Rock Island Line".
Ken Colyer did the skiffle thing...
in the intermission or whatever
of the trad jazz band thing, and then...
when Chris Barber had got his own band
and Chris started doing it...
then Lonnie Donegan was part of that,
he was a banjo player...
but he played guitar
in the skiffle stuff.
All of this was evolving out of what
you called jazz, then.
All of it came under
the heading of jazz.
A couple of years ago I went
with Van Morrision to Belfast...
and we put on what you call the skiffle
sessions, skiffle concert right...
coincidentally that Dr. John
was working round the corner...
gave him a whistle
and he came roaring around...
and Lonnie Donegan:
"Oh, my God...
Rock Island Line was the greatest record
was ever made and you started me off".
I say: I started you off?
Have we got this right?
There was a kind of hybrid between
skiffle and traditional jazz...
that occasionally flirted
with blues...
and that was also
very interesting.
The first real British blues record
I think I heard...
was Humphrey Lyttleton's
Bad Penny Blues...
which was instrumental...
and Johnny Parker,
the pianist in the band...
played a fantastic
boogie-woogie on that.
Yeah, it doesn't stop.
Yeah, muted trumpet...
and apparently they did
that song like that...
because half his band didn't show up
or something.
- Right.
- So it just was his rhythm section.
- Good job, hey.
- Exactly.
I said to Johnny Parker,
the piano player at that time...
"Let's do that thing
we play in the club".
When I heard it I was horrified.
Had I heard a test pressing
of it before I'd gone on holiday...
I have said I'm not
having that put out.
He said he only had
a few musicians there...
so he had to make it sound big.
Left hand of the piano
was distorted...
had a sort of bonging noise:
Bonga bonga bon...
the drums were heavily over,
off-offbeat brushes...
and the brushes were heavily
over-recorded, and...
it was actually balanced
in the studio by Joe Meek.
That a later became famous
in pop circles.
Yeah, Joe Meek. So...
cause I recorded with him in,
you know, early sixties...
and he was starting to mic...
that's why the piano was so loud.
I've always referred to him as
the first of the creative sound mixers.
In other words, he was doing
a whole lot of things that...
I wouldn't have approved of at the time.
But when I came back from holiday...
and found it was number 19
in the top twenty, I kind of shut up.
With Joe Meek, you know, to each his
own, I mean, I've got nothing against...
I don't hold it against anybody
but, I mean, whatever, but it when it...
when it gets in the way
of the music...
instead of getting the music done,
there's something else...
it's like for good looking girls,
it's the casting couch...
you know what I mean,
with heterosexual men...
cause he was like
"You got as bit of a, you know".
I said "yeah, those jeans
fit you well, don't they?"
I said well "fuck yeah",
I said...
"Looks like you
got a bit of a..."
and I said "yeah, well it serves
its purpose, you know".
So it was all that, I thought
what the fuck is he on about.
So then he was carrying on.
And then he was saying that
he was gonna get these tapes released...
and, yeah,
EMI was gonna have it...
we went to EMI and
they didn't know anything about it...
then I went to Decca,
they didn't know anything...
so then I went for him and went
back to the thing and said "You fuck"...
so I went across the desk at him...
and it was the first time
I ever saw anybody fly.
I mean, it's unbelievable.
It was like Peter Pan.
Next thing I knew he was,
he was...
one minute he was standing there
at the desk...
and the next minute
he was sitting on the mantelpiece.
I thought,
"How the fuck did he get up there?"
Bad Penny Blues.
"Bad Penny Blues".
Yeah, that was the...
Johnny Parker's solo
out of Bad Penny Blues...
was used on Lady Madonna,
wasn't it?
Quite right, yeah.
Lady Madonna
Children at your feet
Wonder how you manage
To make ends meet
Note for note, it was
the same kind of feel.
It was a four bar thing but with eight
to a bar overlaid on the top.
When we turned up to the rehearsal room
and Eddie Cochran was sitting there...
with his leather waistcoat, leather
trousers, and his Gretsch Guitar...
and his cowboy boots and Eddie said:
"Anybody ever heard of Ray Charles?"
And I don't think anybody put their hand
up. I hadn't heard of him...
and he said: "Well, this is one tune
I wanna do in my show"...
and he went...
Started that Ray Charles lick
called "What I'd Say"...
and we all went:
"What was that?"
Hey mama
Don't you treat me wrong
Come and love your daddy all night long
All right now
Hey hey
Eddie Cochran introduced the music of Ray
Charles to the masses of this country...
on that tragic tour
when he was killed.
Well, because John Lee Hooker was the
first one to come over for a club tour.
He had previously been over on one
of the blues packages in concert...
but this was, you know, when
he came over to do a tour with us...
it was that was a big success.
We backed Muddy Waters,
John Lee Hooker, T-Bone Walker...
Champion Jack Dupree, and...
Memphis Slim, Jimmy Witherspoon.
The time I was with John,
I was asked to play, by Mike Vernon...
I was asked to play with Muddy
and Otis Spann...
and they came to London to do, I think,
like a promotional tour or something...
and that was unbelievable,
and they were in their heyday...
and they had these big
silk suits on...
man, I was just gob smacked,
I could hardly move.
Had a little girl
But I lose my baby boy
Ain't that bad?
Had a little girl
I lose my baby boy
Ain't that bad?
You can't spend
What you ain't got
You can't lose some girl
You never had
When I was called to the session...
and everything was
in the key of F-sharp...
or B-natural...
and in those days I could only play
in like three or four keys, C, G, F...
and now having to play
with guitar players...
I could play a bit in E and A.
As long as I kept good time...
that's all, I felt really proud
of myself just doing that because...
I never had the technique...
and it never actually interested me...
the only technique that I have
is just by default...
because I played so long or...
when someone shouts
change the something in the chorus...
I still don't know
what the chorus is...
I'm like playing
with Sonny Boy...
where they just change and...
and believe me, they're right
and you're wrong.
Had money in the bank
But I got busted people
Ain't that bad?
And I saw Muddy
a few years later...
and I just mentioned to him I said:
"That recording session, man"...
I said: "It was terrible, you know...
everything was in F-sharp or B".
I said: "I was very uncomfortable.
I'm sorry about that".
He said: "Shit, man. You should have
told me. I would have moved the capo".
But you were so in awe of somebody
like Muddy Waters...
you didn't say:
"Hey man, can you change the key?"
Had a sweet little home
But it got burned down people
Ain't that bad?
Had my own home
People, ain't that bad?
You can't spend
What you ain't got
You can't lose some new girl
You ain't never had
Well, T-Bone Walker
did a tour with us.
He was the second one
who did the actual complete tour...
and they did scattered performances here
and there with Sonny Boy Williamson.
Sonny Boy Williamson
came to play with the Yardbirds...
and Sonny Boy stayed on
in Europe for quite a while...
and they... because Georgio
had this band, the Yardbirds...
and it seemed like a good idea
to put the two things together...
and that was a hardcore experience...
and quite frightening, I mean,
it almost coulda turned me off, I think...
what was life-saving about it
for me was that...
I wasn't a huge fan of Sonny Boy
in the first place.
And because I was like a bit of
a mouth around this stuff, too...
I think we didn't hit it off
very well.
More with some musicians
than others. I mean...
John Lee Hooker
was notorious for doing all kinds of...
which actually was part
of what made his music, his music.
It's kind of rough
because you know he's...
got no idea, no concept of chord
changes or where they come...
or anything like that, so you
really have to be on your toes...
all you really have to know
was the key of E and...
just watch carefully
also like intuitively feel...
where he was going
to make the changes.
But John Lee wouldn't give you a clue,
you had to hear it and feel it.
But that was the magic
of the original Delta blues...
because they'd just change
whenever they felt like it...
they weren't limited
to a structure...
but to play with these guys
was an education...
because they took us right
back to the roots again.
Love letters straight
From your heart
Keep us so near
While apart
I'm not alone
In the night
When I can have
All the love you write
I memorize
Every line
And I kiss the name
That you sign
And darling then
I read again
Right from the start
Love letters straight
From your heart
I'm not alone
In the night
When I can have
All the love you write
I memorize
Every line
And I kiss the name
That you sign
And darling then
I read again
Right from the start
Love letters straight
From your heart
- That was the best, wasn't it?
- Yeah, it was.
That was gorgeous.
Jumpin' with my boss Sid in the city
Jumpin' with my boss Sid in the city
Mr. President of the DJ committee
So I'd heard all that before we started
working down the Flamingo, so...
we had some of that kind of stuff and
a bit of Ray Charles under our belts...
so when we started down
the Flamingo and...
all the black American G I's were in to
there they thought, "this is home, boy".
I could go to the West End to the
Sin Club when I was fifteen years old...
and to the Flamingo when I was
seventeen, eighteen years old.
We landed ourselves a job
round the corner at the Flamingo Club...
which was a jazz club...
but on weekends
it was rented out by a guy...
that later became our manager,
his name was Rick Gone.
And Rick used to put on all night
sessions as a jazz club...
with an R and B band
playing for dancing.
The place was really frequented
by Black American GI's...
that were stationed over here
in the Air Force.
The best place and the place that
I was scared to go...
until I actually was in bands
was the Flamingo.
One night it would be Larry Williamson,
John Guitar Watson...
next night would be John Lee Hooker,
next night, Howlin' Wolf.
There was a great sort of West Indian
contingent and night people...
club people, that worked
in other clubs until three am...
and they'd come down
to the Flamingo...
'cause we'd start at midnight
and end at six am...
every Friday, every Saturday...
and on Sundays play afternoon
sessions...
for the stragglers that couldn't
get back to base.
Next weekend would be Chuck Berry,
Nina Simone.
You could go and see
all these people...
and sit there
and actually learn your trade.
Please write my mama
Tell her the shape I'm in
Please
Write my mama
And tell her the shape I'm in
And tell her to pray for me
And forgive me for my sins
The Flamingo was
an established Jazz club.
There was a small, there was
a baby grand piano in there...
for the jazz musicians.
They wouldn't let me play it because
I was playing Fats Domino.
It was just a sweaty place that
never seemed to close...
particularly in the hours of darkness.
People like John Mayall would drive
down from Manchester on a weekend...
to hang out in the club and play
in the club and sit in at the club...
before John got the chance to bring his
own musicians down from Manchester.
It was primarily a black club,
you know.
It was like mostly West Indians would go
in there maybe to listen to blue beat...
or Ska or jazz or whatever.
It was all night, it was nice, most
nights I think it'd go pretty late...
and on the weekends it'd be all night
and people would get hurt.
You could do ten gigs a week, you know,
just based around the Flamingo...
and just around the London area.
- Was it always pretty full?
- Oh yeah, it was packed out.
There was a great Jamaican disc jockey
called Count Suckle who had...
a Jamaican club
in Carnaby Street...
of all places they called it
"The Roaring Twenties"...
and it was just a Jamaican club.
We opened it as a band with...
Count Suckle's records and Suckle had
this fantastic record collection...
James Brown's "Night Train,"
he had the mixture...
he had a great source in Memphis...
who used to send
all the black American imports...
and plus he had
all the West Indian stuff.
The roaring twenties seeing a lot of the
ska music in the early days... Flamingo.
We was in the Flamingo
one night playing...
and someone said to me...
"Did you see that black guy
sitting in the front of the row looking".
Well there all black there, all Gis.
I say: "They are all black, GI's, they
come down for the weekend, you know?"
"No, it's Otis Redding." I say:
"Go away, Otis Redding. Get off."
I'm sitting in the dressing room, the
door opens and Otis Redding walks in.
Comes up to me and says:
"You are a great singer".
I says: "Oh, dear me,
it's Otis Redding, it is.
"So, Otis, how you doing?"
He said: "I want you to be on my...
I'm doing a TV show next week...
called 'Ready, Steady, Go',
he said: "I want you to be my guest".
And I say: "pinch me",
I think, this is one night, you know?
I've been loving you
Too long
To stop now
My manager and I opened
the club in Brixton...
called the Ramjam Club.
And I saw Otis, I saw that Stax review
on a Sunday afternoon...
I biked over, I cycled from Chelsea
over the river to Brixton...
to see that Sunday afternoon
session. It was fantastic.
Very exciting. Because I come from
Guilford, you know, country boy...
coming up...
and probably sleeping on the Charing
Cross Station and stuff like that.
But very exciting.
And I hated the name
Georgie Fame...
because I been saddled
with this name by Larry Ponds...
as one of his exotic
rock 'n ' roll stable of singers.
But when we went down to Flamingo
and the GI's are saying...
"Hey, Fame motha"',
It sounded ok, it sounded hip.
And in return
You could give up yours
Before we think
Straight?
Okay, I need to look you in the eyes.
What would we do later on?
What kind of life would we have
Just in case we both were wrong?
I'd give up my woman
You'd give your man
But it don't make sense to
The whole thing kind of took off for me
when I met John Mayall.
I mean, I had already got
a long way down the road...
but he had a massive
collection of records.
Lived in Blackheath I lived in a sort
of wardrobe in the top of his house...
and I would spend all day just
going through his record collection...
listening to stuff and deciding what
the band was gonna play, God bless him.
I know you told me
I'll play.
Yeah, we need lyrics, if we're gonna
do this again we need lyrics.
That you want me
That you want me
I was off listening to Ray Charles
and Mose Allison...
and then I started to hear people
like Oscar Brown Jr.
There was a Muddy Waters EP...
I think there was
a Little Walter EP.
Then maybe Josh White.
Josh White? Yeah.
As a matter of fact Josh White
singing "House of the Rising Sun".
- Really.
- Yeah.
B-side was "Strange Fruit".
And Art college kids who
were these enthusiasts...
so they would take me down
to record shops and give me records.
And when I heard Sarah Vaughn,
she was my favorite.
Jeri Southern was my favorite
jazz singer.
I started to hear some
of the early Vee-Jay recordings.
John Lee Hooker, Jimmie Reed.
Jerry Lee Lewis, Elvis Presley,
Chuck Berry, Little Richard.
Great guitar players,
that was what really caught my ear.
It was Cliff Gallup
with Gene Vincent...
James Burton who played
with Ricky Nelson.
Sonnie Terry, Brownie McGhee,
Lightnin' Hopkins...
and of course Ray Charles
who was a big discovery.
- My mother told me
- My mother told me
- Before she passed away
- Before she passed away
- Said son when I'm gone
- Said son when I'm gone
- Don't forget to pray
- Don't forget to pray
- 'Cause there'll be hard times
- There'll be hard times
- Hard times
- Hard times
- Oh yeah?
- Oh yeah?
- Who knows
- Who knows
- Better than I?
- Better than I?
And so I got caught up
with Monk and Mingus...
and all of those guys
in the same period...
and was listening to it all
at the same time.
And I would buy a John Lee Hooker album
on Riverside and someone...
you know,
a Lee Morgan album on Riverside...
and it all to me it was all,
it was all the same thing.
I had a woman, Lord
- Who was always around
- Who was always around
- You know he's gone up the octave.
- But when I lost my money
- But when I lost my money
- She put me down
- Yes, save it, save it.
- She put me down
After that, I heard Lead Belly
and Lonnie Johnson.
In my collection I had
a whole lot of people.
I had Mahalia Jackson
in the gospel field...
and John Lee Hooker,
Memphis Slim, Muddy Waters.
Canal Street Blues.
Dippermouth Blues".
- So I bought those as well...
- As long as it had blues in it?
Yeah, as long as it had
the name blues on it, I bought it.
We would find
some list somewhere...
or some American record store...
where we could write off and get lists
of stuff and we'd kind of take potluck.
I got it through a vintage magazine
called Vintage Jazz Mart...
which was a for sale or auction thing,
you know, private collectors.
I mainly got them,
got them through there.
The first long playing record I ever
owned as a 14, 15 year old kid...
was a Fats Domino LP with a lot
of great tunes on it, you know.
I'm goin' to the river
Gonna jump all board and drown
My parents bought me
a record player one Christmas...
and there was two records
that came with it...
and they came via
a seaman who lived downstairs to me...
and was always going to the US.
You know if somebody had been to America
they'd always bring back a blueser.
I was given some blues records,
three or four blues albums...
and I was studying those, and taking,
finding out what I liked.
Oh, tell me baby
Oh, tell me baby
Stay that night
But don't you hear me crying
At art school somebody turned me on to
the Folk Festival of the Blues album"...
with Buddy playing just
the most amazing stuff.
O disco de Muddy Waters,
Buddy Guy, Howlin Wolf...
blue, dark blue cover...
Sonny Boy Williamson, Sonny Boy
Williamson sings "Bring It On Home"...
and um Howlin' Wolf sings
"Sugar Mama"...
and that's got Buddy Guy on it
singing "Worried Blues"...
and "Don't Know Which Way to Go".
Booker T and the MG's "Green Onions".
I'd never heard that...
that style of playing.
It just happens to be that record
is a milestone in most rock 'n' roll.
We used to have record listening
parties, you know on...
on Saturday nights and go
all the way through the night...
just listening to all,
'cause I used to get...
this is when LP's were around...
and I used to get
the American imports...
and get all the latest Horace
Silver stuff, and Erroll Garner...
Cannonball Adderley
and all these things...
cause we knew what they...
with the cardboard covers.
The cardboard was thick.
This is the real thing, you know...
and all the Prestige stuff,
and the Riverside, you know?
- Sitting on top of the world
- Sitting on top of the world
Yeah, there's an extra...
it's like an extra bar,
an extra two bars.
That's Wolf playing harmonica,
I think.
Then he used it's James Cotton,
Little Walter.
Yeah...
Little Walter, yeah.
Sitting on top of the world
Another great source was
American Forces Network.
Again every house had
a pretty good radio and...
you could tune into AFN which
was beamed from Frankfurt.
I used to hear
the American Forces Network...
they had their own radio program.
This is Willis Conover,
from Washington D. C...
and like for us, Washington D.C.
Was another planet.
So I got, you know, all day this great
input of American folk music.
I used to send requests for jazz records
into the March of Dimes, into the AFN...
Bunk Johnson and Kid Ory
and Louis Armstrong.
They call it stormy Monday
They tell Tuesday's just as bad
Yes, they do
They call it stormy Monday
They tell Tuesday's just as bad
They tell me Wednesday is no good
And Thursday's just as sad
Stormy Monday Blues
Part I and Part II.
We were doing a session
for Chris Blackwell...
from Island Records,
Guy Stevens...
and while they were setting up
all the equipment...
and all that, they just said to us
just play a couple of numbers...
so we can get the mics all tested out...
and we just did
Stormy Monday Blues.
And then we did some other things,
and then a couple of months later...
I saw this come out under Little
Joe Cook and I thought...
they never told me it was gonna
be under Little Joe Cook...
they never did in those days
it was just it, you know.
The eagle flies on a Friday
And on Saturday
I go out to play
The eagle flies on Friday
And on Saturday I go out to play
And then Vicki Wickham got a hold
of it with Ready, Steady, Go...
and she got in touch with
the office the Rick Gunn office...
and said: "We'd like to book Little
Joe Cook for Ready Steady Go"...
and they said: He's not available",
and they said: "Why not?
We can't get in touch with him".
And then, they got in touch
with Island Records and said...
"We want this guy on". But when
I said it was Chris Farlowe...
you couldn't have your Joe Cook 'cause
it's a pseudonym for Chris Farlowe...
they didn't believe it, they said:
Come on, come on, don't be silly.
And it was us,
me and Albert and the band.
'Cause I like to sing the blues
I also like to sing the rock 'n rolls
Let's hear some guitar playing
in here.
And I was in America
a little while ago, last year...
and I was introduced to a guy,
a black blues musician...
forgot his name now.
Well known.
The guy said: "I'd like to introduce
you to an English singer"...
he said: "Yeah? What's his name?"
He said: "Chris Farlowe."
He said: "Chris Farlowe?"Damn,
I know two Chris Farlowes".
And I looked at him, I said:
"Two Chris Farlowes?"
He said: "Yeah, you're Chris Farlowe
and I know another Chris Farlowe...
he sang Stormy Monday Blues".
And I said: "That's me."
And he looks at me and he went:
"No, no, this guy's black".
And wherever round I'm gonna do
They call it Stormy Monday Blues
So this has been a very important
record for me and...
I think for all of us...
'cause it's regarded as one of the great
blues records ever made in England.
You know, I started
with a cheap acoustic...
I played a year borrowing guitars
from friends...
whatever I could get my hands
on, you know...
but then, the first decent
guitar was 1958, I think...
Christmas of '58 my folks
bought me a H?fner Archtop guitar.
About eleven, twelve...
with a two string guitar,
I couldn't afford the other strings.
But it was a shop made guitar,
which is good...
hard to believe
when you looked at it, but it was.
I took up the guitar
when I was about nine.
I had... I guess I would have had
a H?fner Senator... H?fner Senator.
It was an acoustic, but acoustic guitar,
we used to stick microphones behind it.
And then put that through sometimes
a homemade amplifier.
I started off on ukulele...
because the action on my father's
guitar was so high...
you needed a pair of pliers
to press the strings down, you know, so.
So ukulele was what
I started off with...
the George Formby
do-it-yourself method.
I bought my first guitar, a Spanish
guitar with steel strings on them...
got the bridge off.
Somebody brought me back to his house
and played me some Lonnie Johnson.
I thought it was the best thing
I ever heard.
I think the first electric guitar
I had was a H?fner.
And then I bought myself a solid with
three pick-ups and a tremolo...
and I thought it was the same guitar
that Buddy Holly played...
turned out it was a cheap imitation,
it was a Grazioso or something.
When I went in the army
and was in Korea...
I bought a twelve... a six string guitar,
and I had the bottom two strings.
Harmony.
I had a couple of Harmonys...
one was a semi-acoustic one,
and one was more of a solid.
Eric Clapton brought
the Gibson...
into me anyway.
It was a Les Paul.
There was a Gretch Eddie Cochran,
what did he play...
Eddie Cochran it was a Gretsch,
it was Gretsch or maybe a Gibson...
it was a Gretsch.
I mean, you couldn't get a hold
of American instruments at that time...
you just got...
you bought what you could, you know.
It was an actual finish color and they
called it cherry...
the color was cherry,
but it used to fade...
and it'd look like there was a lot of
finish actually involved in that guitar.
There were some other
odd kind of European makes which...
sometimes if you if you cranked
that through an amp...
you actually got
quite an interesting sound.
We only had an old Vox amplifier,
it was a lovely old thing.
A great big light on it,
like an ignition light.
Scotty Moore's Guitar playing on
"Trying to get to you"...
Leiber and Stoller,
you know "My Baby Left Me".
I loved Scotty Moore's
guitar playing...
I'd have liked... if I was a blues person,
nothing else, I really would try...
and take it up
with Scotty Moore somehow.
The first time I heard it that way
was with Freddie King...
and I had or a friend
had "Hideaway", on the single...
but the single had the other B side
of "Hideaway" was "I Loved the Woman"...
with a guitar solo in it
that was single note...
and bend lots of
bending things and...
but and almost kind of rhapsodic
in its composition.
It was perfect, and that became
the new Holy Grail, you know, for me.
You would hear these records doing
all these bends...
and you would say
how are they doing that?
Then we eventually figured out they had,
you know, they had very light strings.
Well, they were bending strings,
you know, way back in the...
Johnny Otis and the...
you know Johnny Otis...
what everyone...
and right in the middle of it he goes...
well, I thought: "That's it! That's what
I want to do for the rest of my life".
Milk Cow blues and I don't know
who wrote that or recorded that...
because Eddie Cochran
was the first guy I heard it...
and he had a kind of T-Bone Walker
introduction on guitar.
And I thought: "That's real
blues guitar playing".
You could tell that there was something
going on there... it wasn't...
it was...
a major sort of minor major bend.
I would take the guitar every time
I pick it up and trill my hand.
A lot of the kids think
I push up and down...
but I don't,
I just trill like that.
Everybody knows I'm here
Now, knows I'm here, man
Everybody knows I'm here
And then when Alexis Korner
and Cyril Davies...
kinda kicked off the thing
at the Marquee...
mainly an experimental
type of situation...
really in the trad-dominated
club world.
When Alexis formed the new
"Blues Incorporated"...
he took Graham Bond,
Dick Heckstall-Smith...
Ginger Baker,
and Jack Bruce with him...
and they were all part of the regular
Friday night jam session, jazz group...
at the Flamingo club.
And it was that thing of seeing a guy,
an English guy playing electric...
the first English guy I saw playing
the electric guitar was when Alexis...
I picked up the "Melody Maker" one day
and the headline was, you know...
Alexis brings amps into...
into the club...
and you know this deafening noise...
which in actual fact was probably
one Marshall amplifier.
I'm gonna make you pretty women
Lead me by my hand
Till the world will know
The hoochie coochie man
- And he had a Kay and I got a Kay...
- Right.
And covered it in Fablon cause
I didn't like, black Fablon...
because I didn't like the, the color.
When Eric Clapton
came in the band...
of course that revolutionized
the whole thing...
because he was a person who knew
the music thoroughly...
and knew the feel of it,
had the right touch...
that nobody else seemed to have
at that time.
I thought Clapton
was a great blues player.
I didn't think he was God,
despite what people wrote on walls.
But "Clapton is God",
they used to write.
I don't know what God
thought about it, but...
he was a very good blues player.
I had a little following from a band
called the Yardbirds, you know...
and I left in a very public way,
you know...
sort of threw my toys out of
the pram...
because they wanted a hit and...
and I was very conscious of having
a mission, like a blues mission.
And so I kinda said:
"Well, I'm quitting. You know? I'm out".
And then John asked me to join.
I had a 3 week period or a month where
I wasn't sure what I was gonna do...
- and then John called me.
- Where had the mission come from?
Interesting, I don't know.
I don't know.
I felt like...
I was convinced that some point
in my teens...
that if I didn't
do it no one would...
or that someone had to do it and I was,
I'd been chosen, you know?
- Really?
- Yeah.
- You were so passionate about it?
- Yeah! And arrogant, too...
I was like the self-appointed ambassador
of blues music to this country...
and was very judgmental
about anybody who wasn't doing it...
the way I thought it should be done.
The early sixties there was
absolutely no acceptance...
of any other kind of music...
I mean I know now people get degrees
in jazz and all other kinds of things.
But in the early sixties, I distinctly
remember being asked at music college...
what kind of music I liked...
and so I said: Well, I do like Paul
Hindemith and lgor Stravinsky...
but I also like Fats Domino
and Ray Charles...
and the teacher said...
"Well you've got a choice:
Either forget about that or go".
We arrived at Birmingham University to
play at one of these university dances...
one of our first gigs
outside of London, I think...
and we're carrying the gear upstairs to
get to the place where we're playing...
and there was a band onstage already,
and it was The Spencer Davis Group...
and Steve was singing
"Georgia on My Mind".
And I'll never forget it the sound
of that voice and his delivery.
Georgia, yeah
Oh, Georgia
A song of love
Comes as sweet and clear
As the moonlight through the pines
As a musician, let's say, and
probably as a piano player as well...
having learned harmony and playing
e-flat and all that kind of stuff...
I was really more interested
in the music...
rather than the whole
social change...
which that was
the massive thing really.
Black cloud crossed my mind
Blue mist round my soul
Feel so suicidal
Even hate my rock and roll
I wanna yeah
I wanna die
If I ain't dead
Already
Oh girl, you know the reason why
The Beatles was doing what
they called rock 'n' roll...
a different type of thing,
but I could still feel...
and hear blues in what
they were doing.
I think the Beatles
had a lot of influence on...
encouraging people who didn't know
how to read or write music...
they could pick up an instrument, make
some music and actually be accepted.
And all it took was for them
to get to the top of the charts...
"It is possible! We'll have a go!"
The Beatles were a little more
sophisticated, I guess...
and they were writing their own material,
based on American culture.
But the way they took it back
to America...
with its innocent charm, if you like,
and its freshness, was an eye opener...
and that took that music
into mainstream America...
whereas before it had been kinda
the lid had been kept on.
The Beatles did in the early days sing
few blues and so on...
but on the whole they
were very inventive.
The Stones less so, weren't they?
Some people used to call it
the Thames valley cotton fields.
I don't want
'Cause I'm sad and blue
I just want to make love to you,
Baby
Love to you, baby
Sweet love to you, baby
Love to you
The Stones were a straight-ahead
blues band, basically.
Jagger had a genuine feeling for it
and so did Richards and...
their early music I think
is pretty powerful...
and definitely black influenced...
but it doesn't sound like it,
not imitative quite.
And there was a few comments when they
went to America from black artists...
"It's fine,
white boys playing this stuff...
more people going to listen to us",
which is probably true.
I'm gonna get high
I'm gonna get high
Sure
Wait no more
Stick by my riffle
I ain't gonna be messing around
With no cocaine
British blues were John Mayall...
I think he's the master of it.
He's about the first that I can think
that really brought it out.
But then I started
hearing many others.
When Cream came that was it.
I had met Jack and Ginger on and off
around the Ealing club and the Marquee.
But, I mean, I admired
these guys tremendously, and...
for start because they were
kind of a generation before me.
And they were onstage when
I was in the audience at the Marquee.
So these were the real thing, I mean,
it was like back to that again.
And even in the band,
when it came into fruition...
I was still, I kinda stayed in that
place, I was in the audience really...
for most of their shenanigans.
By then all the whole blues,
rock blues thing...
was in full swing
on a worldwide basis.
In other words, several years before
when not many people knew about it.
Now it was the music.
You know, it dominated everything.
Well I'm going down to Rosedale
Take my rider by my side
Going down to Rosedale
Take my rider by my side
You can still barrelhouse, baby
On the riverside
Cream were enormous in America.
And thanks to Eric Clapton,
Jack Bruce, and Ginger Baker...
and that band in particular...
who drew from a very blues influence
between them, and jazz...
they went out and played it
live to American audiences.
Early 1968, I first went to America
with Traffic as a three piece...
with Jim Capaldi and Chris Wood.
And so, of course,
I think the idea there is...
I really wanted to stop...
trying to, trying
to copy this music.
We're taken into the depths
of Chicago...
these little white guys,
you know.
Mike Vernon, who was in charge
of our label, Blue Horizon...
arranged for us to go record
at the Chess studios...
and Willie Dixon, Buddy Guy
was there...
J.T. Brown, the horn player
from Elmore James...
and Shakey Horton.
Been in Stax/Volt
recording sessions...
watching Otis Redding
record "Daytripper"...
Sam and Dave cut
"Hold on, I'm Coming"...
playing with an interracial band,
a white black band.
When Jeremy playing with
J.T. Brown during the bass section...
it was like living out the wildest
fantasies that you could possibly want.
Peter had a confidence
about what he played...
and felt that he could play...
but he was...
We're all thrilled.
I had a woman, Lord
Who was always around
But when I lost all my money
You know she put me down
Talking bout hard times
You know about hard times
And who knows
Better than I?
Yeah, Lord
You know better
One of these days
There'll be no more sorrow
When I pass away
Talking bout hard times
I said no more hard times
And who knows
Better than I?
As long as you sounded real...
they didn't mind if you were white
or you know, whatever...
as long as it was real, and then
I thought that's great because...
I thought I might have gotten
a bit of um flack...
with singing some of the tunes,
you know, and being white.
To be blunt, for us
to play their music...
in studios that
they recorded those songs in...
could have gone horribly wrong.
It truly didn't.
But there was a moment when
there was a testing of our situation.
I do remember that.
And then suddenly and I hope it, in fact
I feel it had something to with that...
they were blown away...
as to how this little group
of English kids could sound and...
J.T. Brown turned around and
I know genuinely was saying...
"That's pretty damn cool",
you know.
Because it was so
heartfelt from us bunch.
When they would do tunes
that had been recorded by...
shall we say, Big Boy Crudup,
Muddy Waters, and so on...
whoever wrote the tune, man,
ought have been glad...
because it became a hit...
and it was sold to many more people
then they were ever able to sell it to.
That was the beginning
of those fantastic bills where...
you get the Freddie Kings,
you know, playing with Richie Havens...
and Fleetwood Mac
and Janis Joplin.
And I noticed then that white America
started paying attention to blues.
And so it started to opening a lot
of doors that had been closed to us.
Like Albert King said he was,
was staggered...
by the Fillmore was packed
just had no concept of...
how it could be that
what he was playing...
could be appreciated
by so many people, you know.
And white people, you know?
Where did they come from?
And we were having fun,
we had a lot of fun.
But musically
I kept stepping back and going...
this isn't it, this isn't really
what I want to do...
or this isn't what I hold up.
This isn't working to the principles
that I've been following all this time.
And consequently when I heard
music from Big Pink...
I thought:
Well, this is a contemporary band...
that is approaching where
the blues can be taken".
And
You put the load right on me
And it doesn't have to be like that...
because what we're doing
is starting to become a bit of a circus.
Playing in places where
all the audience was stoned...
you know, doing tours of America,
the Fillmore and the Fillmore East...
and all kinds of places
where you know that we encouraged...
to get to do just silly
things rambling, meaningless...
self-indulgent music, really.
I wanted to take it seriously.
I wanted. My music was
a very serious thing to me...
and I felt like I was starting
to betray myself.
Tell me how long
Oh baby how long
Has that evening
Has that evening train been gone
How long
Has that evening
Train been gone
My definition of it would be that
it was someone making music...
purely for themselves in a way...
and without any conscious effort
to be communicative.
A branch of folk music...
that is to say, it's a rather natural
expression rather than a contrived one.
It's an uplifting music.
I wouldn't necessarily say
it's happy but up...
it's definitely uplifting,
energizing...
all those kind of things that
you come away from it saying...
- "That was great".
- Tell me how long
Has that evening
Train been gone
Well, the blues is
so many things...
but basically speaking
it's developed into a 12 by format...
with fairly simple chord progressions
in the first place...
which could have been extended,
you know, as jazz has got more modern.
What it really means is
the singer or player...
is actually playing from his heart.
It's like he's singing the truth.
It's simple,
anybody can play it.
It has the magical structure
of three chords...
which you can tie into earth,
sun, moon, man, woman, God.
Life.
Life as we live it today.
Life as we lived it in the past...
and life as I believe
we'll live it in the future.
Has to do with people.
I think that's one of the reasons
that kids picks it.
It has to do with people,
places, and things.
It's kind of like religion,
really blues music.
I've recently,
only recently sort of got the...
started to get the hang of it,
you know?
What it means...
because it's a story when you say
Bill Broonzy...
it's his words, it's his lyrics
or you're listening to the guitar player...
and someone who doesn't play guitar
or listen to the words...
they might get it right like that
and sort of understand what it is.
It's two lines which
are the same.
First line more
or less repeated...
and then the third
one which completes the sense.
But I think it's more a feeling.
I guess it's a feel, isn't it?
It's an emotion.
We didn't even know the words.
We couldn't understand
a lot of lyrics...
of what these guys were singing.
But the whole feel...
Yeah, there's no black no white.
It's got to, it has to do with the truth.
Blues is the truth.
I think it's a kind of a plea,
it's a musical plea for something.
It's a way of expressing
a need or a want.
It could and almost should be
a part of all music and...
if it isn't, then I feel that
the music is somehow lacking.
We're still sitting here talking about
something that's so real, so alive...
just when you think
it's off the radar.
I don't think it ever will be, because
of the absolute power that it has.
It brings a tear
Into my eyes
When I begin
To realize
I've cried so much
Since you've been gone
I'm absolutely sure that,
if you asked a black blues musician...
whether his life was enhanced,
I think they'd say, yeah.
I mean, that would probably be
the better person to ask.
I don't know for myself
how further the ripple has spread...
but Robert Johnson is
a household name now.
I just sit and cry
Just like a child
The United States suddenly started
paying tribute to a wonderful legacy...
of the roots of rock 'n' roll
and blues...
and by this reverse
of triggering mechanism...
that came from all those things
in England the bands going back.
And hey, you see the Rolling Stones,
when they first landed...
they're all talking about
Muddy Waters and people...
and people are going like
"Who the hell is he?"
That you gonna be home soon
It's alright
I believe I'm gonna
Drown
In my own tears
The Brits took
what the Americans...
culturally threw into
the trash bin.
There was a definite move
to trash that culture...
and keep it away
from white kids.
Oh some rain
I know some rain is gonna pour
There's probably a feeling in the early
days of blues, English blues...
of wanting to bring this music
to people's attention...
to show them what a interesting,
wonderful form it was.
That it just keeps raining
Raining, raining, raining, raining
More and more
Why don't you
Come on home
Without it, I don't think American black
musicians and black blues players...
would have really made it
to the extent they have...
because if you talk
to any of them...
they'll say well these
English guys they came over...
and they spread
the word about us...
and, you know, they made a larger
awareness on the world scale.
'Cause if you don't think
That you gonna be home soon
It's alright
I believe I'm gonna
Drown in my own tears
It gave people a chance to play
and to be somebody...
and to do something
with their music.
People who were disregarded and
worth nothing at the time over there.
As the jazz revival had.
It gave people, you know,
Americans something to feel...
they've done something to be important,
for the music to be important.
Drown in my own tears
Yes, I'm gonna
Drown in my own tears
Black American culture
if you want to call it, which it is...
the greatest art form that came out
of America really, modern America.
Sing a song tonight
Sing a song tonight
If it wasn't
for the British musicians...
a lot of us black musicians
in America...
would still be catching the hell
that we caught long before.
So thanks to them,
thanks to all you guys...
you opened doors that I don't think
would have been opened in my lifetime.
Thank you very much.
My own
My own
Tears
Good God Almighty
That was alright except
for that last little bit...
that I did not give
any indication on.
That was quite beautiful, yeah.
- Let's do...
- Listen, can we get that bar?