3rd July 1960: Rock’n’Roll was still a bawling infant, the Beatles known to but a few, the Stones two years away from rolling, the world very much still in black and white and, on this weekend, tense and uptight
A riot during Ray Charles’ Newport set the previous evening had brought out the National Guard and the next day’s performances were cancelled – then reinstated when the promoter trumpeted to the authorities that the event was being filmed to promote America’s culture around the world.
Muddy and his band played what must be one of the best Sunday afternoon festival sets ever. But then he had lent the band to John Lee Hooker (who’d arrived with just his guitar, not even in its case) for the latter’s lunchtime slot, so they were well limbered up.
I read a piece (wish I could refind it) where harp player James Cotton is quoted as saying Muddy was so furious about the band’s performance of one newer song in the set that he lambasted and fired them all straight after the gig. This apparently lasted four days until Cotton got a call from an only slightly repentant Muddy, telling him where to be for the next date.
https://www.youtube.com/watch?v=1gNs-29s-0Q
Old fart reminiscence alert: one Saturday afternoon around 1962/3 I’d been book shopping in the Charing X Rd. I then headed for darkest Soho in search of Sylvia Syms (obligatory Expresso Bongo reference). Wandering back along Little Newport St I came across one of those odd shops that sold radio valves, capacitors, transistors and suchlike things – you don’t see them any more.
Outside the shop was a box of singles, and in that box was an original Chess single of Got My Mojo Working/Woman Wanted by Muddy Waters. Naturally I bought it, for ninepence probably. No middle of course, but fortunately I had ex-jukebox singles I’d bought from the proto-Arthur Daley who sold such things from his stall behind the arcade in Southend town centre.
I’d probably heard of Muddy Waters, but had never heard anything like this. Mind duly blown. Next was the EP with You Shook Me on it (also the tragic Muddy Waters Twist, best forgotten.) And that was that. Carry on.
57 or 58 years later, I can confirm that it is still thrilling to find a cheap second hand Chess single.
Lovely reminiscence to hear Mike. Is there a name for those middle bit adaptors for what I experienced as DJ or jukebox 45s? Similar things for 16mm film we used to call bobbins or cores.
As far as I remember they were just called middles, or possibly middle bits!
Thanks Brill. Muddy at Newport is a gine release Much as I love the electric stuff and the array of brilliant players he had in his band, my go to Muddy is just him and an acoustic guitar on Muddy Waters Folk Singer.
Which is one of the best sounding recordings ever – also my go to Muddy. Features a young Buddy Guy on acoustic guitar.
Correct on both counts.
Absolutely agree, Folk Singer is one of the greatest sounding records. I’d give a highly honourable mention to ‘Muddy Waters Sings Big Bill Broonzy’ too, which without checking I think is 1960, the same year as Newport. The band similarly all acoustic and bursting with enthusiasm, commitment and, well, the Blues.
My Muddy go to would also be the late 40’s and early 50s sides…Rollin’ and Tumblin’, Rolling Stone a rare solo performance on the electric guitar and actually all the way back to the Plantation Recordings. There is a warmth in Muddy’s spirit that other Blues artists don’t reach – though I’m happy to be corrected if anyone wants to post a riposte to that!
Muddy came from an era when live gigs were how musicians made their living. Occasionally, they’d get into a studio but often only, literally, for three minutes. Then, the record label owners took the profits. Nobody could afford to make a proper LP. Compilations of singles and live recordings were cheap ways to produce an album. Folk Singer was 1964.
My first choice Muddy is Hard Again from 1975. Astonishingly good. But Folk Singer and Newport aren’t far behind.
Has anyone written a book about Newport? Lots of great black artists were showcased there. In my mind only The Village Vanguard rivals it for quality live recordings.
Hard Again is a fine recommendation indeed, Tigger. But it’s from the classic year of 1977.
Hard Again and I’m Ready are excellent. Produced by Johnny Winter, Muddy’s big fan. Johnny also made Nothin’ But The Blues with the same band minus Muddy. Recorded in Dan Hartman’s The Schoolhouse studio where he made “Instant Replay”, triv fans.
There’s a thought Tig, I’d love to make or see a Classic Albums about Muddy’s Newport set, though witnesses must be falling. I’m not so aware of Village Vanguard recordings of anyone – is there quite an archive there?
I do remember hearing recordings of Blues artists singing soap commercials as their price of admission to get a live session on the radio…which all to easily gets me to the essay question ‘Was musicians making money from recordings simply a brief historical and technological blip? Discuss and show your workings.’
Agree Hard Again is the best of the Johnny Winter albums (certainly the best cover of all Muddy’s LPs) though the live set from 1977 that goes under various names, my copy entitled Muddy Mississippi Waters Live, holds a special place – but that’s possibly because of it partly soundtracked a relationship way way back.
Last thing I wanted to say was that I actually bought the DVD of Muddy’s Newport set (it includes 2 other concerts that also have some fabulous highlights) and I’d advise everyone else to do so because, y’know, youtube is crap quality and out of fear that I might one day become enfeebled and purchase Grammerly. Also dancing in front of the tv to Muddy with friends was wonderful.
Here’s a list, with links to each album:
https://en.m.wikipedia.org/wiki/Category:Albums_recorded_at_the_Village_Vanguard
My favourite is the John Coltrane from 1961, Bill Evans Trio’s Waltz For Debby and All My Yesterdays by the Thad Jones & Mel Lewis Orchestra. Tiny venue, seats max of two hundred, but great acoustics.
Thanks, will check these out and report back.
Pleased to say I have all three. Each one worth a king’s ransom.
Kenny Burrell’s 12/15/78 is a belter too.
Much as I love Muddy and Johnny Winter and the effect those albums had in bringing more awareness and money to Muddy I can’t list them as a favourite record. Too slick and turbo charged for me.
Acoustic -folk singer
Live – Mr Kelly’s
Electric – They Call Me Muddy Waters
The CHESS box set is indispensable