Much is made of this crusade to keep the blues alive, particularly in the world of blues festivals, blues publications, and blues societies. I think with many, if not most, the intention is sincere, although some of the fervor is simply an invitation to a big party. Far be it from me to bite the hand that feeds. I am grateful that anyone still wants to hear a style of music that I professionally embraced years ago. However, as an insider in the blues world, I am sorry to break in with a news bulletin. Not only is the blues not up and around, it’s not even on life support anymore. The power has been cut, and there was no special session of Congress called to pass a resolution opposed to pulling the plug.
What about all of the festivals and concerts and awards and foundations and mailings and cruises and e-zines and paper-zines and new releases from the blues indies you ask? Well, all of those things are obviously real. I mean you look up and there they are. Many even bear some kinship to the music called blues. There’s the three chords, for example, the old I-IV-V. Shit, most popular music is built on that pyramid. You can still find a pair of alligator shoes, some greasy hair, an affected stage accent, a pseudo-Negroid growl, etc., etc., etc. I’m not suggesting that what passes for blues today is without merit or a completely wasted effort. As in any other field, there are the substantial and the sub-par, the connected and the concocted, the sincere and the synthetic. I’m just saying let’s cut the crap about championing and preserving the idiom.
Blues, as a musical style, was the marriage of African rhythms and scales with western European harmonic tradition. That’s only the technical portion of the program. The heart and soul of the blues was born of the collective cultural nightmare of human bondage. The first sounds of the blues were not searing string-benders on a Telecaster. They were the sounds of human flesh snapping with the crack of a bullwhip. The entire development of this musical genre was the history of African culture in America. The usefulness of blues as a cultural conduit was long ago exhausted as soul music, funk and hip-hop took their successive turns at repping the peeps.
When the mainstream and white listeners discovered blues, it was a mixed blessing. Seminal blues artists, unsophisticated, unpretentious black men and women from the country, found themselves riding the coattails of British upstarts to a new level of acceptance and adulation. These musicians never could have imagined that they would be standing on stages in front of thousands of young white college students, some of whom were perhaps grandchildren of slave owners. They had no illusions of such fame and fortune when they began their careers, not in a society which was just coming out of Jim Crow. This long-overdue reward for the musicians who inspired a young generation of color-blind devotees was also the end of blues as a living, breathing art form. Now it was business. Now it needed to concern itself with contracts, billing, riders, sound checks, you know, rock star crap.
In time, these purveyors of America’s original art form passed on and left a legacy of recordings and concert footage for the young aspirants to study. Some students got it and others were simply using the blues and its bad-ass posturing to get laid or get paid. Sounds pretty much like any field of artistic endeavor or, for that matter, cattle ranching. You must wade through the bullshit to get to the beef. So in a style of music where songs once spoke of infidelity, duplicity, cheating, disappointment, terminal illness, and any one of many actual life experiences, we now had a new set of topics. Zydeco bands now sang about how hot their gumbo is, blues bands sang about how much they have the blues because they’re from Chicago, and the parade of cliches and blues trademarks marched on (thanks a lot, Blues Brothers). It’s as if someone was holding a mirror up to the blues as it described its own bastardized image in the lyrics of its songs. It became self-conscious. That’s always the end.
So, more power to anyone who enjoys today’s “blues”, whether on CD, live in a club, or at one of the hundreds of festivals each year. Have a beer, dance, call some friends, download the newest releases onto your iPod. Enjoy, revel, compare notes and have fun. Those of us who depend on your support to put bread on the table are sincerely appreciative and always ready to perform. But please, let’s not “keep the blues alive”. That kind of talk is disrespectful to the corpse.