cih

well I'm always incapable of really separating one genre from another to be honest (it's all marketing anyway of course) but I was just going from repertoire really - eg Magic Sam - 21 Days in Jail, Earl Hooker - erm, several things I can't remember (not hard to find though) and Hound Dog Taylor - Coming Round The Mountain... I was just trying to find the book 'Urban Blues' by Keil(?) but I've mislaid it - he performs a kind of split in black music iirc between what the black audience want and what the white audience what (needless to say the suits and smoother sound for him is the real blues as it had, at the time of writing, the black audience). BB King, Bland and others, I think, are often labelled simply as 'Modern Blues' Just thinking, you could almost as easily (and artificially) separate one sub-genre of blues from another by using the performers' clothing as the criteria. All the way through, from Ma Rainey to RL Burnside..

Magic Sam and Earl Hooker, and Hound Dog too for that matter, all had country music influences too.. (+ Ike Turner) In the Earl Hooker biog (Danchin?) theres a description from Dick Shurman of a typical Hooker gig - late sixties - how it goes from R&B at the start of the night through to straight blues when the audience are 'ready'. He made tapes & some extended swinging guitar workouts are on a CD (can't remember title at the moment) - very nice jazzy renditions of Dust My Broom and others

Tintin Captain Haddock Captain Birdseye

It'd be hard to determine how far the blues artists whose styles were rooted in earlier periods, like Muddy, John Lee Hooker etc - were influenced back by the rock artists who were influenced by them in the first place (and who played with them in Europe etc). Any back influence is (or was) often presented in the literature as 'corruption'. By the seventies I would imagine everyone playing electric blues, without horns, is influenced by rock?

maybe John Cage meant baguettes

if dictionaries were written in chronological order instead of alphabetical you wouldn't have to rewrite the whole thing all the time, just add new stuff on the end

Big Bill Broonzy said that http://d1n51d37v3y820.cloudfront.net/files/audio/21_this_train_-_spoken_introduction.mp3sound file from www.fretboardjournal.com Penny = Mr & Mrs Cunningham?

Mario Luigi Princess Peach

As in the US, you can hear it in the music too - Calypso War. Same with Jamaican deejays.

Elijah Wald just had a book published on the Dozens (& Rap) - My link Haven't read it though I read recently another short thing he wrote on Hip Hop - he wrote - "For any longtime blues fan, hip-hop should not be a major stretch. After all, it is coming from the same kind of communities and artists who produced our favorite records. " this seemed a bit simplistic to me (but what do I know? nowt. a lot less than him anyways) There are some great records of course - Will Shade of Memphis Jug did a very dirty dirty Dozens-type recording for George Mitchell

I guess the fact that repressive regimes are so keen on restricting access to the net, indicates that it brings people together (or offers alternatives). As with music, or the arts...

The Real McCoys Monster Munch Edvard Munch

I agree - "If the earth were covered in lice, like grains of sand upon the sea shore, the human race would be annihilated - stricken with terrible grief. What a sight! And I, with angel's wings, motionless in the air to view it! just kidding - actually, it's nothing new I think - at college in the eighties I had a lecturer who kept a pair of scissors on his desk to snip the cables of student's walkmans if they wore them while he was talking. And instead of texting etc - people used to concentrate on their pocket calculators (writing BOOBS and SHELLOIL upside-down). The trouble with iphones is the googling, and showing you apps that distort your face or detect spirits near you. They should put the wires back on them so people can't wander around with them

Ice Cube Thelonious Sphere Monk

I had an uncle who worked as a porter for a gallery in London for a while, I guess in the '50s - he remembered Stanley Spencer coming in wearing his pyjamas under his jacket. Unfortunately this uncle thought modern painting was rubbish, otherwise maybe he might have picked up a couple of bargains Sickert reminds me of another bunch of British painters I like - Coldstream, Pasmore and those other Euston Road people who's names I can never remember. This is all very visible art.. The thick impasto styles of people like Bratby, Auerbach, Joash Woodrow would probably cost about a pound per brushstroke at today's material prices No wonder people are producing blank canvases!

I like Sickert a lot - but some of his paintings are so dark, tone-wise, darker than anybody elses I've seen I think. I guess London was dark then... almost invisible art right there

thought you were being rhetorical - thought it was a comment on invisible art! ... like a message written on stone with water

http://www.divshare.com/direct/16589478-c99.mp3 http://bobpurse.blogspot.co.uk

crikey - thanks for pointing out Joash Woodrow, I love this stuff - My link darn it - the board won't let me post the pic on here re the Brits and modernism - Paul Nash ticks all my boxes really - not so much of Picasso there I suppose, but that bleak landscapey business he had going on was really something

well I'm wangling my way to London next week through work - though I'm more tempted by the Picasso & Modern British Art show at tate Britain really - mouldy fig that I am. I will have to get to that Liverpool show too. I went to the Miro at Yorkshire Sculpture Park for the second time last week - really great. They're showing a documentary on him with Roland Penrose - apparently Miro admired Turner very much (which might seem unlikely - and unlike Dali who detested him)

Green Gilbert Blue Mitchell Red Lester

one thing's for sure - that horse and that man are not on the same wavelength.