Posts Tagged ‘Buddy Moss’

Blind Willie McTell (May 5, 1898 – August 19, 1959)

 

Born William Samuel McTier (or McTear) in Thomson, Georgia, blind in one eye, McTell had lost his remaining vision by late childhood, but became an adept reader of Braille. He showed proficiency in music from an early age and learned to play the six-string guitar as soon as he could. His father left the family when McTell was still young, and when his mother died in the 1920s, he left his hometown and became a wandering busker. He began his recording career in 1927 for Victor Records in Atlanta.

 

In the years before World War II, he traveled and performed widely, recording for a number of labels under a different name for each one, including Blind Willie McTell (Victor and Decca), Blind Sammie (Columbia), Georgia Bill (Okeh), Hot Shot Willie (Victor), Blind Willie (Vocalion), Red Hot Willie Glaze (Bluebird), Barrelhouse Sammie (Atlantic) and Pig & Whistle Red (Regal).  Bridging the gap between the raw blues of the early part of the 20th Century and the more refined East Coast “Piedmont” sound, he took on the less common and more unwieldy 12-string guitar because of its volume. The style is well documented on John Lomax’s 1940 recordings of McTell for the Library of Congress, for which McTell earned ten dollars.

 

McTell is unusual, if not unique, among country bluesmen in his ability to play the guitar in both the ragtime style similar to Blind Blake, and bottleneck slide blues style.  His playing in both idioms is masterful, fluid and inventive; based on multiple recordings of the same song (for example, “Broke Down Engine”), he never played a song the same way twice. His style could almost be called “stream of consciousness,” as he would vary the bar pattern and sometimes even the rhythm and chord progression from verse to verse. McTell was also an excellent accompanist, and recorded many songs with his longtime musical companion, Curley Weaver; their recordings are some of the most outstanding examples of country blues guitar duets. See, for example, “It’s a Good Little Thing,” or “You Were Born to Die.”

In 1934, he married Ruthy Kate Williams (now better known as Kate McTell). She accompanied him on stage and on several recordings, before becoming a nurse in 1939. Most of their marriage from 1942 until his death was spent apart, with her living in Fort Gordon near Augusta, and him working around Atlanta.

Post-war, he recorded for Atlantic Records and Regal Records in 1949, but these recordings met with less commercial success than his previous works. He continued to perform around Atlanta, but his career was cut short by ill health, predominantly diabetes and alcoholism.

In 1956, an Atlanta record store manager, Edward Rhodes, discovered McTell playing in the street for quarters and enticed him into his store with a bottle of corn liquor, where he captured a few final performances on a tape recorder. These were released posthumously on Prestige/Bluesville Records as Blind Willie McTell’s Last Session.

McTell died in Milledgeville, Georgia, of a stroke in 1959.  He is buried in Thomson, Ga. and every year the Blind Willie McTell blues festival is helpd there.  In addition, Atlanta’s most prominant blues club, “Blind Willies” is named after him.

He was inducted into the Blues Foundation’s Hall of Fame in 1981.

McTell is best known to many folks today for songs like “Statesboro Blues” (Allman Brothers & Taj Mahal – who by the way gave himself a songwriting credit) and “Broke Down Engine Blues” (Johnny Winter). Statesboro is where McTell learned to play.  Jack White of The White Stripes considers McTell an influence (their 2000 album De Stijl was dedicated to him and featured a cover of his song “Your Southern Can Is Mine”), as did Kurt Cobain of Nirvana. Bob Dylan has paid tribute to McTell on at least four occasions: Firstly in his 1965 song “Highway 61 Revisited” in the second verse, which begins, “Georgia Sam he had a bloody nose,” referring to one of Blind Willie McTell’s many recording names; later in “Blind Willie McTell” (recorded in 1983 but released on The Bootleg Series Volumes 1-3 in 1991); then with covers of McTell’s “Broke Down Engine” and “Delia” on his 1993 album World Gone Wrong. In his song “Po’Boy”, off the 2001 album Love & Theft, Dylan again paid homage to McTell by appropriating the line “had to go to Florida dodging them Georgia laws” directly from the latter’s “Kill It Kid”.

Like other seaboard Piedmont players, McTell’s music is lighter sounding than the Delta Blues and very danceable. Very ragtimey sounding with a touch of Appalachian ballads and string music thrown in. What distinguished McTell from crowd was his fast and clean style of playing.
McTell played the vaudeville and Medicine Show circuit, often with his wife Kate. McTell made his first recordings in 1927 and eventually recorded over 120 songs in 14 sessions. Beginning in 1931, McTell had Curley Weaver as his side man. Ya always knew when Curley was going to solo when you heard McTell shout “Kick it Six.” Even after Weaver struck out on his own, McTell would still yell that line and just leave the space where Weaver’s solo would have been.

McTell was one of the few bluesmen to continue playing and recording after World War II. His last session was in 1956.

Charlie Hicks (aka ‘Laughing’ Charlie Lincoln) (1900-1963)

Charlie Lincoln was born Charlie Hicks in Walnut Grove, GA, in 1900. When he was young, his parents moved the family to Newton County. He and younger brother Robert (who later became known as BBQ Bob Hicks) first showed an interest in music. Their family wasn’t too musical, so they were soon taking guitar lessons from a woman named Savannah “Dip” Weaver. They instantly became friends with her young son James, better known as Curley, and often practiced together.  After a while, these three were often seen playing at local frolics and fish fries with a young harmonica wizard named Eddie Mapp, who had moved to the area about 1922. Charlie moved to Atlanta in 1923, the first of his circle of Newton County friends to do so. He married, settled down, and got steady work, first in a foundary, then a bakery, and finally at a paint factory. He only played music on the side, and one wonders if his wife had anything to do with that. Unlike his easy-going younger brother, Charlie Hicks did not make friends easily; he kept to himself, got moody at times, and was not like the laguhing character on some of his recordings. When he did play around Atlanta, he often worked with Robert, Curley, and Eddie (or some combination thereof) and rarely played with other musicians.

After his younger brother’s first hit, Charlie was brought into the studios with him to record for Columbia in 1927. He recorded with his brother as part of The Georgia Cotton Pickers and as a duet in addition to making his own records. Columbia released his records under the names “Charlie (or Charley) Lincoln” and “Laughing Charley”. No one could say why “Lincoln” was used, though it was the maiden name of Eddie Mapp’s mother. He recorded steadily over the next three years, though only three of his own records were released.

His brother’s death from pneumonia in 1931 hit him hard, coming two years after his mother’s and one year after his sister-in-law’s. His sister recalled that “he was just a different Charlie altogether”, and his life fell apart. His marriage broke up (his wife later dying of pneumonia as well), and after his father’s death in 1935, he became an alcoholic. By 1955 he had already attacked two or three persons with a knife. Then on Christmas Day, his trouble deepened. He was in a rough section of town and, according to him, tried to stop a man from beating his common-law wife. When the man threw a bottle, Charlie shot him. Eyewitnesses said that Charie shot the man for no apparent reason. He was found guilty and given twenty years. In prison, he continued to play his twelve-string, though he’d only play religious songs. Big Joe Williams recalled meeting a twelve-string player at the prison, but didn’t realize that he was “Charlie Lincoln”. Hicks’ parole was was turned down after seven years; soon after that, he died of a brain hemorrhage.

Eugene Moss ,”Buddy,” “Gene”
Jan 26, 1914, in Jewell, Georgia, October 19, 1984, in Atlanta, Georgia
played Harmonica, Guitar (and vocals)

Buddy Moss, born Eugene Moss, was born in 1914 in Jewell, Georgia. He was one of twelve children from a sharecropping family in Warren county. When he was four years old his family moved to Augusta, Georgia, where he taught himself how to play the harmonica in order to entertain people at parties. He spent the next ten years in Augusta until he picked up and moved to Atlanta where he met up with the likes of Barbecue Bob and Curley Weaver. They were impressed with Moss’s aptitude on the harmonica at such a young age, and Moss accompanied them with the Georgia Cotton Pickers in a recording session at the Campbell Hotel in Atlanta in December 1930. This was Moss’s first recording experience ever. Moss stayed busy for the next three years teaching himself how to play the guitar and in January 1933, Moss put out his own record through the American Recording Company in New York City.

Paul Oliver said, “His first titles revealed him as a competent guitarist with a swinging style that made effective use of bass string rhythms and of raising a note by ‘hammering on.’”  This first recording session consisted of eleven tunes, and by mid-September 1933 he was recording another twelve songs. This time, however, Curley Weaver and Blind Willie McTell were accompanying him. The summer of 1934 saw Moss outselling everyone in the industry and continued to do that when he teamed up with Josh White in 1935. Moss was arrested that year however for either murdering his wife or fighting to the death with one of his rivals, depending on which source you read. He was released from the Georgia prison system six years later due to good behavior and a good word from James Baxter Long, Blind Boy Fuller’s “manager.” This may have been due to the fact that Blind Boy Fuller was dying and Long needed another star.

Moss moved to Elon College, west of Burlington, North Carolina, where he worked and lived in Long’s home, working in the fields during the weekdays and in Long’s store on the weekends. When World War II commenced and the government banned the use of shellac used in 78 rpm discs, the industry collapsed. This created a huge decline in recorded blues during this period. Moss worked odd jobs through the rest of his life such as elevator conductor, truck driver, and tobacco farmer. In 1964, however, Moss visited Josh White at one of his concerts at Emory College (Emory University, or Oxford College of Emory University?). Moss was recognized by the academics there and asked to play in festivals such as the Newport Folk Festival in 1966 and the Atlanta Blues and Grass Roots Festival in 1976. Moss had had a hard life and did not wish to continue touring. Eugene Moss died October 19, 1984, in Atlanta, Georgia.