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A lot of people wonder, "What is the blues?" | 0:00:02 | 0:00:05 | |
I'm gonna tell you what the blues is. | 0:00:05 | 0:00:07 | |
This programme contains some strong language. | 0:00:07 | 0:00:11 | |
This is the story of an unlikely love affair, that was awakened, innocently enough, | 0:00:11 | 0:00:17 | |
in the drabness of '50s Britain, | 0:00:17 | 0:00:20 | |
but by the '70s, had blossomed into a global passion. | 0:00:20 | 0:00:22 | |
From its origins as a secret society, all the way to the international stage, | 0:00:25 | 0:00:31 | |
this is what happened when Britain got the blues. | 0:00:31 | 0:00:34 | |
'50s Britain - a bombed-out country marked by austerity, | 0:00:55 | 0:00:59 | |
demob suits, and dreams of better times to come. | 0:00:59 | 0:01:02 | |
A generation of post-war kids found itself stranded | 0:01:07 | 0:01:11 | |
in the dust-covered landscape of national reconstruction. | 0:01:11 | 0:01:14 | |
Yeah, it was grey. | 0:01:18 | 0:01:19 | |
Like, "When the hell are we gonna get out of here? | 0:01:19 | 0:01:23 | |
"I thought we won?!" | 0:01:23 | 0:01:24 | |
Bloody awful. You couldn't get any sweets, either. | 0:01:24 | 0:01:29 | |
We were on rationing, baby, big time. | 0:01:29 | 0:01:32 | |
There was no colour whatsoever in Britain. | 0:01:32 | 0:01:37 | |
Glasgow didn't exist, there was just a sort of grey wash. | 0:01:37 | 0:01:41 | |
You kept bumping into things cos you couldn't see anything. | 0:01:41 | 0:01:44 | |
Dark at 4 o'clock, Ovaltine, all that stuff. | 0:01:44 | 0:01:50 | |
There was nowhere for young people to go, um... | 0:01:50 | 0:01:54 | |
There was nothing specifically for young people. | 0:01:54 | 0:01:56 | |
Everything was run by pretty strict rules and regulations by the establishment. | 0:01:56 | 0:02:03 | |
They were very depressing days. | 0:02:03 | 0:02:04 | |
Musically, the antidote was obvious. | 0:02:09 | 0:02:12 | |
Dance bands and crooners provided all the entertainment the country could consume, | 0:02:12 | 0:02:17 | |
in its dogged determination to make whoopee. | 0:02:17 | 0:02:20 | |
But not everyone sought solace in the two-step. | 0:02:20 | 0:02:23 | |
Britain by about 1953-54, was crying out for alternative music. | 0:02:23 | 0:02:31 | |
The first rock'n'roll wasn't about till about '55, '56, was it? | 0:02:32 | 0:02:36 | |
Before that, it was gutless music. | 0:02:36 | 0:02:38 | |
# Lipstick on your collar Told a tale on you... # | 0:02:38 | 0:02:46 | |
The guts of American rock'n'roll spilled out across Britain in 1957, | 0:02:46 | 0:02:50 | |
creating the teenage phenomenon. | 0:02:50 | 0:02:53 | |
But two years later, the emotional and musical rescue it offered prematurely stalled. | 0:02:53 | 0:02:59 | |
The business had moved in, and the greats had shipped out, | 0:02:59 | 0:03:02 | |
leaving Britain at the mercy of Tin Pan Alley copyists. | 0:03:02 | 0:03:07 | |
Elvis went into the army, Jerry Lee Lewis ruined his career | 0:03:09 | 0:03:13 | |
by marrying his 12-year-old first cousin whilst still married to someone else. | 0:03:13 | 0:03:18 | |
Chuck Berry crossed over the border and did various borderline activities, | 0:03:18 | 0:03:24 | |
and Little Richard went into gospel. | 0:03:24 | 0:03:27 | |
Rock and roll lost its... Well, I suppose really, lost its excitement. | 0:03:27 | 0:03:33 | |
Watered-down trash, a lot of it, wasn't it? | 0:03:33 | 0:03:37 | |
Moon In June and Lipstick On Your Collar, | 0:03:37 | 0:03:40 | |
and all these, "Lipstick on your collar," you know, horrible. | 0:03:40 | 0:03:45 | |
# Travelling light Mmm-hmm-hmm-hmm... # | 0:03:45 | 0:03:51 | |
Rock'n'roll's earlier doctors now needed a new drug. | 0:03:54 | 0:03:58 | |
They discovered the power, depth and authenticity they craved in a music they hadn't heard before, | 0:04:00 | 0:04:05 | |
the very basis of rock'n'roll - | 0:04:05 | 0:04:06 | |
black folk music from the American South - | 0:04:06 | 0:04:09 | |
the blues. | 0:04:09 | 0:04:12 | |
The intensity and the... It's so direct. | 0:04:12 | 0:04:16 | |
You know, I hadn't experienced anything like that since the first time I heard Little Richard. | 0:04:16 | 0:04:21 | |
# I got my mojo working But it just don't work on you... # | 0:04:21 | 0:04:27 | |
It bypasses a lot of cultural education. | 0:04:27 | 0:04:31 | |
You didn't need any information with the blues, it just went... | 0:04:31 | 0:04:35 | |
Boom! | 0:04:35 | 0:04:36 | |
# I wanna love you so bad... # | 0:04:36 | 0:04:39 | |
It can be to dance for, get drunk for it, | 0:04:39 | 0:04:43 | |
to fuck by it, you name it. | 0:04:43 | 0:04:45 | |
# I'm going down Louisiana Get me a mojo... # | 0:04:45 | 0:04:50 | |
When it's well put and well performed, it's infectious. | 0:04:50 | 0:04:54 | |
You don't need to know, even, | 0:04:54 | 0:04:56 | |
what it is. You go... That's how people get hooked. | 0:04:56 | 0:05:00 | |
# I'm gonna have all you womens Right here on my command... # | 0:05:00 | 0:05:06 | |
I think that once you get the bug, it's really hard to get rid of it. | 0:05:06 | 0:05:10 | |
Catching the bug was one thing, but feeding it was another. | 0:05:16 | 0:05:19 | |
Specialist shops selling imported American recordings began to appear. | 0:05:21 | 0:05:26 | |
Many of them, mysteriously, in what became known as the Thames Delta, | 0:05:26 | 0:05:30 | |
Britain's distant echo of the American South. | 0:05:30 | 0:05:32 | |
Future British blues artists Tony McPhee, Dave Kelly and his sister, Jo Ann Kelly, | 0:05:32 | 0:05:39 | |
haunted the Swing Shop, in Streatham. | 0:05:39 | 0:05:42 | |
# When you get home | 0:05:42 | 0:05:43 | |
# Please write me a few short lines... # | 0:05:43 | 0:05:47 | |
That was one thing that really got to me. | 0:05:47 | 0:05:49 | |
That so many people are interested more | 0:05:49 | 0:05:52 | |
in how rare this thing was, rather than what was on it. | 0:05:52 | 0:05:55 | |
# Please write me a few short lines... # | 0:05:55 | 0:05:58 | |
That's where I got all my John Lee Hooker and Howlin' Wolf on Crown, | 0:05:58 | 0:06:02 | |
which was 1940s stuff, | 0:06:02 | 0:06:03 | |
Wolf's stuff on... | 0:06:03 | 0:06:04 | |
And Jo Ann, myself, and Tony McPhee used to hang around the Swing Shop | 0:06:04 | 0:06:10 | |
waiting for another consignment to come in, elbowing each other out the way. | 0:06:10 | 0:06:15 | |
There was a shop in what is now Chinatown in Soho, | 0:06:17 | 0:06:21 | |
but at that time, | 0:06:21 | 0:06:22 | |
it was a street of shops selling valves and ex-Army spares. | 0:06:22 | 0:06:28 | |
You know you have this picture of, sort of, | 0:06:28 | 0:06:31 | |
men in long raincoats wandering round Soho? | 0:06:31 | 0:06:34 | |
These were men in long raincoats who'd be standing looking in the window | 0:06:34 | 0:06:38 | |
at cathode ray tubes and valves and diodes, | 0:06:38 | 0:06:41 | |
and on a Saturday, in the basement of one of these shops, a guy started importing records. | 0:06:41 | 0:06:47 | |
There was something very attractive about the fact that | 0:06:47 | 0:06:51 | |
large numbers, huge numbers of people | 0:06:51 | 0:06:54 | |
wanted to listen to Bill Haley, and Tommy Steele, | 0:06:54 | 0:06:59 | |
but that we wanted to listen to Howlin' Wolf and Little Walter. | 0:06:59 | 0:07:04 | |
Jelly Roll Morton and Lightnin' Slim. I mean, extraordinary names, too. | 0:07:04 | 0:07:11 | |
I mean, how crazy is that? You know... | 0:07:11 | 0:07:12 | |
Howlin' Wolf. What is a howling wolf when you live in Surbiton? | 0:07:12 | 0:07:17 | |
And you thought, "God, how can anybody be called Muddy Waters, or Howlin' Wolf, or Bo Diddley, | 0:07:17 | 0:07:24 | |
"or Lead Belly?" Where did these names come from? | 0:07:24 | 0:07:27 | |
What is this? It was a feeling. | 0:07:27 | 0:07:29 | |
# And then I looked around... # | 0:07:29 | 0:07:33 | |
But what were these songs about? | 0:07:33 | 0:07:35 | |
Old 78s, often poorly recorded on the road, | 0:07:35 | 0:07:38 | |
telling of experiences and feelings that were totally alien to the Thames Delta, | 0:07:38 | 0:07:42 | |
were sometimes difficult to comprehend. | 0:07:42 | 0:07:46 | |
Those of us who struggled, like The Rolling Stones probably did a few years before we did, | 0:07:46 | 0:07:51 | |
to try and decipher the words, | 0:07:51 | 0:07:53 | |
and couldn't figure out what some of them were from these recordings, | 0:07:53 | 0:07:56 | |
we would, kind of, make up other words that seemed to fit. | 0:07:56 | 0:08:00 | |
What did he say? Ha-ha-ha... | 0:08:00 | 0:08:03 | |
INAUDIBLE SPEECH | 0:08:03 | 0:08:07 | |
I didn't quite get that, didn't really jot that down, you know what I mean? There was madness. | 0:08:07 | 0:08:13 | |
Yeah, lyrics were sometimes difficult. And we found that with Little Richard, as well. | 0:08:13 | 0:08:17 | |
My mother tried to slow the record down to try and hear what he was saying, | 0:08:17 | 0:08:22 | |
and couldn't work it out. | 0:08:22 | 0:08:24 | |
She used to come up with some funny ideas about what they were. | 0:08:24 | 0:08:27 | |
But, yes, yeah, eventually your ear tunes in. | 0:08:27 | 0:08:31 | |
But when they did tune in, what they heard was often darkly humorous, and emotionally deep. | 0:08:33 | 0:08:40 | |
Poetic tales of lives untouched by either lipstick, or collars. | 0:08:40 | 0:08:46 | |
The main charm about the blues | 0:08:48 | 0:08:50 | |
is that it has such an authenticity about it, | 0:08:50 | 0:08:52 | |
the fact that when you listen to it you hear these stories, | 0:08:52 | 0:08:56 | |
and you can visualise that these are real stories. | 0:08:56 | 0:08:59 | |
When you were seeing John Lee Hooker, you believed what he was telling you | 0:09:00 | 0:09:03 | |
cos he was talking about the Great Fire of Natchez, which he experienced. | 0:09:03 | 0:09:07 | |
I think his girlfriend died there. | 0:09:07 | 0:09:09 | |
And the flood of Tupelo, Mississippi, they were real things that happened in his life. | 0:09:09 | 0:09:15 | |
I mean, Joe Turner, for instance, is a big favourite of mine. | 0:09:17 | 0:09:21 | |
And he'd be singing things like, "My baby's gone, she ain't comin' back. | 0:09:21 | 0:09:26 | |
"She's lower than a snake crawling down in a wagon track." | 0:09:26 | 0:09:29 | |
I mean, it's so heavy! You think, "What a great image," you know. | 0:09:29 | 0:09:33 | |
Elmore James, "The sky is crying, look at the tears rolling down the streets." | 0:09:33 | 0:09:38 | |
I mean, that's fantastic. | 0:09:38 | 0:09:40 | |
Muddy Waters, "I'm going down to Louisiana, somewhere behind the sun." | 0:09:40 | 0:09:44 | |
This is magical stuff. | 0:09:45 | 0:09:48 | |
It's almost like, Sleepy John Estes, | 0:09:48 | 0:09:51 | |
where he says, "Get away from my window Quit scratching on my screen." | 0:09:51 | 0:09:56 | |
He's turned his girlfriend into, sort of, a wild animal, kind of ripping on the door, you know? | 0:09:56 | 0:10:01 | |
If you were a 15 or 16-year-old kid, you were hearing some words, and phrases and implications... | 0:10:01 | 0:10:08 | |
And that's what made it, not just sexy, I think it made it kind of erotic. | 0:10:08 | 0:10:15 | |
Cos we knew, sort of, there's something going on here, | 0:10:15 | 0:10:18 | |
even if we didn't know the references and the slang expressions. | 0:10:18 | 0:10:23 | |
These blues men, they're talking about getting laid. | 0:10:23 | 0:10:26 | |
And there's me studying what they're doing, | 0:10:26 | 0:10:30 | |
but I ain't getting laid. I've something missing in my life. | 0:10:30 | 0:10:35 | |
Obviously, to be a blues man, I have to go see what this lemon juice is, running down your leg. | 0:10:35 | 0:10:43 | |
And, you know, these guys are actually living a life, | 0:10:43 | 0:10:46 | |
they're not studying, they're not blah-blah, they just are. | 0:10:46 | 0:10:50 | |
And then, so... How do you become what is? | 0:10:50 | 0:10:54 | |
Being a blues disciple in late '50s Britain | 0:10:57 | 0:11:01 | |
was like being a part of a hip Masonic Lodge. | 0:11:01 | 0:11:04 | |
A society so secret that even its own members were sometimes ignorant of each other's existence. | 0:11:04 | 0:11:10 | |
It was like the formation of a solar system, you know. | 0:11:10 | 0:11:14 | |
The dust gathers together, the stars form, and all that sort of thing. | 0:11:14 | 0:11:18 | |
Suddenly you realise, yes, there is someone who lives near you who's got a record by Freddie King, | 0:11:18 | 0:11:23 | |
or someone like that, you know? | 0:11:23 | 0:11:26 | |
If you heard someone blew a harmonica in Ealing, you were there. | 0:11:26 | 0:11:29 | |
Or if someone had an album that you didn't, you'd go to Claygate, or wherever it was. | 0:11:29 | 0:11:33 | |
It was like Night Of The Living Dead, | 0:11:33 | 0:11:36 | |
people, sort of, migrating to whoever had this thing that you'd been turned on to. | 0:11:36 | 0:11:43 | |
Someone had given me the address of someone who'd got a Muddy Waters album. | 0:11:43 | 0:11:47 | |
Probably got the bus over to Tooting. | 0:11:47 | 0:11:49 | |
And I knocked on the door at 6:30 in the evening, | 0:11:49 | 0:11:52 | |
and this guy appears from the back and I said, "Have you got a Muddy Waters album?" | 0:11:52 | 0:11:56 | |
He said, "Yeah..." | 0:11:56 | 0:11:59 | |
I said, "Could I see it?" | 0:11:59 | 0:12:02 | |
And he brought it out and showed it to me, and I said, "Could I hold it?" | 0:12:03 | 0:12:08 | |
Some very funny people with record collections. | 0:12:08 | 0:12:11 | |
The things you'd have to do to get in, you know what I mean... | 0:12:11 | 0:12:14 | |
Let alone get out. | 0:12:14 | 0:12:16 | |
It was like, "Oh, you've got that?" Or, "You've got this, I'll come round and listen to it." | 0:12:16 | 0:12:21 | |
We didn't have tape recorders then, so you went round and listened to it. | 0:12:21 | 0:12:24 | |
I knew Brian Jones, but he mostly bought guitar records. | 0:12:24 | 0:12:28 | |
Whereas I mostly bought harmonica records. | 0:12:28 | 0:12:31 | |
So we would share listening to them. | 0:12:31 | 0:12:35 | |
Brian Jones, big collector. Big record collector. | 0:12:35 | 0:12:39 | |
And that's one of the reasons I hit on him in the first place. | 0:12:39 | 0:12:42 | |
They were definitely our versions of Tupperware meetings. | 0:12:42 | 0:12:47 | |
Yeah, you'd stick guys up, if you found their record collection. | 0:12:47 | 0:12:51 | |
"You are going to stay down there, right now, while I trawl through..." | 0:12:51 | 0:12:57 | |
Like, it got like that, you know what I mean? | 0:12:58 | 0:13:00 | |
Oddly enough, for a younger generation in love with the blues, Britain was the perfect place to be. | 0:13:04 | 0:13:09 | |
Trad jazz, which also originated from the Southern states of America, | 0:13:14 | 0:13:18 | |
had stormed the UK in the late '50s. | 0:13:18 | 0:13:20 | |
But popular trombonist and band leader, Chris Barber, had a passion for the blues as well. | 0:13:20 | 0:13:26 | |
He was fortunate to have a successful band, | 0:13:26 | 0:13:30 | |
and to be in a position financially | 0:13:30 | 0:13:32 | |
where he could do what he wanted to do. | 0:13:32 | 0:13:34 | |
And so he did what he wanted, which was to bring over blues and gospel performance. | 0:13:34 | 0:13:39 | |
You know, some people sit back and wait for things to happen, wait for the right time, | 0:13:39 | 0:13:44 | |
but he just said, "To hell with that, I'm gonna do it." | 0:13:44 | 0:13:47 | |
Big names in American blues and R&B, he brought them all over to this country. | 0:13:47 | 0:13:52 | |
I think '57 was the first, with Sister Rosetta Tharpe, | 0:13:59 | 0:14:05 | |
and then Muddy Waters in '58, Sonny Terry, Brownie McGhee in '58, | 0:14:05 | 0:14:10 | |
and going on right into the '60s, he brought Muddy back again, Howlin' Wolf, | 0:14:10 | 0:14:16 | |
Sonny Boy Williamson, Lewis Jordan, all kinds, I mean, just... | 0:14:16 | 0:14:20 | |
for him, it was just that he wanted to play with those people. | 0:14:20 | 0:14:25 | |
He wanted to hear them, right there, you know, playing in front of HIS rhythm section. | 0:14:25 | 0:14:32 | |
That's why we wanted to get in with the real folk. | 0:14:32 | 0:14:36 | |
They were helping us to play the blues and jazz better. | 0:14:36 | 0:14:40 | |
We want these people to help give us the ingredient that we know about, | 0:14:40 | 0:14:44 | |
but we aren't sure if we're getting it right, we want to get it righter. | 0:14:44 | 0:14:49 | |
When the legends of American blues first stepped out onto the British stage in the late '50s, | 0:14:54 | 0:14:59 | |
thanks to Barber's own money and determination, | 0:14:59 | 0:15:02 | |
the audience that faced them was entirely white, well-educated and well intentioned. | 0:15:02 | 0:15:08 | |
It was all shirts and ties and Ban The Bomb badges. | 0:15:08 | 0:15:11 | |
Jazz and folk disciples, not rabid rock and rollers. | 0:15:14 | 0:15:19 | |
To be honest, there was always a sort of middle class-ness about that sort of audience, | 0:15:19 | 0:15:25 | |
and they also tended to come out of a slightly left-wing side of politics. | 0:15:25 | 0:15:31 | |
It must have helped that we were... I wouldn't say reverent, | 0:15:31 | 0:15:35 | |
but we were obviously caring about playing the music in a genuine way, | 0:15:35 | 0:15:43 | |
as a genuine expression. | 0:15:43 | 0:15:45 | |
We really owe this enormous debt, to a music that is utterly alien to our experience. | 0:15:45 | 0:15:52 | |
Maybe that's why it didn't appeal to black folks living in the UK at the time, | 0:15:54 | 0:15:59 | |
because it wasn't the black experience that they knew of. | 0:15:59 | 0:16:03 | |
Few black Americans settled in the UK. It was mostly people from Caribbean, or black Asians. | 0:16:03 | 0:16:11 | |
The younger rock and roll audience wanted to sing the blues electric, | 0:16:11 | 0:16:15 | |
something the more purist, Chris Barber Jazz Club crowd wasn't quite prepared for. | 0:16:15 | 0:16:20 | |
But it was already a reality. | 0:16:20 | 0:16:23 | |
When Muddy Waters first came to Britain in 1958, | 0:16:27 | 0:16:29 | |
he plugged in a Fender Telecaster. | 0:16:29 | 0:16:33 | |
Established audiences here, | 0:16:33 | 0:16:35 | |
reared on out of date records and quaint ideas of the blues as a rural black folk music, were crestfallen. | 0:16:35 | 0:16:42 | |
Some purists in the audience objected, | 0:16:43 | 0:16:45 | |
because they wanted him to come out and sound like the country boy that they'd heard on records, | 0:16:45 | 0:16:51 | |
you know, playing rural, cotton patch blues. | 0:16:51 | 0:16:53 | |
GUITAR MUSIC PLAYS | 0:16:53 | 0:16:58 | |
They had to consider what the audience wanted, | 0:16:58 | 0:17:01 | |
so when they heard this cry for, "Where's the acoustic guitar?" | 0:17:01 | 0:17:05 | |
Um, they went away and thought about it. | 0:17:05 | 0:17:09 | |
So, like, two years go by and he comes back again, and he brings an acoustic guitar, | 0:17:09 | 0:17:13 | |
by then everyone wants to hear him play the amplified Telecaster. | 0:17:13 | 0:17:17 | |
Cos it's moved on, it's 1962, '63, and everyone's listening to that sort of music. | 0:17:17 | 0:17:23 | |
Memphis Slim was on that bill, and I think I took them back to the hotel. | 0:17:23 | 0:17:28 | |
Either I took them back in my car or we went back on the bus together. | 0:17:28 | 0:17:33 | |
And I was sitting in the lounge of the hotel with Muddy and Memphis Slim, | 0:17:33 | 0:17:38 | |
and Muddy was saying, "I don't know what they want. What do people want?" | 0:17:38 | 0:17:42 | |
Certain English viewers had an idea that you had to be black and wear dungarees, | 0:17:42 | 0:17:49 | |
and play acoustic guitar, and that meant you were playing blues. | 0:17:49 | 0:17:54 | |
If you plugged it in.... No, no, I'm sorry, you've sinned. | 0:17:54 | 0:17:59 | |
People in England had a certain stereotyped idea of what a black folk musician should be like. | 0:17:59 | 0:18:04 | |
When you see pictures of Big Bill Broonzy in the '30s, | 0:18:04 | 0:18:08 | |
and he is, he is just so sharp. | 0:18:08 | 0:18:10 | |
He comes to England in the '50s, and there's this classic film clip of him dressed up as a sharecropper, | 0:18:10 | 0:18:17 | |
playing his guitar and singing something like John Henry, | 0:18:17 | 0:18:21 | |
because...this is what the white folks in England... | 0:18:21 | 0:18:25 | |
# John Henry told his captain | 0:18:25 | 0:18:28 | |
# Lord, a man ain't nothing but a man... # | 0:18:28 | 0:18:31 | |
British television, home of The Black And White Minstrel Show, | 0:18:31 | 0:18:34 | |
hadn't improved much by 1964, | 0:18:34 | 0:18:36 | |
when it elaborately transformed a disused section of British Rail track outside Manchester | 0:18:36 | 0:18:41 | |
into a TV producer's idea of Chattanooga to welcome the latest blues package tour. | 0:18:41 | 0:18:47 | |
I remember some rather staged shot of Muddy Waters with his guitar in one hand | 0:18:48 | 0:18:54 | |
and a very small leather suitcase walking along a station platform, | 0:18:54 | 0:19:01 | |
and then bursting, probably, into some blues song rendition, | 0:19:01 | 0:19:04 | |
which had been staged up, making him look like the travelling hobo kinda guy. | 0:19:04 | 0:19:08 | |
# People ain't that sad... # | 0:19:11 | 0:19:15 | |
Some of Britain's young blues fraternity weren't content with just listening to the music. | 0:19:17 | 0:19:22 | |
They'd learned to play American rock'n'roll, why not the blues? | 0:19:22 | 0:19:25 | |
That the music like this existed, | 0:19:29 | 0:19:32 | |
that possibly, we would, in our audacity, think that we could actually play this music, | 0:19:32 | 0:19:39 | |
I mean, how stupid is that? How extraordinary was that? | 0:19:39 | 0:19:41 | |
You think of some dopey, spotty, 17-year-old from Dartford, | 0:19:43 | 0:19:49 | |
who wants to be Muddy Waters. | 0:19:49 | 0:19:52 | |
And there's a lot of us, you know. | 0:19:52 | 0:19:54 | |
"Oh yeah, mmm-mmm, mmm-mmm," you know. | 0:19:54 | 0:19:56 | |
In a way very pathetic. In a way, very heart-warming. | 0:19:56 | 0:20:04 | |
Wanting to play the blues was one thing, mastering it was something else again. | 0:20:08 | 0:20:12 | |
This black race music wasn't about to surrender its many secrets so easily | 0:20:12 | 0:20:17 | |
to vinyl-obsessed British kids. | 0:20:17 | 0:20:19 | |
# When you ain't got no money | 0:20:22 | 0:20:24 | |
# And can't pay your house rent | 0:20:24 | 0:20:26 | |
# And can't buy you no food | 0:20:26 | 0:20:28 | |
# You damn sure got the blues | 0:20:28 | 0:20:30 | |
# Cos you're thinkin' evil... # | 0:20:30 | 0:20:32 | |
You know, they say blues is just 12 bars. | 0:20:32 | 0:20:34 | |
You've heard one, you've heard... you know, | 0:20:34 | 0:20:37 | |
guy ain't got no money, he's lost his girlfriend, | 0:20:37 | 0:20:39 | |
he's at the railroad station waiting for the train, the train's late... | 0:20:39 | 0:20:43 | |
Of course, of course, my man. You know the problems. | 0:20:43 | 0:20:47 | |
It ain't like that at all. | 0:20:47 | 0:20:49 | |
Once you start to play, you realise that it's something to do with... I gotta know how he did that. | 0:20:49 | 0:20:56 | |
This man just bent the string three yards! | 0:20:56 | 0:21:01 | |
And made it sound simple, you know... | 0:21:02 | 0:21:05 | |
And meanwhile he's got a rhythm going here that is unbelievable, | 0:21:05 | 0:21:09 | |
and he's... | 0:21:09 | 0:21:11 | |
I mean it's just something you've got to do. | 0:21:11 | 0:21:13 | |
Enjoying it is not enough. Feeling it is not enough. | 0:21:14 | 0:21:17 | |
You've got to learn how to do it properly. There are technical things that you... | 0:21:17 | 0:21:21 | |
To make these sounds come out of a guitar, or a trombone or whatever it is, or a voice, either, | 0:21:21 | 0:21:28 | |
you've got to know how it is. So, you need to study it. | 0:21:28 | 0:21:32 | |
Fast, slow, quiet, pin-drop, loud, poignant, down, up. | 0:21:34 | 0:21:40 | |
# I say it's so hard to know... | 0:21:42 | 0:21:45 | |
# Ah, someone... # | 0:21:47 | 0:21:50 | |
That's the dynamic, in the framework of really three or four chords. | 0:21:50 | 0:21:57 | |
With very little, so much was achieved, in the way it emotionally affected you. | 0:21:57 | 0:22:03 | |
It's an easy music on the surface to play, | 0:22:03 | 0:22:07 | |
but then you think, "How do these cats do this? Whoa, this is weird moves." | 0:22:07 | 0:22:14 | |
You know, where's this coming from? | 0:22:14 | 0:22:18 | |
You say, "What are they doing? How are they doing that?" | 0:22:18 | 0:22:22 | |
It's what keyboard players were actually doing with crushed notes and stuff, | 0:22:23 | 0:22:29 | |
which was in fact trying to duplicate the style of bent notes on the guitar, | 0:22:29 | 0:22:35 | |
which, as you know, is a physical and mechanical impossibility | 0:22:35 | 0:22:39 | |
on a keyboard instrument. | 0:22:39 | 0:22:40 | |
And while this revolution, I think, in music, was beginning to happen, | 0:22:40 | 0:22:44 | |
of course, as normal, the rest of the world seemed to carry on. | 0:22:44 | 0:22:48 | |
You know, the bowler-hatted brigade still got up and got the 7 o'clock train to Waterloo, | 0:22:48 | 0:22:54 | |
not knowing that some of their offspring were buying battered guitars from pawn shops, | 0:22:54 | 0:23:01 | |
and playing Jelly Roll Morton in the back room. | 0:23:01 | 0:23:04 | |
Perhaps no-one got to know these visiting blues legends more intimately than Val Wilmer, | 0:23:09 | 0:23:13 | |
then only a teenage girl in love with their music. | 0:23:13 | 0:23:19 | |
She met them, photographed them, wrote about them and hung out with them, | 0:23:19 | 0:23:24 | |
sharing their experience of Britain at close range. | 0:23:24 | 0:23:28 | |
They met with all sorts of problems here, | 0:23:28 | 0:23:30 | |
you know, the world was very strange. | 0:23:30 | 0:23:32 | |
You should be asking the question - how exotic did we seem to them? | 0:23:32 | 0:23:36 | |
They had to deal with us, and we didn't understand their language, | 0:23:36 | 0:23:41 | |
you know, we thought we did. | 0:23:41 | 0:23:42 | |
This one is me with Jimmy Rushing, | 0:23:43 | 0:23:47 | |
he was Mr 5x5 You know, five foot tall, five foot wide. | 0:23:47 | 0:23:51 | |
Wonderful singer, great guy, wrote to me a few times... Nice one, you know, to have known him a bit. | 0:23:51 | 0:23:56 | |
And that was taken by my mother, who had come to the concert with me. | 0:23:56 | 0:24:02 | |
And that's my mum with Jack Dupree. | 0:24:03 | 0:24:06 | |
When he put his arm around her, it must have been quite an experience for her, cos he was a rogue. | 0:24:06 | 0:24:12 | |
Total rogue. Look at him. Mr Rogue. | 0:24:12 | 0:24:17 | |
It was a shock to me when I first come over here, | 0:24:17 | 0:24:20 | |
when they take me to a big restaurant for dinner, | 0:24:20 | 0:24:24 | |
and I couldn't eat the dinner cos I was sitting next to white people. | 0:24:24 | 0:24:27 | |
And I was shy all the time, I had a terrible feeling because I... | 0:24:27 | 0:24:32 | |
I was thinking that I'd be insulted at any time. | 0:24:32 | 0:24:35 | |
I just felt out of place. | 0:24:35 | 0:24:38 | |
When in London, Dupree often stayed at the evocative sounding Airways Mansions, | 0:24:41 | 0:24:46 | |
a hotel in a small backstreet just behind Piccadilly, but a million miles away from the Ritz. | 0:24:46 | 0:24:52 | |
Airways Mansions was the place where all the musicians stayed. | 0:24:53 | 0:24:58 | |
And I think they'd been staying there from the '50s. | 0:24:58 | 0:25:01 | |
But the thing was it wasn't like hotels, | 0:25:01 | 0:25:04 | |
because the hotels tried to stop people taking guests to their rooms, | 0:25:04 | 0:25:11 | |
and that always created havoc, because black people thought that it was discrimination. | 0:25:11 | 0:25:16 | |
So, Memphis Slim, there, with his little curtain and everything, | 0:25:16 | 0:25:21 | |
and the bottle of whisky on it, you know, inevitably. | 0:25:21 | 0:25:24 | |
And Jack Dupree, who was the first person I knew who stayed there - | 0:25:24 | 0:25:29 | |
he's only just arrived, and both of them - Memphis Slim and Jack - | 0:25:29 | 0:25:33 | |
they've been to Cecil Gee's and bought sweaters. | 0:25:33 | 0:25:37 | |
And on the shelf behind him he's got his requisites for the day. | 0:25:37 | 0:25:41 | |
He's got some bottles of lager, | 0:25:41 | 0:25:45 | |
three different types of whisky, | 0:25:45 | 0:25:47 | |
and the bottle of milk is not for his health, | 0:25:47 | 0:25:50 | |
it's to mix with whisky, cos that lines your stomach. | 0:25:50 | 0:25:53 | |
So, that's one thing I learned from a lot of the old blues singers, was drinking whisky and milk. | 0:25:53 | 0:25:58 | |
By the early '60s, the younger generation of electric blues fanatics had their own scene. | 0:26:01 | 0:26:07 | |
The epicentre of which was Blues Incorporated, | 0:26:07 | 0:26:10 | |
a band formed by guitarist Alexis Korner, and his unlikely harmonica playing partner. | 0:26:10 | 0:26:16 | |
Talk about chalk and cheese. | 0:26:16 | 0:26:18 | |
Alexis worked with a very, very gruff panel beater | 0:26:18 | 0:26:24 | |
from Streatham called Cyril Davies. | 0:26:24 | 0:26:27 | |
But Alexis Korner was this urbane, well-read, beautifully spoken, you know... | 0:26:27 | 0:26:32 | |
Of, sort of, Russian... Goodness knows what... And they were the most unlikely pair in a way. | 0:26:32 | 0:26:39 | |
Cyril had a great voice. | 0:26:39 | 0:26:41 | |
# I got my mojo working But it just won't work on you... # | 0:26:41 | 0:26:47 | |
He sounded really, really authentic. | 0:26:47 | 0:26:49 | |
# I got my mojo working But it just won't work on you... # | 0:26:49 | 0:26:53 | |
He sounded quite black-ish, | 0:26:53 | 0:26:57 | |
but there was a reality in the way he presented his voice. | 0:26:57 | 0:27:01 | |
So he was a key person. Apart from his harp playing, which was also very magic. | 0:27:01 | 0:27:06 | |
Alexis' main skill was not as a performer, neither as a guitarist nor as a singer. | 0:27:09 | 0:27:15 | |
But certainly as a catalyst, | 0:27:15 | 0:27:17 | |
Alexis was the most important person in the history of blues in Britain. | 0:27:17 | 0:27:22 | |
Alexis Korner established a home for young blues enthusiasts on the outskirts of London, | 0:27:23 | 0:27:28 | |
where the Central Line hit the buffers and the buses went to bed. | 0:27:28 | 0:27:33 | |
The Jazz Club in Ealing became THE performance space for would-be British players, | 0:27:35 | 0:27:40 | |
and a clearing house for the first home-grown rhythm and blues movement. | 0:27:40 | 0:27:44 | |
On a Saturday night, | 0:27:48 | 0:27:49 | |
you could see most of the people who would constitute the first British blues boom. | 0:27:49 | 0:27:54 | |
We were all hanging out, you know, and Alexis, bless him, would say, | 0:27:54 | 0:27:59 | |
"Come up and do two songs." | 0:27:59 | 0:28:01 | |
And you'd go up and you'd tell 'em all you had your mojo working and... | 0:28:01 | 0:28:06 | |
So, he was the father of blues in Britain. | 0:28:08 | 0:28:13 | |
Leaving the grandfather spot open for Chris Barber, of course. | 0:28:13 | 0:28:18 | |
A young Brian Jones played perhaps the first slide guitar ever to be heard in Britain at Korner's club | 0:28:20 | 0:28:26 | |
and very quickly tired of catching the coach in from Cheltenham. | 0:28:26 | 0:28:30 | |
The next thing I heard from Brian was when he rang me up and said, | 0:28:30 | 0:28:33 | |
"I'm forming a band. | 0:28:33 | 0:28:36 | |
"So far, it's just me and Keith Richards on guitars, do you want to be the singer?" | 0:28:36 | 0:28:41 | |
And I said, "No..." | 0:28:41 | 0:28:45 | |
He couched his invitation in these terms, he said, | 0:28:47 | 0:28:50 | |
"We haven't been taking it seriously. | 0:28:50 | 0:28:52 | |
"I'm going to take it seriously from now on. | 0:28:52 | 0:28:54 | |
"I'm moving to London, I'm getting a flat, I'm forming a band and I'm gonna become rich and famous." | 0:28:54 | 0:28:59 | |
And it was that last bit that I said, "Oh, Brian. Come off it. We're playing the blues, man." | 0:28:59 | 0:29:05 | |
At the beginning of 1963, British electric blues was still a hard sell to audiences outside of jazz clubs. | 0:29:16 | 0:29:23 | |
But by the end of that year, it had taken off big-time, spearheaded by Brian's group, The Rolling Stones. | 0:29:23 | 0:29:31 | |
We were the only young band doing it, and we were the only real authentic band doing it. | 0:29:34 | 0:29:38 | |
And doing it in jazz clubs. | 0:29:38 | 0:29:41 | |
And then we got banned, because they didn't like us - young upstarts. | 0:29:41 | 0:29:45 | |
And thought we weren't authentic enough, and were doing it too pop-y. | 0:29:45 | 0:29:51 | |
And then we moved into the ballrooms, and all that, and created a new music for England. | 0:29:51 | 0:29:58 | |
This first number we're gonna do's a John Lee Hooker original, | 0:29:58 | 0:30:02 | |
it's called Boom Boom, this one. | 0:30:02 | 0:30:04 | |
By 1964, British rhythm and blues | 0:30:05 | 0:30:08 | |
had hi-jacked every venue in the country. | 0:30:08 | 0:30:10 | |
It was THE live music. | 0:30:17 | 0:30:19 | |
The Stones, The Yardbirds, Manfred Mann, The Animals. | 0:30:19 | 0:30:23 | |
# The way you talk | 0:30:23 | 0:30:25 | |
# Whisper in my ear | 0:30:26 | 0:30:27 | |
# Tell me that you love me | 0:30:29 | 0:30:30 | |
# You knock me out... # | 0:30:31 | 0:30:33 | |
The Animals, a Newcastle-based band, | 0:30:35 | 0:30:37 | |
were part of a nationwide blues explosion. | 0:30:37 | 0:30:40 | |
London was Mecca, | 0:30:41 | 0:30:42 | |
but the blues could now be heard in every British city. | 0:30:42 | 0:30:46 | |
A young musician from Belfast, called Van Morrison, | 0:30:46 | 0:30:49 | |
pitched up at Soho's Marquee Club with his R'n'B band, Them. | 0:30:49 | 0:30:53 | |
# You better stop the things you do... # | 0:30:56 | 0:30:58 | |
Well, I listen to, um, Charles Mingus | 0:30:58 | 0:31:01 | |
and, uh, Gerry Mulligan. | 0:31:01 | 0:31:03 | |
I also listen to Lead Belly and John Lee Hooker. | 0:31:05 | 0:31:08 | |
Yeah, advanced jazz plus, you know, real down to earth blues. | 0:31:09 | 0:31:13 | |
-Heavy blues. -Roots. -Heavy roots, blues influence. | 0:31:13 | 0:31:16 | |
# You're runnin' around | 0:31:16 | 0:31:20 | |
# You should know better, Mama | 0:31:20 | 0:31:21 | |
# I can't stand it | 0:31:22 | 0:31:24 | |
# Since you put me down | 0:31:25 | 0:31:27 | |
# I put a spell on you... # | 0:31:30 | 0:31:32 | |
'Well let's hear that number now that's shooting up the charts called Little Red Rooster.' | 0:31:36 | 0:31:41 | |
SCREAMING | 0:31:41 | 0:31:44 | |
In November 1964, The Rolling Stones stamped a new teenage sexiness | 0:31:46 | 0:31:50 | |
on the blues with a hardcore Willie Dixon cover. | 0:31:50 | 0:31:54 | |
# I am the little red rooster | 0:31:54 | 0:31:56 | |
# Too lazy to crow for day... # | 0:31:58 | 0:32:01 | |
Now I must say, | 0:32:01 | 0:32:02 | |
we must have been wearing brass balls that day | 0:32:02 | 0:32:04 | |
when we decided to put that out as a single. | 0:32:04 | 0:32:07 | |
# I am the little red rooster | 0:32:07 | 0:32:09 | |
# Too lazy to crow for a day... # | 0:32:10 | 0:32:14 | |
Everybody says you'll kill your career if you do that, | 0:32:14 | 0:32:16 | |
if you put that out as a single. | 0:32:16 | 0:32:18 | |
It could ruin you. | 0:32:18 | 0:32:19 | |
We said, "What the hell? That's what we believe in." | 0:32:20 | 0:32:23 | |
# Keep everything in the farmyard | 0:32:23 | 0:32:26 | |
# Upset in every way... # | 0:32:27 | 0:32:30 | |
Oh. I mean, let's stand up, be men and give 'em a blues, you know. | 0:32:31 | 0:32:36 | |
Went out on a Friday night and on the Monday it was number one. | 0:32:36 | 0:32:39 | |
# The dogs begin to bark... # | 0:32:39 | 0:32:41 | |
That's the only blues, pure blues record, | 0:32:43 | 0:32:45 | |
that's ever been a number one. | 0:32:45 | 0:32:47 | |
Anywhere, I think. | 0:32:47 | 0:32:49 | |
Then it was our job to pay back. | 0:32:49 | 0:32:53 | |
# Dogs begin to bark... # | 0:32:53 | 0:32:54 | |
I think we figured we could pull it and we did. | 0:32:54 | 0:32:56 | |
# Hounds begin to howl. # | 0:32:56 | 0:32:59 | |
Double entendre again, you know, | 0:32:59 | 0:33:01 | |
"I got a little red rooster, too lazy to crow for days", | 0:33:01 | 0:33:05 | |
they saw into it more sexual things. | 0:33:05 | 0:33:08 | |
I'm not here just to write pop songs for you. | 0:33:08 | 0:33:11 | |
# Do-do-do, la-la-la-la-la... # | 0:33:11 | 0:33:13 | |
and all that, you know, I mean... | 0:33:13 | 0:33:15 | |
Let's see if we can actually spin it back around | 0:33:16 | 0:33:19 | |
and make American white kids | 0:33:19 | 0:33:21 | |
listen to Little Red Rooster. | 0:33:21 | 0:33:24 | |
And go, "Yeah, yeah, yeah." | 0:33:24 | 0:33:25 | |
And I go, "Aha, you had it all the time, pal." | 0:33:25 | 0:33:29 | |
Yeah, "You just didn't listen." | 0:33:29 | 0:33:32 | |
But not everyone was as reverential. | 0:33:37 | 0:33:39 | |
There were a lot of people who felt | 0:33:40 | 0:33:42 | |
you had to faithfully copy the record. | 0:33:42 | 0:33:44 | |
Um, which seemed to us to be pretty ludicrous. | 0:33:44 | 0:33:47 | |
You know, and if you did mess with it, you were considered | 0:33:51 | 0:33:54 | |
an irreligious punk. | 0:33:54 | 0:33:56 | |
I mean, I know we bastardised the 12 bar quite badly. | 0:33:59 | 0:34:03 | |
Um, and we put a lot of power chording in and crescendos. | 0:34:03 | 0:34:07 | |
But also feeding off an audience that wanted that as well. | 0:34:11 | 0:34:14 | |
They wanted to swing from the rafters, | 0:34:14 | 0:34:16 | |
they wanted to go crazy bananas. | 0:34:16 | 0:34:19 | |
# I caught a train, I met a dame | 0:34:21 | 0:34:24 | |
# She was a hipster, well and a real cool dame | 0:34:24 | 0:34:26 | |
# She was pretty, from New York City | 0:34:26 | 0:34:28 | |
# Well and we trucked on down that old Fairlane... # | 0:34:28 | 0:34:32 | |
I mean, we were 18, and the people who came to see us were 18. | 0:34:32 | 0:34:36 | |
They didn't wanna, you know, they wanted something with more energy. | 0:34:36 | 0:34:40 | |
So we did Big Boss Man three times the speed. | 0:34:40 | 0:34:42 | |
But, I mean, isn't that what the blues is as well? | 0:34:42 | 0:34:45 | |
I mean, that's, even when I saw it played, you know, | 0:34:45 | 0:34:48 | |
in ramshackle clubs in the Southern States of America, | 0:34:48 | 0:34:52 | |
you know, there was that same electricity. | 0:34:52 | 0:34:55 | |
I mean, we were white kids playing to white kids. | 0:34:55 | 0:34:58 | |
But actually, you know, I sense that there was still the same vibe going on, | 0:34:58 | 0:35:02 | |
all those thousands of miles apart. | 0:35:02 | 0:35:04 | |
They loved the music, they wanted to play it, they worked out how it did, | 0:35:06 | 0:35:10 | |
it came out differently, it will. | 0:35:10 | 0:35:12 | |
If I'm white and grow up in South London it's bound to be different. | 0:35:13 | 0:35:17 | |
It's a...what, you know, but... | 0:35:17 | 0:35:20 | |
Cyril Davies and everybody they were great, brilliant, but... | 0:35:20 | 0:35:23 | |
There was something missing though, wasn't there? | 0:35:23 | 0:35:25 | |
And it didn't connect with our age group. | 0:35:25 | 0:35:27 | |
Yeah, maybe, yeah. | 0:35:27 | 0:35:29 | |
Well, I really don't think it did, you know. It was something... | 0:35:29 | 0:35:32 | |
-It's almost like for a museum. -Well, they were older. | 0:35:32 | 0:35:34 | |
-Yeah. -They were older than us. -And all the artists were older. | 0:35:34 | 0:35:38 | |
I mean, we were listening to records by 50-year-old blokes. | 0:35:38 | 0:35:42 | |
You know, and therefore why, there's no way we could have replicated that, | 0:35:42 | 0:35:48 | |
had it been enough. | 0:35:48 | 0:35:49 | |
In a frantic 12 months, ravenous white British blues bands | 0:35:58 | 0:36:02 | |
carved up and redistributed the black blues songbook. | 0:36:02 | 0:36:06 | |
The whole locker got raided very quickly, didn't it, | 0:36:06 | 0:36:10 | |
of blues songs. | 0:36:10 | 0:36:12 | |
I mean, how much of it was jumping on band wagons. | 0:36:12 | 0:36:16 | |
Dick Taylor, he used to play with us, I mean, I know that he was no jumper of bandwagons. | 0:36:16 | 0:36:22 | |
-Everybody had their... -Repertoire. -Their stock in trade. | 0:36:22 | 0:36:26 | |
And we avoided Smokestack Lightning or something cos the Yardies did it. | 0:36:26 | 0:36:31 | |
And, you know, Little Red Rooster cos the Stones did it. | 0:36:31 | 0:36:34 | |
But you picked your way around and came up with your own repertoire. | 0:36:34 | 0:36:38 | |
The Yardbirds followed us, they used to ask us questions all the time and say, | 0:36:38 | 0:36:42 | |
"What strings do you use? | 0:36:42 | 0:36:44 | |
"You know when you do that Little Walter song, how does the middle go?" | 0:36:44 | 0:36:48 | |
You know, and in the intervals they'd come and chat to us and ask all these questions. | 0:36:48 | 0:36:53 | |
We actually made a conscious decision that we weren't | 0:36:53 | 0:36:56 | |
going to play the sort of music The Rolling Stones were doing. | 0:36:56 | 0:36:59 | |
You know, and as far as The Animals up north, | 0:36:59 | 0:37:01 | |
that might have been another country, you know. | 0:37:01 | 0:37:04 | |
I mean you just, you just didn't really worry about that | 0:37:04 | 0:37:07 | |
or even necessarily relate to it. | 0:37:07 | 0:37:08 | |
I mean, yeah, we did learn our stuff though. We did learn our stuff. | 0:37:08 | 0:37:12 | |
And, uh, quite honestly the blues ain't just necessarily black. | 0:37:12 | 0:37:15 | |
On its journey from the American South to Southern England | 0:37:18 | 0:37:21 | |
the blues, in the wake of Beatlemania, | 0:37:21 | 0:37:24 | |
had become a horny teenage music. | 0:37:24 | 0:37:26 | |
Something the purists weren't happy about. | 0:37:26 | 0:37:29 | |
White kids stealing black music for their own needs. | 0:37:29 | 0:37:32 | |
You know, was it racially dodgy? We didn't even think about it. | 0:37:34 | 0:37:38 | |
I mean, you know, why would you think about that? | 0:37:38 | 0:37:40 | |
At that time, I mean, you just, you didn't, you know. | 0:37:40 | 0:37:44 | |
There's a sociological background, you know, to the blues | 0:37:44 | 0:37:48 | |
and what happened and what the people felt and so on and so forth, | 0:37:48 | 0:37:51 | |
um, that make it what it is. | 0:37:51 | 0:37:53 | |
It's very important and I don't think it's right | 0:37:53 | 0:37:57 | |
to just take bits of it as trappings. | 0:37:57 | 0:38:01 | |
I mean, I think you owe it to the people who you admire | 0:38:01 | 0:38:04 | |
not to screw the music up. | 0:38:04 | 0:38:06 | |
The new teenage audience for British electric blues | 0:38:12 | 0:38:15 | |
was, yet again, entirely white. | 0:38:15 | 0:38:18 | |
We didn't appeal to a black audience at all, though funnily enough, | 0:38:18 | 0:38:21 | |
when Paul Jones and I were first trying to get a band together | 0:38:21 | 0:38:25 | |
we were rehearsing in a pub in Colliers Wood, South London, | 0:38:25 | 0:38:28 | |
and the landlord came up and said, | 0:38:28 | 0:38:31 | |
"The band I've booked to play downstairs haven't turned up | 0:38:31 | 0:38:35 | |
"and would you like to play?" | 0:38:35 | 0:38:37 | |
And we went down and played and we were greeted with stunned indifference. | 0:38:37 | 0:38:41 | |
But then a black man came in at the back of the bar | 0:38:41 | 0:38:44 | |
and he probably got a pint of Guinness and stood there | 0:38:44 | 0:38:47 | |
and we saw that he was tapping his foot. | 0:38:47 | 0:38:49 | |
And honestly, we felt so good that one person in that audience | 0:38:49 | 0:38:54 | |
was enjoying what we were attempting to do | 0:38:54 | 0:38:57 | |
and he was black. | 0:38:57 | 0:38:58 | |
British blues players weren't themselves black, | 0:39:04 | 0:39:07 | |
and didn't appeal to black audiences. | 0:39:07 | 0:39:09 | |
But their love of the music lead them to identify themselves | 0:39:09 | 0:39:12 | |
with the black man's burden. | 0:39:12 | 0:39:14 | |
Something far weightier than anything suburban Britain could offer. | 0:39:14 | 0:39:18 | |
They never were sharecroppers, they never lived in abject poverty, | 0:39:20 | 0:39:24 | |
they didn't have to go and sit on a stoop | 0:39:24 | 0:39:26 | |
in the middle of a tiny little town in Texas like Blind Lemon Jefferson | 0:39:26 | 0:39:30 | |
did with a cup, you know, to get nickels and dimes and even pennies. | 0:39:30 | 0:39:35 | |
You know, they never had to do that. | 0:39:35 | 0:39:37 | |
This is what I find absolutely so extraordinary | 0:39:37 | 0:39:40 | |
that the white British blues thing that developed, developed in, | 0:39:40 | 0:39:46 | |
mainly, in this genteel area of Southern England. | 0:39:46 | 0:39:50 | |
I mean, how ridiculous is that? | 0:39:50 | 0:39:52 | |
I suppose one did feel a certain sympathy, empathy or something | 0:39:52 | 0:39:57 | |
with people who were oppressed. | 0:39:57 | 0:39:59 | |
But I was never oppressed, I mean, that's stupid. | 0:39:59 | 0:40:03 | |
It was the romanticism of it, I suppose, to some extent. | 0:40:04 | 0:40:07 | |
"Wow, look how horribly those people were treated. | 0:40:09 | 0:40:12 | |
"Boy, I'm with them." | 0:40:12 | 0:40:15 | |
In the early '60s, being "with them" and being desperate to feel something | 0:40:18 | 0:40:22 | |
meant knowing about the American Civil Rights Movement | 0:40:22 | 0:40:25 | |
and the violent struggles to end slavery and segregation. | 0:40:25 | 0:40:28 | |
It was a cause to live, wasn't it, of our generation. | 0:40:32 | 0:40:37 | |
Reading James Baldwin and, that's what you did | 0:40:37 | 0:40:40 | |
as a young adult in the '60s, really. | 0:40:40 | 0:40:45 | |
Most of the people I knew who were into R'n'B | 0:40:45 | 0:40:47 | |
really knew what was going on in America in terms of civil rights. | 0:40:47 | 0:40:51 | |
And we all knew how black people were treated. | 0:40:51 | 0:40:56 | |
I mean, that's why it was probably dangerous. | 0:40:58 | 0:41:01 | |
White, young intellectuals | 0:41:01 | 0:41:03 | |
going down trying to find old black men in Mississippi. | 0:41:03 | 0:41:06 | |
At that time you had the Civil Rights and you might end up in the swamp. | 0:41:06 | 0:41:10 | |
This is Paul Oliver who was THE blues writer. | 0:41:11 | 0:41:15 | |
And he was very much in evidence in those days. | 0:41:17 | 0:41:19 | |
He and his wife, Valerie, they'd been to the States | 0:41:19 | 0:41:22 | |
and done a tour of the South | 0:41:22 | 0:41:25 | |
and recorded a lot of people and interviewed people | 0:41:25 | 0:41:28 | |
in a rehearsals at the Albert Hall | 0:41:28 | 0:41:32 | |
for a concert and it's important to get the history down, you know. People were very serious about it. | 0:41:32 | 0:41:37 | |
For some musicians it was also important to get the precise sound down. | 0:41:48 | 0:41:52 | |
Exactly, if at all possible. | 0:41:52 | 0:41:55 | |
These records were what we were trying to attain. | 0:41:59 | 0:42:02 | |
The sound of it, the feel of it. The whole concept of it, | 0:42:02 | 0:42:05 | |
but because none of us, including me at that time, | 0:42:05 | 0:42:08 | |
had ever been to America and ever walked into a recording studio, | 0:42:08 | 0:42:11 | |
we had no concept of how they made their records. | 0:42:11 | 0:42:14 | |
Where to put the microphone. | 0:42:14 | 0:42:17 | |
HE STAMPS | 0:42:17 | 0:42:18 | |
Get the sound of the room, you know? | 0:42:18 | 0:42:20 | |
Where John Lee Hooker would put his foot. | 0:42:20 | 0:42:24 | |
Put the microphone a little further back. | 0:42:26 | 0:42:29 | |
Cos you could hear on Johnson's | 0:42:29 | 0:42:32 | |
where they deliberately pulled the microphone back to get more guitar | 0:42:32 | 0:42:37 | |
and so he's wailing over the top | 0:42:37 | 0:42:40 | |
and there's others where it's almost in his face. | 0:42:40 | 0:42:42 | |
Whatever you do it's never going to sound like the American records | 0:42:42 | 0:42:46 | |
because these are black artists who are from the South, | 0:42:46 | 0:42:50 | |
who have a sound vocally that is uniquely theirs | 0:42:50 | 0:42:53 | |
and that is part of what we talk about as being the blues. | 0:42:53 | 0:42:58 | |
Um, and to recreate that is almost an impossibility. | 0:42:58 | 0:43:02 | |
Recording this music in the UK became a generational struggle | 0:43:05 | 0:43:09 | |
as young blues musicians ran the gauntlet | 0:43:09 | 0:43:12 | |
of jobsworth British recording engineers | 0:43:12 | 0:43:14 | |
in their starched white coats. | 0:43:14 | 0:43:16 | |
Sometimes brown coats! | 0:43:16 | 0:43:17 | |
Yeah, but I mean they were so de rigueur, you know, | 0:43:19 | 0:43:21 | |
like, uh, "You can't do this, you're overloading." Yes! | 0:43:21 | 0:43:26 | |
We wanna overload. | 0:43:26 | 0:43:28 | |
They didn't want to go into the red. | 0:43:28 | 0:43:30 | |
They were taught that you don't distort. | 0:43:30 | 0:43:33 | |
"Distortion, dear boy, is bad news." | 0:43:33 | 0:43:37 | |
You're up against this monolithic idea of, like, | 0:43:38 | 0:43:42 | |
the correct method of recording. | 0:43:42 | 0:43:44 | |
And, we're not looking for the correct method. | 0:43:44 | 0:43:48 | |
We're looking for the incorrect method, you know? | 0:43:48 | 0:43:51 | |
But of course in the blues you do distort, you do go in the red. | 0:43:53 | 0:43:56 | |
It is rough, it does go out of tempo. | 0:43:56 | 0:43:59 | |
That's the beauty of it because it's coming from the moment, you know? | 0:43:59 | 0:44:04 | |
"Sorry, mind my microphone." | 0:44:04 | 0:44:09 | |
Well, I'm not trying to hurt it, you know. | 0:44:09 | 0:44:11 | |
"No, you're playing too loud into it and you've moved it!" | 0:44:11 | 0:44:14 | |
After learning to play and learning to record, | 0:44:16 | 0:44:19 | |
came the hardest lesson of all - learning your place. | 0:44:19 | 0:44:21 | |
American blues masters continued to visit Britain, | 0:44:21 | 0:44:24 | |
but now there was a generation of young musicians to back them. | 0:44:24 | 0:44:28 | |
First in line to share the same stage with a blues legend in 1964 | 0:44:28 | 0:44:32 | |
were the Bluesbreakers, led by John Mayall. | 0:44:32 | 0:44:35 | |
They wanted to bring over | 0:44:36 | 0:44:38 | |
John Lee Hooker as a test thing | 0:44:38 | 0:44:40 | |
and they booked him a whole string of dates up and down the country | 0:44:40 | 0:44:43 | |
with the Bluesbreakers backing him. | 0:44:43 | 0:44:46 | |
We played all the places and we opened at the Flamingo and there was a phenomenal response to that. | 0:44:46 | 0:44:53 | |
And it kind of pioneered the way. | 0:44:53 | 0:44:55 | |
There's John Mayall looking at him with, well, we can only see half his face! | 0:44:58 | 0:45:03 | |
He looks from here as though he might be a bit dubious, | 0:45:03 | 0:45:05 | |
but I can assure you he's not, he's looking at him with admiration. | 0:45:05 | 0:45:09 | |
The marvellous Mr Hooker. I didn't get to know him well. | 0:45:09 | 0:45:12 | |
We had a meal together one afternoon, but that was when I went to interview him | 0:45:12 | 0:45:16 | |
and we went off and had chicken and chips or something which, you know, | 0:45:16 | 0:45:20 | |
in those days that was the height of cool. | 0:45:20 | 0:45:22 | |
But meeting him was the height of cool, I can assure you. | 0:45:22 | 0:45:25 | |
When The Groundhogs backed Hooker that same year, | 0:45:29 | 0:45:32 | |
guitarist Tony McPhee took the opportunity to look and learn from his hero. | 0:45:32 | 0:45:36 | |
# Boom, boom, boom, boom | 0:45:36 | 0:45:38 | |
# I'm gonna shoot you right down... # | 0:45:39 | 0:45:41 | |
Just watching him, his technique, | 0:45:41 | 0:45:43 | |
well, I saw him, first time we did the first week, | 0:45:43 | 0:45:48 | |
I saw him, he played fingerstyle, without picks. I went, | 0:45:48 | 0:45:51 | |
"That's it, I'll do that." | 0:45:51 | 0:45:52 | |
# Boom, boom, boom, boom... # | 0:45:52 | 0:45:54 | |
And the other thing was he had his strap over his right shoulder. | 0:45:54 | 0:45:57 | |
# Up and down the floor... # | 0:45:58 | 0:46:00 | |
I thought I'd do that as well. | 0:46:00 | 0:46:01 | |
Which, even now, it falls off. | 0:46:01 | 0:46:04 | |
# That baby talk... # | 0:46:04 | 0:46:06 | |
But it's easy to put on. | 0:46:06 | 0:46:08 | |
# I like it like that... # | 0:46:08 | 0:46:10 | |
Everything he did I wanted to do. | 0:46:10 | 0:46:11 | |
# Ho-ho-ho-ho... # | 0:46:11 | 0:46:13 | |
To make me him in white form. | 0:46:13 | 0:46:16 | |
McPhee also learned the real meaning of "backing group". | 0:46:20 | 0:46:23 | |
When I did a solo, he used to stand in front of me... | 0:46:23 | 0:46:26 | |
and do his stuff! | 0:46:27 | 0:46:29 | |
Everybody would probably think it was him playing. That was me. | 0:46:30 | 0:46:33 | |
But I didn't mind, didn't care. | 0:46:33 | 0:46:35 | |
They had no idea about keeping time, necessarily. | 0:46:35 | 0:46:39 | |
Cos often they start out, they play by themselves, | 0:46:39 | 0:46:42 | |
-they would just stamp their feet. -STAMPS HIS FEET | 0:46:42 | 0:46:45 | |
You know, and when they got more excited they stamped them faster. | 0:46:45 | 0:46:49 | |
So if you were trying to play with them, and follow them, | 0:46:49 | 0:46:53 | |
it wasn't easy, you know. | 0:46:53 | 0:46:55 | |
Telepathy, I think. You learn telepathy. | 0:46:55 | 0:46:57 | |
With John, especially, because you didn't know where he was going to change. | 0:46:57 | 0:47:01 | |
He changed whenever he wanted to. | 0:47:01 | 0:47:02 | |
# Start rolling | 0:47:04 | 0:47:05 | |
# Ah...! # | 0:47:07 | 0:47:08 | |
He said, "What I like about you guys is that I can do | 0:47:08 | 0:47:11 | |
"11 bars, 16 bars, 12 and a half, | 0:47:11 | 0:47:13 | |
"but you know when to change cos you just feel it." | 0:47:13 | 0:47:16 | |
You know, it's coming up to it. | 0:47:16 | 0:47:17 | |
It's the movement in it and the way he's shifting the patterns | 0:47:17 | 0:47:22 | |
and the rhythms and, um, the way the chords are falling, you know, | 0:47:22 | 0:47:26 | |
and what he's doing with them, are just terrifying. | 0:47:26 | 0:47:30 | |
We did realise, you know, pretty early on | 0:47:30 | 0:47:34 | |
that we were these white impostors. | 0:47:34 | 0:47:37 | |
I mean, we played with, you know, | 0:47:37 | 0:47:38 | |
people like Sonny Boy Williamson for Christ's sake. | 0:47:38 | 0:47:41 | |
You know, he used to get very drunk, | 0:47:42 | 0:47:44 | |
would think nothing of changing arrangements, screwing up the band. | 0:47:44 | 0:47:48 | |
Anyway, we were whities, what did he care. | 0:47:48 | 0:47:51 | |
And he'd actually said, when he got back to the States, | 0:47:51 | 0:47:54 | |
"These boys wanna play the blues so badly and believe you me they do!" | 0:47:54 | 0:47:58 | |
You know. | 0:47:58 | 0:48:00 | |
Which was probably a very nice thing for him to say. | 0:48:00 | 0:48:02 | |
Manfred Mann, who already had several chart hits to their name, | 0:48:05 | 0:48:09 | |
also accepted the honour of backing Sonny Boy on stage. | 0:48:09 | 0:48:12 | |
Thank you very much. | 0:48:12 | 0:48:13 | |
Sonny Boy was a grumpy old character. | 0:48:15 | 0:48:18 | |
But the problem really was that Manfred Mann | 0:48:18 | 0:48:21 | |
was made up, mostly, of trained musicians. | 0:48:21 | 0:48:24 | |
Musicians who could read music and write music. | 0:48:24 | 0:48:28 | |
And we fell out over how many bars there are in a 12-bar blues. | 0:48:29 | 0:48:33 | |
You know, I mean, the trained musicians | 0:48:33 | 0:48:36 | |
thought it must be 12, surely. | 0:48:36 | 0:48:38 | |
# You just keep it all to yourself... # | 0:48:40 | 0:48:43 | |
And Sonny Boy knew the correct answer, which was, | 0:48:43 | 0:48:45 | |
"Any number that I want it to be." | 0:48:45 | 0:48:48 | |
# Do that for me, darling | 0:48:48 | 0:48:49 | |
# Don't make it to no-one else... # | 0:48:49 | 0:48:52 | |
Here we have the rather devilish, satanic-looking Sonny Boy Williamson | 0:49:15 | 0:49:20 | |
with his harlequin suit | 0:49:20 | 0:49:23 | |
which was in a black and sort of beige, as I recall. | 0:49:23 | 0:49:27 | |
I remember Sonny Boy Williamson was staying with our manager, | 0:49:28 | 0:49:32 | |
Giorgio Gomelsky, in his flat in Lexham Gardens round the corner here | 0:49:32 | 0:49:36 | |
and one day we came home to the flat and there's all this noise going on, | 0:49:36 | 0:49:41 | |
you know, and we opened the bathroom and Sonny Boy Williamson is plucking a live chicken. | 0:49:41 | 0:49:47 | |
In the bathroom, you know. | 0:49:47 | 0:49:49 | |
Like he did back home, you know. | 0:49:49 | 0:49:51 | |
So there was a lot of cultural differences, you see. | 0:49:51 | 0:49:55 | |
Cultural differences became increasingly obvious | 0:49:59 | 0:50:02 | |
the more American blues legends | 0:50:02 | 0:50:04 | |
began visiting Britain in the early '60s. | 0:50:04 | 0:50:06 | |
Tours mounted on shoestrings | 0:50:06 | 0:50:09 | |
often relied on artists staying with their fans, not in hotels. | 0:50:09 | 0:50:13 | |
When Jesse Fuller first came to Britain, | 0:50:13 | 0:50:16 | |
Val Wilmer invited him to stay with her and her mother in South London. | 0:50:16 | 0:50:21 | |
I went to see him as soon as he arrived | 0:50:21 | 0:50:23 | |
and then I brought him over to our house | 0:50:23 | 0:50:25 | |
and this was in Streatham in South London, | 0:50:25 | 0:50:27 | |
which was a rather smart place in those days. | 0:50:27 | 0:50:30 | |
And there he is taking tea in my mother's drawing room. | 0:50:30 | 0:50:34 | |
And then he played for us, harmonica and kazoo, | 0:50:35 | 0:50:39 | |
with a harness round his neck so he could switch from one to the other | 0:50:39 | 0:50:42 | |
and play guitar at the same time. | 0:50:42 | 0:50:44 | |
Allegedly Dylan, Bob Dylan, copied that harness from him. | 0:50:44 | 0:50:48 | |
And there he is with my brother. | 0:50:50 | 0:50:53 | |
I love these photographs, although I took them myself, I love them, | 0:50:54 | 0:50:58 | |
because it was a special time. | 0:50:58 | 0:51:00 | |
We didn't get on all that well, actually, | 0:51:02 | 0:51:04 | |
I found him a very miserable person, to be quite frank. | 0:51:04 | 0:51:08 | |
He always complained about the fact that he didn't have, | 0:51:08 | 0:51:11 | |
he couldn't get a hamburger, you know. | 0:51:11 | 0:51:13 | |
I don't know if Wimpy's had started in those days, | 0:51:13 | 0:51:15 | |
but he was always complaining about it, so my mother got him some mince | 0:51:15 | 0:51:21 | |
and he made his own hamburgers, so there he is cooking it in the kitchen. | 0:51:21 | 0:51:25 | |
And we'd like you to meet the king of Smokestack Lightning, | 0:51:27 | 0:51:30 | |
Howlin' Wolf. | 0:51:30 | 0:51:32 | |
APPLAUSE | 0:51:32 | 0:51:34 | |
Chris Barber had first invited Howlin' Wolf to the UK in 1962. | 0:51:35 | 0:51:39 | |
On subsequent visits, young British blues musicians discovered that, | 0:51:39 | 0:51:43 | |
as far as The Wolf was concerned, rehearsals were for pussies. | 0:51:43 | 0:51:47 | |
Wolf walked in with his tour manager. | 0:51:47 | 0:51:49 | |
And he used to just, "Mmm, hmm," | 0:51:52 | 0:51:54 | |
looked around, looked at us, looked at him, "Mmm, mmm." | 0:51:54 | 0:51:57 | |
And we thought, "Well, we're gonna rehearse now." | 0:51:59 | 0:52:02 | |
And he pulled out a harp. | 0:52:02 | 0:52:03 | |
He just started playing a slow blues and we joined in. | 0:52:03 | 0:52:06 | |
We did about two choruses. | 0:52:06 | 0:52:08 | |
"Hmm, yeah, they're fine. | 0:52:08 | 0:52:10 | |
"See you tomorrow." | 0:52:11 | 0:52:12 | |
First gig, tomorrow in Sunderland. | 0:52:12 | 0:52:15 | |
# Ah, oh, the train I ride on | 0:52:17 | 0:52:21 | |
# Oh, they shine like gold | 0:52:24 | 0:52:28 | |
# Whoo-hoo, whoo... # | 0:52:35 | 0:52:40 | |
I hears, uh, Memphis Slim and, uh, Muddy Waters say, | 0:52:41 | 0:52:46 | |
"The white man can't play the blues." | 0:52:46 | 0:52:48 | |
They should never say such thing as that, "The white man can't play the blues." | 0:52:48 | 0:52:52 | |
Anybody can play the blues, white or black. | 0:52:52 | 0:52:54 | |
But he can't feel what I feel, | 0:52:54 | 0:52:57 | |
because he never lived a slave life. | 0:52:57 | 0:52:59 | |
He didn't have nobody to spit in his face | 0:52:59 | 0:53:02 | |
and he couldn't do nothing about it and he's a man. | 0:53:02 | 0:53:04 | |
See, so this is what blues is all about. | 0:53:04 | 0:53:07 | |
Whisky, women and blues! | 0:53:07 | 0:53:10 | |
But in the States, whisky, women and especially the blues | 0:53:14 | 0:53:17 | |
simply weren't on the menu any more. | 0:53:17 | 0:53:19 | |
In America, even the blacks didn't like the blues any more, | 0:53:22 | 0:53:26 | |
it was considered old hat. | 0:53:26 | 0:53:27 | |
Uncle Tom, you know, like, who listens to George Formby, you know? | 0:53:27 | 0:53:32 | |
Come on, we love him, but...you know. | 0:53:32 | 0:53:35 | |
There's not a lot of George Formby tribute bands. Or maybe there are! | 0:53:35 | 0:53:39 | |
You know, there's the problem of black people | 0:53:41 | 0:53:45 | |
not wanting to be reminded of their roots | 0:53:45 | 0:53:48 | |
and wanting to hear things that were more suave | 0:53:48 | 0:53:51 | |
and middle class and sophisticated. | 0:53:51 | 0:53:53 | |
A lot of the younger black people wanted to move on. | 0:53:53 | 0:53:57 | |
Move on up, if you like. | 0:53:57 | 0:53:59 | |
And the blues were, yeah, they were associated with, you know, the Delta, | 0:53:59 | 0:54:03 | |
the cotton and slavery, even. | 0:54:03 | 0:54:05 | |
It goes back, I mean it goes back to that, it goes back to West Africa. | 0:54:06 | 0:54:10 | |
In a kind of unofficial exchange programme, | 0:54:14 | 0:54:17 | |
British R'n'B bands began visiting America, | 0:54:17 | 0:54:20 | |
unaware that the blues were ignored in their own country. | 0:54:20 | 0:54:23 | |
They were about to change the course of popular music forever. | 0:54:24 | 0:54:27 | |
Some bands finally achieved the recorded sound | 0:54:30 | 0:54:33 | |
they'd so desperately sought in Britain at Chess Records in Chicago. | 0:54:33 | 0:54:38 | |
2220 South Michigan Avenue. | 0:54:42 | 0:54:44 | |
And suddenly you're in the room. | 0:54:46 | 0:54:48 | |
THE room. | 0:54:48 | 0:54:49 | |
One of THE rooms. | 0:54:49 | 0:54:51 | |
They knew about sound, they knew about guitars. | 0:54:52 | 0:54:55 | |
They knew about guitar players. | 0:54:55 | 0:54:57 | |
And they had it all geared up, you know, and it was just amazing. | 0:54:57 | 0:55:01 | |
In came Willie Dixon, Chuck Berry, um, Muddy, | 0:55:01 | 0:55:05 | |
um, Buddy Guy, all came in to listen to us. | 0:55:05 | 0:55:09 | |
Yeah, they wanted to know, like, how we were doing it | 0:55:09 | 0:55:13 | |
and WHY we wanted to do it. | 0:55:13 | 0:55:15 | |
You know, "Why you wanna play like me?" | 0:55:15 | 0:55:18 | |
Oh, well, it happens to be very good stuff, you know. | 0:55:18 | 0:55:22 | |
You know, and one day I might get there! | 0:55:24 | 0:55:26 | |
You know... | 0:55:26 | 0:55:27 | |
..what, what were they thinking about us? | 0:55:29 | 0:55:32 | |
You know, you're doing our stuff and da-da-da-da | 0:55:32 | 0:55:38 | |
and coming into our world. | 0:55:38 | 0:55:40 | |
Luckily it was a happy marriage | 0:55:42 | 0:55:46 | |
because we paid attention and we knew, you know, | 0:55:46 | 0:55:49 | |
in truth, really how to behave. | 0:55:49 | 0:55:52 | |
Just the first take, I mean, | 0:55:52 | 0:55:54 | |
I mean, I think we all went outside and wept and said, | 0:55:54 | 0:55:58 | |
"Yes. I mean... It's that easy?" | 0:55:58 | 0:56:02 | |
That was the time that The Yardbirds got their sound down onto tape. | 0:56:02 | 0:56:07 | |
Then we moved down to Memphis and had an amazing opportunity to record at Sun Studios. | 0:56:07 | 0:56:11 | |
With the very guy who recorded Howlin' Wolf and Elvis Presley, | 0:56:11 | 0:56:17 | |
Sam Phillips. | 0:56:17 | 0:56:18 | |
He came in from a weekend's fishing trip. | 0:56:18 | 0:56:21 | |
I don't know how we did it. | 0:56:21 | 0:56:24 | |
And it was in a room, a tiny little room, you know, | 0:56:24 | 0:56:27 | |
the size of a kitchen. | 0:56:27 | 0:56:28 | |
Where everything, you know, old amps, mics that weren't moved. | 0:56:28 | 0:56:33 | |
But what a kick-arse sound, I mean, these guys... | 0:56:33 | 0:56:35 | |
Blues hasn't been a popular music in America. | 0:56:35 | 0:56:39 | |
And, in fact, it seemed like white America didn't even know about blues, | 0:56:40 | 0:56:45 | |
only little corners here, corners there. | 0:56:45 | 0:56:48 | |
But when The Rolling Stones, | 0:56:49 | 0:56:51 | |
The Who, | 0:56:51 | 0:56:53 | |
and I can name you quite a few groups | 0:56:53 | 0:56:55 | |
that came over HERE after The Beatles. | 0:56:55 | 0:56:59 | |
Oh, boy, it opened up then. | 0:56:59 | 0:57:03 | |
In America, the audience for blues was black | 0:57:03 | 0:57:08 | |
until the British thing... | 0:57:08 | 0:57:11 | |
and then people started listening to, like, John Mayall or maybe us, | 0:57:11 | 0:57:16 | |
or whoever and I talked to a guy, said he actually discovered | 0:57:16 | 0:57:20 | |
that John Lee Hooker, who he'd never heard of, lived two blocks away. | 0:57:20 | 0:57:25 | |
The media didn't know what it was. | 0:57:25 | 0:57:28 | |
You know the famous thing about The Beatles when they said, you know, | 0:57:28 | 0:57:32 | |
"What do you most want to see when you're over here?" | 0:57:32 | 0:57:35 | |
And they said, "Muddy Waters." And they said, "Where's that?" | 0:57:35 | 0:57:39 | |
And when anybody ever asked us, "Who did that song?" | 0:57:39 | 0:57:42 | |
We'd say, "That's an Elmore James song, a Muddy Waters song, | 0:57:42 | 0:57:45 | |
"that's a Howlin' Wolf song, Little Walter," | 0:57:45 | 0:57:48 | |
and gave them the credit and talked about it in interviews and how great they were and all that, you know. | 0:57:48 | 0:57:54 | |
We were getting letters from people in Chicago | 0:57:54 | 0:57:56 | |
saying, "Where can I find this music?" | 0:57:56 | 0:57:59 | |
We used to say, "Go across the bridge and it's there." | 0:57:59 | 0:58:03 | |
They did start to sell records, they did start to cross over, | 0:58:03 | 0:58:06 | |
they did start to sell in the white man's territory. | 0:58:06 | 0:58:09 | |
It's an awful thing to say, isn't it? White man's territory, but it was like that. | 0:58:09 | 0:58:13 | |
"Hey, these English cats are getting the hang of it and they're gonna help us." | 0:58:13 | 0:58:18 | |
So sometimes you use that fame bit as a... | 0:58:21 | 0:58:25 | |
yeah, to do what you think you gotta do. | 0:58:25 | 0:58:28 | |
British R'n'B bands had not only sold their take on American blues to white kids in the States, | 0:58:32 | 0:58:37 | |
they also brought their heroes to the attention of teenage audiences in the UK. | 0:58:37 | 0:58:41 | |
We got Jimmy Reed over. | 0:58:43 | 0:58:44 | |
And Jimmy did it for, you know, he couldn't believe what he got, | 0:58:44 | 0:58:48 | |
he told us he was working for 30 the night before in New York, | 0:58:48 | 0:58:51 | |
and I think we got him 1,000 and a bottle of Jack Daniels under his stool. | 0:58:51 | 0:58:56 | |
And he said to me, | 0:58:56 | 0:58:58 | |
"There's more young pussy than you can shake a stick at in front of me, | 0:58:58 | 0:59:02 | |
"like I died and gone to heaven." | 0:59:02 | 0:59:04 | |
And he'd played to 25 people the night before. | 0:59:04 | 0:59:06 | |
Come over here and they were playing at the Albert Hall, you know. | 0:59:06 | 0:59:10 | |
2,500 people, you know, sitting down, | 0:59:12 | 0:59:15 | |
lovin' them and knowing all the songs. | 0:59:15 | 0:59:18 | |
And it kind of threw them, I think. | 0:59:18 | 0:59:20 | |
Yeah, I mean, I've no doubt they all looked at each other and said, | 0:59:22 | 0:59:25 | |
"Well, that's the strangest audience I've ever seen." | 0:59:25 | 0:59:28 | |
A bunch of wimpy English guys with long hair, going, "Duh." | 0:59:30 | 0:59:34 | |
"Well, I didn't expect to hit THEM!" | 0:59:36 | 0:59:37 | |
You know, any port in a storm! | 0:59:39 | 0:59:40 | |
By 1965 British R'n'B was at high tide and blues-based bands were flooding the charts worldwide. | 0:59:44 | 0:59:51 | |
# I live in an apartment on the 99th floor of my block | 0:59:51 | 0:59:56 | |
# And I sit at home looking out the window... # | 0:59:59 | 1:00:01 | |
But these British bands now stood at the crossroads of blues and rock | 1:00:01 | 1:00:05 | |
and were writing their own original material. | 1:00:05 | 1:00:07 | |
# Then in flies a guy who's all dressed up just like a Union Jack... # | 1:00:07 | 1:00:11 | |
Which may have been inspired by the blues, but it wasn't quite the blues any more. | 1:00:11 | 1:00:15 | |
# And says I've won £5 if I can have his kind of detergent pack | 1:00:15 | 1:00:19 | |
-# I said hey! -Hey! -You! -You! -Get off of my cloud | 1:00:21 | 1:00:25 | |
-# Hey! -Hey! -You! -You! -Get off of my cloud... # | 1:00:25 | 1:00:29 | |
There was a kind of frantic quality to the way that The Stones | 1:00:29 | 1:00:33 | |
and The Manfreds and The Animals all did it, you know. | 1:00:33 | 1:00:37 | |
Um, it was all... | 1:00:37 | 1:00:39 | |
I gravitated towards The Yardbirds. | 1:00:41 | 1:00:43 | |
Um, and I always used to think to myself, you know, | 1:00:43 | 1:00:47 | |
"Why don't they ever play any slow songs?" | 1:00:47 | 1:00:49 | |
It was always like, ding-ding-ding! | 1:00:49 | 1:00:51 | |
It was necessary, creatively and as human beings, my God, you know, | 1:00:51 | 1:00:56 | |
to do something for ourselves, so we did start to experiment | 1:00:56 | 1:01:01 | |
and sort of move away a little bit from the blues format. | 1:01:01 | 1:01:05 | |
You had to go somewhere else, we had to make our own music. | 1:01:05 | 1:01:08 | |
# I never see | 1:01:08 | 1:01:10 | |
# The people I know | 1:01:12 | 1:01:14 | |
# In the bright light of day | 1:01:15 | 1:01:17 | |
# So how can I say | 1:01:19 | 1:01:21 | |
# That you're any friend of mine... # | 1:01:22 | 1:01:24 | |
We got to a point where we'd done that for three or four years. | 1:01:24 | 1:01:27 | |
# I'm feelin' fine... # | 1:01:27 | 1:01:29 | |
And if we hadn't of found a way | 1:01:29 | 1:01:30 | |
to sort of break out of that | 1:01:30 | 1:01:33 | |
we would have, probably, stopped being a band. | 1:01:33 | 1:01:35 | |
# Midnight, midnight till six | 1:01:39 | 1:01:41 | |
# Midnight, midnight till six... # | 1:01:41 | 1:01:43 | |
The Yardbirds now boasted a serious young blues guitarist who quickly established his own fan base. | 1:01:47 | 1:01:52 | |
He soon became known simply, to those who idolised him, as God. | 1:01:52 | 1:01:57 | |
Eric Clapton. | 1:01:57 | 1:01:59 | |
I mean, they named him God. | 1:02:00 | 1:02:02 | |
He never woke up and said, "I'm gonna be God." | 1:02:02 | 1:02:04 | |
Although I did go out one night and scrawl it on a bridge with a piece of... | 1:02:04 | 1:02:08 | |
No, I didn't, it's not true actually. I wish I had. | 1:02:08 | 1:02:10 | |
# I love you baby Yes, I love you so... # | 1:02:11 | 1:02:15 | |
What he brought with him was his intense love and appreciation | 1:02:15 | 1:02:19 | |
for this music that only he was just discovering. | 1:02:19 | 1:02:22 | |
And I realised later that he identified himself with these guys, | 1:02:22 | 1:02:26 | |
these suffering guys, you know, Robert Johnson. | 1:02:26 | 1:02:29 | |
And that, in a way, he was living the blues, actually, | 1:02:29 | 1:02:32 | |
more than I was living the blues, you know. | 1:02:32 | 1:02:34 | |
We did gel for a very intense, short period of time | 1:02:35 | 1:02:38 | |
and we even shared a bedroom together, would you believe. | 1:02:38 | 1:02:42 | |
And we were very close. | 1:02:42 | 1:02:44 | |
Eric did have these very intense relationships with people. | 1:02:44 | 1:02:47 | |
For Your Love was The Yardbirds musical prophecy of the shape of things to come. | 1:02:54 | 1:02:58 | |
# For your love... # | 1:02:58 | 1:02:59 | |
But Clapton wasn't interested in the imminent psychedelic future. | 1:03:00 | 1:03:04 | |
At least, not yet. | 1:03:04 | 1:03:05 | |
For him, the blues, pure and simple, | 1:03:05 | 1:03:07 | |
had still to enjoy its day in Britain. | 1:03:07 | 1:03:10 | |
For Your Love was "too commercial, man." | 1:03:10 | 1:03:13 | |
# For your love... # | 1:03:13 | 1:03:14 | |
I don't know if there was an electricity | 1:03:14 | 1:03:17 | |
in that studio afterwards that, you know, was tangible. | 1:03:17 | 1:03:20 | |
It was gonna do something, it was unique. | 1:03:20 | 1:03:23 | |
And he played on the middle section | 1:03:23 | 1:03:27 | |
and then, basically, quit. | 1:03:27 | 1:03:28 | |
I think that was a, sort of, a step too far for him. | 1:03:31 | 1:03:34 | |
It was too, not the route he wanted to go to. | 1:03:34 | 1:03:38 | |
He had his blinkers on at that point. | 1:03:38 | 1:03:40 | |
Eric was the first person who saw that what really differentiated | 1:03:40 | 1:03:47 | |
the blues that we were trying to play from the real thing | 1:03:47 | 1:03:51 | |
was they just slipped into it because it was natural. | 1:03:51 | 1:03:56 | |
And if you could make the music feel natural to yourself, | 1:03:56 | 1:03:59 | |
that's the key to the whole of Eric Clapton's music. | 1:03:59 | 1:04:03 | |
If you could make the music feel natural, you were away. | 1:04:03 | 1:04:07 | |
Naturally enough, Clapton joined a real blues band. | 1:04:11 | 1:04:14 | |
Produced by Mike Vernon, the album, John Mayall's Blues Breakers With Eric Clapton, | 1:04:14 | 1:04:19 | |
known as The Beano Album, | 1:04:19 | 1:04:20 | |
announced the arrival of the second, more hardcore British blues boom. | 1:04:20 | 1:04:24 | |
I had a very hard time getting to grips with the difference | 1:04:27 | 1:04:31 | |
between the way I remember him when he played with The Yardbirds, | 1:04:31 | 1:04:35 | |
and the way he was when he first stepped out on a stage with John Mayall. | 1:04:35 | 1:04:39 | |
It was like a completely different guitarist. | 1:04:39 | 1:04:41 | |
He must have got a serious dose of Freddie King. | 1:04:46 | 1:04:49 | |
Really serious dose, you know, because those, the Freddie King records | 1:04:49 | 1:04:53 | |
were sort of somewhere in between and Eric took it a bit further. | 1:04:53 | 1:04:57 | |
Eric had told me, he said, | 1:04:57 | 1:05:00 | |
"I'm gonna play loud, I'm gonna play the way I do live and I don't want anybody telling me I gotta turn down. | 1:05:00 | 1:05:05 | |
"I don't want that to happen." | 1:05:05 | 1:05:07 | |
And I said to him, "I promise you it won't happen." | 1:05:07 | 1:05:09 | |
Soon as Eric plugged in and turned on, everything went to buggery completely. | 1:05:13 | 1:05:18 | |
All the drums were like, "Pwwww!" | 1:05:18 | 1:05:20 | |
But God works in mysterious ways. | 1:05:20 | 1:05:23 | |
Yeah, I just really play blues all the time, you know. | 1:05:23 | 1:05:27 | |
Having briefly blessed John Mayall's Blues Breakers, | 1:05:27 | 1:05:30 | |
Clapton was spirited away again, | 1:05:30 | 1:05:32 | |
this time by two young jazz tyros, Ginger Baker and Jack Bruce, | 1:05:32 | 1:05:36 | |
to complete the holy trinity that was Cream. | 1:05:36 | 1:05:39 | |
Eric and myself went to Ginger's house, | 1:05:43 | 1:05:45 | |
I think he was the only one who actually had a house, | 1:05:45 | 1:05:48 | |
in Neasden, and we set up and, eh, | 1:05:48 | 1:05:54 | |
we started to play and it was just magical. | 1:05:54 | 1:05:57 | |
# I'm so glad | 1:05:57 | 1:05:58 | |
# I'm so glad, I'm glad I'm glad, I'm glad... # | 1:05:58 | 1:06:04 | |
So...that's where the blues was born, folks. | 1:06:04 | 1:06:07 | |
We had no idea what we were going to play, but luckily, Eric, being really into the blues, | 1:06:10 | 1:06:17 | |
had some rather lesser-known esoteric kind of people like Skip James | 1:06:17 | 1:06:23 | |
and some of the lesser known Robert Johnson things, | 1:06:23 | 1:06:27 | |
which was really good for us to be able to do. | 1:06:27 | 1:06:30 | |
My idea in the Cream days was to take the blues, but respectfully, | 1:06:41 | 1:06:48 | |
and then use it to kind of create a new kind of British thing. | 1:06:48 | 1:06:53 | |
# They might fill spoons full of water | 1:06:54 | 1:06:58 | |
# They might fill spoons full of tea | 1:06:59 | 1:07:02 | |
# Just a little spoon of your precious love | 1:07:05 | 1:07:09 | |
# Saved you from another man... # | 1:07:10 | 1:07:14 | |
Cream appeared just as things went all weird and druggy. | 1:07:20 | 1:07:24 | |
First with the coming of psychedelia, | 1:07:24 | 1:07:26 | |
swiftly followed by the strange sounds | 1:07:26 | 1:07:28 | |
that announced the arrival of progressive rock, | 1:07:28 | 1:07:31 | |
under the flagship of The Beatles' Sergeant Pepper's album. | 1:07:31 | 1:07:35 | |
Even The Rolling Stones were wrong footed. | 1:07:35 | 1:07:38 | |
When we went the wrong way with Satanic Majesties, | 1:07:40 | 1:07:43 | |
trying to copy The Beatles, I suppose, they were, | 1:07:43 | 1:07:45 | |
um, with the cover and everything, | 1:07:45 | 1:07:48 | |
we had to get back to our roots when we did Beggars Banquet in '68. | 1:07:48 | 1:07:53 | |
It was much more bluesy. | 1:07:53 | 1:07:54 | |
# 2,000 light years from home... # | 1:07:54 | 1:07:59 | |
But the blues were more alive than ever in the mind of guitarist Peter Green. | 1:07:59 | 1:08:03 | |
Having replaced Clapton in John Mayall's Blues Breakers, | 1:08:03 | 1:08:07 | |
he too was now ready to take his own no-frills version of the blues on the road. | 1:08:07 | 1:08:11 | |
While many British groups were busy copying The Beatles, | 1:08:12 | 1:08:16 | |
abandoning live performance altogether in favour of complex studio recordings, | 1:08:16 | 1:08:20 | |
Peter Green's Fleetwood Mac stepped on stage and rocked like it was 1963. | 1:08:20 | 1:08:25 | |
I wasn't exactly Buddy Rich. I did my best to play, I wanted to play. | 1:08:27 | 1:08:33 | |
I happened to meet people who turned me on to blues music. | 1:08:33 | 1:08:37 | |
And what I did, as a player, really was a good fit | 1:08:37 | 1:08:45 | |
because it was less is more and I couldn't do more anyhow. | 1:08:45 | 1:08:49 | |
They were the best band on the road at that period of time, live. | 1:08:59 | 1:09:04 | |
The atmosphere was absolutely, I mean, you know, my God, | 1:09:04 | 1:09:08 | |
it was electric. | 1:09:08 | 1:09:10 | |
We needed an album. We needed it fast and the band were so popular | 1:09:10 | 1:09:13 | |
they were out there working eight days a week. | 1:09:13 | 1:09:16 | |
# I got a girl and she just won't be true... # | 1:09:16 | 1:09:18 | |
We had to put something out. | 1:09:18 | 1:09:20 | |
# I got a girl and she just won't be true | 1:09:20 | 1:09:23 | |
# Won't let me do the one good thing I tell her to. # | 1:09:24 | 1:09:27 | |
I did two or three tracks at Decca | 1:09:29 | 1:09:32 | |
with Peter Green and Mick Fleetwood | 1:09:32 | 1:09:35 | |
and, actually, Bob Brunning playing bass, | 1:09:35 | 1:09:37 | |
as demos for a future Peter Green's Fleetwood Mac band. | 1:09:37 | 1:09:42 | |
-'We got the sound now, lads. -Good. -Take two.' | 1:09:42 | 1:09:45 | |
Mike Vernon absolutely was the boffin of boffins. | 1:09:45 | 1:09:50 | |
He was so passionate about, like, if he had something to play you, | 1:09:50 | 1:09:55 | |
I mean, this is like, "No, no, no, you gotta come round," | 1:09:55 | 1:09:57 | |
and "duh-duh-duh", like stuttering over his words. | 1:09:57 | 1:10:00 | |
"It's just unbelievable, Mick, it's just unbelievable, | 1:10:00 | 1:10:03 | |
"the horn section's coming in," and this and that. | 1:10:03 | 1:10:06 | |
The adage about being in the right place at the right time is fine, | 1:10:08 | 1:10:12 | |
but you have to be the right person in the right place at the right time. | 1:10:12 | 1:10:16 | |
'Shake Your Moneymaker, take one!' | 1:10:16 | 1:10:19 | |
He wasn't looking for perfection. | 1:10:20 | 1:10:22 | |
'Remake, take one.' | 1:10:22 | 1:10:24 | |
But he was looking for, you know, the shit, the real deal. | 1:10:24 | 1:10:27 | |
-'Take five!' -And he knew what it was. | 1:10:27 | 1:10:30 | |
It was all about real stuff. | 1:10:31 | 1:10:35 | |
'Can you hear it? It's fuzzy and keeps cutting out.' | 1:10:35 | 1:10:38 | |
On the production side at that period of time, | 1:10:38 | 1:10:40 | |
I probably was the right person, I actually was probably the only person. | 1:10:40 | 1:10:44 | |
There wasn't, to the best of my knowledge, | 1:10:44 | 1:10:46 | |
not anybody else that was as active as I was, | 1:10:46 | 1:10:49 | |
nor as committed as I was. | 1:10:49 | 1:10:51 | |
Fleetwood Mac's first album, released at the beginning of 1968, | 1:11:00 | 1:11:04 | |
was an international hit. | 1:11:04 | 1:11:06 | |
The Dog And Dustbin album, it's commonly known as. | 1:11:06 | 1:11:09 | |
Yes, Peter Green's dog. | 1:11:09 | 1:11:12 | |
I think, or was it Mike Vernon's? That's trivial. | 1:11:12 | 1:11:15 | |
But the Fleetwood Mac album outsold The Beatles and The Stones put together | 1:11:15 | 1:11:20 | |
for the first few months. | 1:11:20 | 1:11:22 | |
It was an extraordinary success. | 1:11:22 | 1:11:24 | |
And nobody could understand it, | 1:11:24 | 1:11:26 | |
here was this little blues band not playing very fashionable music. | 1:11:26 | 1:11:30 | |
Cos that album was, for sure, a blues album. | 1:11:30 | 1:11:34 | |
And people loved it | 1:11:34 | 1:11:37 | |
and most of them didn't know from whence it really came, I'm sure. | 1:11:37 | 1:11:42 | |
Peter Green's a great, great guitar player. | 1:11:47 | 1:11:49 | |
At that time, I think he'd gone beyond Clapton in terms of his tasteful playing. | 1:11:49 | 1:11:56 | |
There's something about the formula. | 1:11:58 | 1:12:01 | |
You know, and it's been twisted and bent and everything else. | 1:12:01 | 1:12:05 | |
Like the R'n'B groups before them, | 1:12:11 | 1:12:13 | |
some of this second wave of more hard-boiled blues players | 1:12:13 | 1:12:17 | |
also looked beyond a mere 12 bars in their quest for originality | 1:12:17 | 1:12:21 | |
and a blues form more relevant to '60s Britain. | 1:12:21 | 1:12:23 | |
I was only interested in writing new material. | 1:12:25 | 1:12:28 | |
I've always wanted to be a composer. | 1:12:28 | 1:12:30 | |
To me, Cream was like a vehicle for my composing. | 1:12:30 | 1:12:35 | |
# Hey now, baby | 1:12:43 | 1:12:46 | |
# Get into my big black car... # | 1:12:47 | 1:12:50 | |
It actually came from the Profumo scandal. | 1:12:50 | 1:12:53 | |
You know, you got this idea of an old politician, | 1:12:53 | 1:12:55 | |
an older politician, in a limo starting to be very, very turned on | 1:12:55 | 1:13:01 | |
by the young girls of the '60s, | 1:13:01 | 1:13:02 | |
you know, with the very short skirts. | 1:13:02 | 1:13:06 | |
And wanting a piece of the action. | 1:13:06 | 1:13:08 | |
# I wanna just show you | 1:13:09 | 1:13:12 | |
# What my politics are... # | 1:13:12 | 1:13:15 | |
There's a line in it which I always think about, | 1:13:18 | 1:13:20 | |
"I don't care if you are a Russian spy, | 1:13:20 | 1:13:23 | |
"what I want from you is your red velvet thigh next to mine." | 1:13:23 | 1:13:27 | |
Some of the funniest things you'll ever hear are in the blues. | 1:13:27 | 1:13:31 | |
The success of what was becoming blues rock in Britain in 1968 | 1:13:37 | 1:13:42 | |
meant that even emerging, progressive bands | 1:13:42 | 1:13:44 | |
could sail into the album charts under the blues flag. | 1:13:44 | 1:13:47 | |
Jethro Tull's Ian Anderson factored an unusual choice of instrument into the blues equation. | 1:13:49 | 1:13:55 | |
It was almost like, well, Eric doesn't play the flute. | 1:13:57 | 1:14:00 | |
It was about being a bigger fish in a small pool - | 1:14:00 | 1:14:03 | |
you could actually stand out of the crowd a little bit as a flute player | 1:14:03 | 1:14:07 | |
at the Marquee Club doing the blues cos no-one else was playing it. | 1:14:07 | 1:14:10 | |
But, you know, very quickly Jethro Tull was not just a blues band. | 1:14:10 | 1:14:15 | |
That was Anderson's plan, but Tull's management was uneasy about the mix. | 1:14:22 | 1:14:27 | |
This is just not an instrument you should be playing in a blues band. | 1:14:27 | 1:14:31 | |
You should push the guitar player, Mick Abrahams, get him to stand at the front, and do more guitar, | 1:14:31 | 1:14:36 | |
and let him do more of the singing. Why don't you learn to play a little rhythm piano and stand at the back? | 1:14:36 | 1:14:40 | |
# Gonna lose my way tomorrow | 1:14:43 | 1:14:45 | |
# Gonna give away my car | 1:14:45 | 1:14:48 | |
# I'd take you along with me | 1:14:48 | 1:14:51 | |
# But you would not go so far... # | 1:14:51 | 1:14:54 | |
The band was formed on the basis that you need a guitar player in the band, | 1:14:54 | 1:15:00 | |
that can play blues. | 1:15:00 | 1:15:02 | |
Because blues is the thing, and this was purely a commercial adventure. | 1:15:02 | 1:15:08 | |
The blues was the essential part, then, of Jethro Tull. | 1:15:09 | 1:15:13 | |
If you can play one note in the 12-bar solo, and make somebody cry or laugh or... | 1:15:17 | 1:15:24 | |
all the lovely emotions that are associated with music, | 1:15:24 | 1:15:28 | |
that's truly, to me, the blues. | 1:15:28 | 1:15:32 | |
It's almost like a prayer. | 1:15:32 | 1:15:33 | |
I had never any desire to be a third-rate copyist | 1:15:33 | 1:15:37 | |
of a music form that I had such respect for then, and do today. | 1:15:37 | 1:15:43 | |
One of the great blues pieces of all time, and not terribly well known, is JB Lenoir's Alabama Blues. | 1:15:43 | 1:15:49 | |
And he's singing about race riots. Well, for me to sing that song would be patently absurd. | 1:15:49 | 1:15:53 | |
Because it is so deeply personal. | 1:15:53 | 1:15:55 | |
Ian had his own plan. Ian had his own plan for music. | 1:15:55 | 1:15:58 | |
So, my influence... It was like there were two Jethro Tulls. | 1:15:58 | 1:16:04 | |
After a battle of guitar versus flute, and blues rock versus progressive rock, | 1:16:06 | 1:16:11 | |
Mick Abrahams left Jethro Tull. | 1:16:11 | 1:16:14 | |
Just as they hit the big time. | 1:16:14 | 1:16:16 | |
How's that? | 1:16:16 | 1:16:18 | |
It's not that I'm, you know, so snobby, or... | 1:16:18 | 1:16:24 | |
demanding some kind of intellectual outlet beyond this simple and vital music form... | 1:16:24 | 1:16:31 | |
Actually, it is both of those things! | 1:16:31 | 1:16:34 | |
It was this "simple and vital music form" that bagged a bunch of trophies for British blues artists | 1:16:40 | 1:16:46 | |
at the Melody Maker Awards in 1969. | 1:16:46 | 1:16:48 | |
Some thought the blues had become a license to print money and guarantee international fame. | 1:16:51 | 1:16:57 | |
There is, of course the element of - can blue men sing the whites? | 1:16:59 | 1:17:04 | |
You know, people start off trying to copy people that they love, | 1:17:04 | 1:17:08 | |
and then, the good thing is if you recognise why you love them, | 1:17:08 | 1:17:13 | |
and try to pinpoint all the things that are great about those people, | 1:17:13 | 1:17:17 | |
and then incorporate it into your own personality, so it comes out being original. | 1:17:17 | 1:17:23 | |
# Quit hangin' around in bars | 1:17:24 | 1:17:27 | |
# Sold off all my green guitars | 1:17:27 | 1:17:30 | |
# Even got half the money back | 1:17:30 | 1:17:33 | |
# On my BMW car | 1:17:33 | 1:17:37 | |
# But you still... # | 1:17:37 | 1:17:39 | |
The essence of the blues is... | 1:17:39 | 1:17:41 | |
an expression of a person's... social and spiritual condition. | 1:17:41 | 1:17:47 | |
# But I'm still tryin' to flag a ride... # | 1:17:47 | 1:17:50 | |
Eventually, try and recognise it in yourself, | 1:17:50 | 1:17:54 | |
and if it comes out sounding like whitey playing the blues, | 1:17:54 | 1:17:58 | |
as long as it's got that recognition, I think that it works. | 1:17:58 | 1:18:03 | |
# But I ain't getting no replies. # | 1:18:03 | 1:18:08 | |
And it WAS working. | 1:18:08 | 1:18:11 | |
Another day, another blues group success. | 1:18:11 | 1:18:14 | |
This was the age of Fleetwood Mac, Ten Years After and Chicken Shack. | 1:18:14 | 1:18:18 | |
Savoy Brown, The Groundhogs and Taste. | 1:18:18 | 1:18:22 | |
They provided the soundtrack to arguments about allegiance to the blues versus originality, | 1:18:22 | 1:18:27 | |
authenticity versus theft. | 1:18:27 | 1:18:30 | |
The accompaniment to white middle-class guilt. | 1:18:30 | 1:18:33 | |
# I got the Fleetwood Mac, Chicken Shack | 1:18:38 | 1:18:40 | |
# John Mayall can't fail blues | 1:18:40 | 1:18:44 | |
# I got the Jethro Tull Belly full | 1:18:44 | 1:18:47 | |
# Savoy Brown, Reach-me-down blues | 1:18:47 | 1:18:52 | |
# I got the Fleetwood Mac Chicken Shack | 1:18:52 | 1:18:54 | |
# John Mayall can't fail blues | 1:18:54 | 1:18:59 | |
# From the deep, deep south Of the river Thames | 1:18:59 | 1:19:03 | |
# A bottleneck guitar is the latest trend | 1:19:03 | 1:19:06 | |
# I'm gonna earn more money than I can spend | 1:19:06 | 1:19:09 | |
# I got the blues... # | 1:19:09 | 1:19:10 | |
# I've been waiting so long | 1:19:14 | 1:19:18 | |
# To be where I'm going | 1:19:18 | 1:19:22 | |
# In the sunshine of your love... # | 1:19:22 | 1:19:29 | |
Under the steam created by Cream, | 1:19:31 | 1:19:33 | |
British blues was now a runaway train, pulling rock, jazz and psychedelia along with it. | 1:19:33 | 1:19:38 | |
When we were actually out-grossing everybody else put together, | 1:19:41 | 1:19:46 | |
we were just jamming. I always like to say improvising, cos it sounds better. | 1:19:46 | 1:19:51 | |
Eric Clapton joined up with two jazz players, | 1:19:54 | 1:19:57 | |
you know, so, naturally jazz players improvise, | 1:19:57 | 1:20:00 | |
and they stretch things out, you know. | 1:20:00 | 1:20:03 | |
A ten minute number is kind of normal. | 1:20:03 | 1:20:06 | |
So, Eric learned a lot about improvisation, | 1:20:06 | 1:20:10 | |
and taking it to new areas, taking his guitar to new places, | 1:20:10 | 1:20:14 | |
as a result of him working in tandem with two of Britain's greatest jazz players. | 1:20:14 | 1:20:20 | |
Like John Mayall always tried to reconstruct | 1:20:20 | 1:20:24 | |
a sort of a Chicago blues sound, note for note, basically, | 1:20:24 | 1:20:28 | |
he's a kind of trad jazz version of the blues. | 1:20:28 | 1:20:33 | |
What we were trying to do, was use the language of the blues | 1:20:33 | 1:20:38 | |
to create a new kind of unique and original and personal music. | 1:20:38 | 1:20:43 | |
Nothing to do with Chicago, or the Delta, | 1:20:43 | 1:20:46 | |
except that's where the inspiration and the actual language comes from. | 1:20:46 | 1:20:51 | |
British blues had arrived at another crossroads, | 1:20:57 | 1:21:01 | |
one that now signposted hard rock, progressive rock and jazz rock. | 1:21:01 | 1:21:05 | |
At the height of their popularity, Cream decided to call it a day and go their separate ways. | 1:21:05 | 1:21:11 | |
They said goodbye at the Royal Albert Hall on the 26th November 1968. | 1:21:11 | 1:21:16 | |
The devil expected payment for all the adulation | 1:21:17 | 1:21:21 | |
and unforeseen international success. | 1:21:21 | 1:21:24 | |
Fame and fortune also proved too much for guitarist Peter Green. | 1:21:29 | 1:21:33 | |
Down at his crossroads, he met LSD, abandoned the blues, and departed Fleetwood Mac. | 1:21:33 | 1:21:40 | |
But not before telling it like it was, for him. | 1:21:42 | 1:21:46 | |
# Shall I tell you about my life? | 1:21:47 | 1:21:52 | |
# They say I'm a man of the world | 1:21:52 | 1:21:58 | |
# I've flown across every tide | 1:21:58 | 1:22:03 | |
# I've seen lots of pretty girls... # | 1:22:03 | 1:22:08 | |
Peter's voice was as important as his guitar playing. | 1:22:08 | 1:22:12 | |
And... He could break your heart. | 1:22:12 | 1:22:16 | |
# I guess I've got everything I need... # | 1:22:16 | 1:22:21 | |
We just didn't realise, because he was sort of a happy guy. | 1:22:21 | 1:22:27 | |
And yet, you listen to the words, like, Man Of The World... You know. | 1:22:27 | 1:22:31 | |
# But I just wish that I had never been born... # | 1:22:31 | 1:22:38 | |
He was way more sensitive than one could possibly have known. | 1:22:38 | 1:22:44 | |
The pain that we found out he was going through, | 1:22:44 | 1:22:50 | |
was put into a lot of the stuff that he did in those three years. | 1:22:50 | 1:22:55 | |
In truth, when Peter left, | 1:23:02 | 1:23:04 | |
we had departed from being a pure blues based band. | 1:23:04 | 1:23:11 | |
But we departed with... the lessons learned. | 1:23:11 | 1:23:17 | |
But some British blues bands didn't attend lessons. | 1:23:20 | 1:23:24 | |
They were too busy frantically chasing gymslips. | 1:23:28 | 1:23:32 | |
# Good morning, little school girl | 1:23:36 | 1:23:38 | |
# Can I go home, home with you...? # | 1:23:41 | 1:23:44 | |
You don't, as you develop your musical expertise, | 1:23:47 | 1:23:50 | |
start tuning out, you know, music that looks blacker on the page with a lot of notes, blah-blah-blah-blah, | 1:23:50 | 1:23:56 | |
it's still to remember those really great lessons taught to us by the likes of BB King, | 1:23:56 | 1:24:01 | |
you know, less is more. | 1:24:01 | 1:24:02 | |
Do-de-do-de-do-de-do, they think that's blues. | 1:24:09 | 1:24:13 | |
do-de-do-de-do-de-doo-doo-doo, oh de-de. You know, diddly-diddly-diddly-do. | 1:24:13 | 1:24:19 | |
It's not blues, really. Blues is doo-doo-doo-doo-doo, diddle-uh-duh. | 1:24:19 | 1:24:24 | |
You know, "I lost my baby... | 1:24:24 | 1:24:27 | |
"Where am I gonna live?" | 1:24:27 | 1:24:29 | |
It's more heart-felt, it isn't bash it out, um... | 1:24:29 | 1:24:34 | |
as loud as you can, and play your lead guitar as fast as you can with as many notes. | 1:24:34 | 1:24:40 | |
That's jerking off, for me. | 1:24:40 | 1:24:42 | |
And I know a lot of those cats | 1:24:42 | 1:24:43 | |
and I realise that a lot of them didn't really wanna go that way. | 1:24:43 | 1:24:48 | |
But the business was growing and growing and growing. | 1:24:48 | 1:24:53 | |
And the money... And managements were coming in and the... | 1:24:53 | 1:24:59 | |
You know? I mean, what are you gonna do in this world? You know? | 1:24:59 | 1:25:02 | |
Why did you start it, how do you wanna finish it? | 1:25:02 | 1:25:07 | |
Now that's the blues. | 1:25:07 | 1:25:09 | |
'Lead guitar, Jimmy Paige!' | 1:25:10 | 1:25:13 | |
Finishing it, or starting it all over again, fell to a pheromone-fuelled new fab four. | 1:25:18 | 1:25:25 | |
Zeppelin got a lot of criticism early on for, sort of, | 1:25:25 | 1:25:29 | |
thieving things from Willie Dixon, or whatever, | 1:25:29 | 1:25:32 | |
but, you know, everybody did. | 1:25:32 | 1:25:35 | |
They, like the very best of British bands of that era, took it to a new place. | 1:25:43 | 1:25:47 | |
That place was the stadium, | 1:25:53 | 1:25:55 | |
where, in the '70s, British blues was subsumed in the heady mix. | 1:25:55 | 1:25:59 | |
# How many more times? | 1:26:02 | 1:26:04 | |
# Treat me the way that you wanna do... # | 1:26:06 | 1:26:10 | |
# I don't mean the USA... # | 1:26:15 | 1:26:19 | |
But what about the black American blues artists who personally brought their music to these shores | 1:26:19 | 1:26:25 | |
and lodged it firmly in the hearts of British audiences and musicians? | 1:26:25 | 1:26:29 | |
Champion Jack Dupree never went back. | 1:26:29 | 1:26:33 | |
He settled in Halifax and married a Yorkshire girl. | 1:26:33 | 1:26:36 | |
Since I come into England | 1:26:39 | 1:26:42 | |
and I found England was a heavenly place for me, | 1:26:42 | 1:26:47 | |
I don't care who else finds it difficult, | 1:26:47 | 1:26:51 | |
but to me it's heaven. | 1:26:51 | 1:26:53 | |
When you leave from slavery and go into a place where you're free... | 1:26:54 | 1:26:59 | |
I couldn't go back there. Because anybody spit on me, I'd kill them. | 1:26:59 | 1:27:03 | |
Everybody here know me, including the police. | 1:27:06 | 1:27:10 | |
So, I'm known by everybody and this is home for me. | 1:27:10 | 1:27:13 | |
When we began playing the blues in England in the early '60s, | 1:27:17 | 1:27:22 | |
we were trying to recreate something we heard on record. | 1:27:22 | 1:27:26 | |
That's the best you can do. But I would say that, | 1:27:27 | 1:27:30 | |
whether we were authentic or not, we all came to it with great love. | 1:27:30 | 1:27:34 | |
It's a living and breathing expression | 1:27:36 | 1:27:39 | |
of people's suffering and desire. | 1:27:39 | 1:27:43 | |
And that's what the blues is. It's not the kind of music that the Brits nicked and sold back to America, | 1:27:43 | 1:27:49 | |
although that happened. | 1:27:49 | 1:27:51 | |
It's a woman, it's a drum, | 1:27:51 | 1:27:55 | |
it's everything like that. | 1:27:55 | 1:27:57 | |
It's much more important than something you can even sell or put a label on. | 1:27:57 | 1:28:04 | |
Much more. It's humanity itself. | 1:28:04 | 1:28:07 | |
As to whether we can ever begin to emulate | 1:28:09 | 1:28:13 | |
the people who really began it, the Robert Johnsons, | 1:28:13 | 1:28:17 | |
the Howlin' Wolfs, the Muddy Waters. No! | 1:28:17 | 1:28:21 | |
# Nobody saw me cryin' | 1:28:21 | 1:28:24 | |
# Nobody knows the way I feel | 1:28:26 | 1:28:29 | |
# Nobody saw me cryin' | 1:28:33 | 1:28:35 | |
# Nobody knows the way I feel | 1:28:37 | 1:28:40 | |
# Yeah, the way I love the woman | 1:28:43 | 1:28:46 | |
# It's bound to get me killed. # | 1:28:46 | 1:28:49 | |
Subtitles by Red Bee Media Ltd | 1:28:49 | 1:28:51 | |
E-mail [email protected] | 1:28:51 | 1:28:55 |