It CANNOT yet be said (fortunately!) that the very people who were purporting to preserve the blues, were in fact those who strangled it to death.
However, it CAN be said, that this WILL be the case, if certain things don’t change.
The preservationist ethos. It’s a dangerous thing. Potentially fatal. That whole, “This is how Muddy did it, that’s how I’m doin’ it, and that settles it” attitude. It’s scary.
Muddy Waters almost single-handedly architected an astonishing artistic transformation by connecting the dots between the country and the city. There was no precedent for him. His music was revolutionary. So if you truly want to stand on the shoulders of giants, walk in the footsteps of the masters, and embody the spirit of the greats, shouldn’t you be engaged in revolution?
Instead, to put it bluntly, we just get the same old shit.
Which brings us to the core of the question posed in the title of this post: What Happened?
We can ask this question about many things in the blues music tradition. Today, the question is about minor chords, and minor keys. Where’d they go? Robert Pete Williams and Skip James—two of country blues music’s most transcendent, visionary talents—regularly worked in minor keys. Robert Johnson, arguably one of the most influential blues musicians of them all, gave us perhaps his greatest creation when he recorded “Hellhound on my Trail”; a straight-up homage to his minor-key master, Skip James. Tommy Johnson, another legendary figure in the annals of blues music history, derived much of his sound from the tension created by moving back-and-forth between major and minor tonalities.
It’s not as simple as just having a token song in G minor on an album. Great blues music IS NOT simple. It’s about COMPOSING. It’s about tonalities, and colors, and feels, and imagination, and creativity. It’s about the raw, and the beautiful.
Preservationist be damned. Let’s have the weird back. Way over yonder in the minor key, something special is still happening. Go find it. Quick.
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