blacksnake
Mo’nin’ is mourning, trapped in the loop of melancholia, and the structural conditions that produce it. Contrary to Screw’s claim that slowing down hip-hop emcees allows one to hear the words more clearly, it is equally possible that slowing them down brings out the wordless moan.
But in his music that alchemy is suspended, literally returned to loops of traumatic repetition and enjoyment that comes with it, and slowness, therefore, is a mode of suspension - the evocation of that space of death, which bears within it the possibility of trauma being brought to consciousness.
To slow down could allow for mourning to take place, for surrender to grief at the untimely death of friends.
Anthony Heilbut, the gospel sound
the essence of the gospel style is a wordless moan.
Always, the sounds render the indescribable, implying, ‘words can't begin to tell you, but maybe moaning will.
In city blues, as in country blues, even the guitar had to be a "talking guitar", one that not only responded with interpolations to the blues singers articulations, but would, as a signer might've said, "sing it by itself."
City blues, in short, was religiously "country," an ethos Langston Hughes captured in his review of Memphis Minnie's performance on the eve of the 1943 new year. Hughes said, "through the smoke and racquet of the noisy Chicago bar float Louisiana bayous, muddy old swamps, Mississippi dust and sun, cotton fields, lonesome roads, train whistles in the night, mosquitoes at dawn… All these things cry through the strings on Memphis Minnie’s electric guitar amplified to machine proportions."
The music had so much in it, concluded Hughes, that sometimes it made the folks holler out loud.
A young Charlie Parker retired to a cabin in the Ozarks in the summer of 1937 to study recordings of Lester Young on his portable photograph: the records were Charlie's most important subject for study. His portable phonograph had a set screw that could be tightened to lower the speed of the turntable. This adjustment made it easier for him to analyze the solos and study the nuances of tone that made Lester sound as if he were singing, shouting and talking through the saxophone.
repeat
the nuances of tone that made Lester sound as if he were singing, shouting and talking through the saxophone.
According to bluesman J.D. “Jelly Jaw” Short, even Charley Patton's guitar used to say, “Lord have mercy.”
It is not surprising that Jimmy Rushing’s "nobody knows”, sung with the Count Basie Orchestra in 1939, originally a gospel song of the same title, replaced the Lords name with that of baby. Regarding the reason the woman rushing loved was so far away from him, rushing sang “nobody knows but my baby and me.” replacing the Lords name with baby was a practice that became common in the emerging rhythm and blues of the 1940s.
Originally, “nobody knows but the good lord and me.”
Lightning, Hopkins, in “baby,” said that, though his mother told him never to forget to pray, when he did fall down on his knees, he forgot just want to say and said, “baby.”
But in his music that alchemy is suspended, literally returned to loops of traumatic repetition and enjoyment that comes with it, and slowness, therefore, is a mode of suspension - the evocation of that space of death, which bears within it the possibility of trauma being brought to consciousness.
To slow down could allow for mourning to take place, for surrender to grief at the untimely death of friends.
Anthony Heilbut, the gospel sound
the essence of the gospel style is a wordless moan.
Always, the sounds render the indescribable, implying, ‘words can't begin to tell you, but maybe moaning will.
In city blues, as in country blues, even the guitar had to be a "talking guitar", one that not only responded with interpolations to the blues singers articulations, but would, as a signer might've said, "sing it by itself."
City blues, in short, was religiously "country," an ethos Langston Hughes captured in his review of Memphis Minnie's performance on the eve of the 1943 new year. Hughes said, "through the smoke and racquet of the noisy Chicago bar float Louisiana bayous, muddy old swamps, Mississippi dust and sun, cotton fields, lonesome roads, train whistles in the night, mosquitoes at dawn… All these things cry through the strings on Memphis Minnie’s electric guitar amplified to machine proportions."
The music had so much in it, concluded Hughes, that sometimes it made the folks holler out loud.
A young Charlie Parker retired to a cabin in the Ozarks in the summer of 1937 to study recordings of Lester Young on his portable photograph: the records were Charlie's most important subject for study. His portable phonograph had a set screw that could be tightened to lower the speed of the turntable. This adjustment made it easier for him to analyze the solos and study the nuances of tone that made Lester sound as if he were singing, shouting and talking through the saxophone.
repeat
the nuances of tone that made Lester sound as if he were singing, shouting and talking through the saxophone.
According to bluesman J.D. “Jelly Jaw” Short, even Charley Patton's guitar used to say, “Lord have mercy.”
It is not surprising that Jimmy Rushing’s "nobody knows”, sung with the Count Basie Orchestra in 1939, originally a gospel song of the same title, replaced the Lords name with that of baby. Regarding the reason the woman rushing loved was so far away from him, rushing sang “nobody knows but my baby and me.” replacing the Lords name with baby was a practice that became common in the emerging rhythm and blues of the 1940s.
Originally, “nobody knows but the good lord and me.”
Lightning, Hopkins, in “baby,” said that, though his mother told him never to forget to pray, when he did fall down on his knees, he forgot just want to say and said, “baby.”