We heard the Big Mo Blues Show last night and heard a couple of tunes that were fun. One of them was mentioned on the Big Mo Pod Show today, “Feelin’ Alright” by Stuff. The other was a riot but was not on the podcast, and it was “I Feel So Good (I Wanna Boogie” by Magic Sam.
After a short break during the Thanksgiving holiday your hosts are back at it again with another episode! This week features the usual mix of blues eras you’ve come to expect along with a few Californian artists, tune in to see which ones! Songs featured in the episode: Solomon Hicks – “Further On Up The … Continue reading
The one that brought back memories was “Feelin’ Alright” by Stuff. It sounded so familiar and we finally figured out it was a cover of song of the same title and sung by Joe Cocker (the one I remember). However, I guess it was originally written by Dave Mason of the group Traffic in 1968. And there’s even an album “Joe Cocker With Stuff Feelin’ Alright.”
The one Big Mo played last night was from the album Stuff Live at Montreux 1976. It was instrumental and hard to recognize at first. The lyrics are sad, though and it’s about unrequited love, I guess. I associated it years ago with drug and alcohol addiction after seeing the 2012 movie “Flight” on TV. Every scene in which the main character Whip Whitaker (played by Denzel Washington) got high, that song was a part of the scene.
Anyway, moving right along, the song that was not on the podcast and which was a whole lot of fun to listen to was “I Feel So Good (I Wanna Boogie) by Magic Sam. We’ve never heard of him but the way he sang the number made us laugh out loud.
The title of the podcast was right on target: “Variety is the Spice of Life.”
I didn’t get to listen to the Friday blues with Big Mo last Friday because my little Sony Dream Machine radio audio kept cutting out.
But on the Friday blues of August 9, 2024, I heard a tune I liked. It was “Hit ‘Em Back” by Kenny Wayne Shepherd and Shemekia Copeland.
Some blues songs can be gritty and dark, but the title “Hit ‘Em Back” isn’t what it makes you think. The song is really about turning the other cheek, emphasizing the growing importance of getting along with each other.
Getting along with each other is hard to do. I know to most old people (including me) that used to be a lot easier. Old people say that, like saying “What happened to the good old days?”
Well, when I reflect on the past just from my perspective, I have trouble remembering the so-called good old days. In general, we all struggle to get along with each other.
I think the song “Hit ‘Em Back” is a novel way of expressing how relationships between people and nations usually go, but also suggest we “hit” them with love. We mostly hit each other back-in a bad way. The lyrics send an apparently paradoxical message which gets your attention.
And then you get it. Let’s not hit each other. Let’s listen to each other instead.
When I listen to the Big Mo Pod Show, I tend to almost free associate to memories which the songs sometimes evoke. The 5 songs this week came from, as usual, his Big Mo Blues Show this past Friday night. The theme of the pod show was “In Search of Good Company.”
I’m not so sure about good company thoughts, but the comments about Muddy Waters song “Long Distance Call” reminded me of something way back in my past. Big Mo talked about making long distance calls a long time ago, which he connected with pay phone booths.
I don’t think I’ve seen an actual pay phone booth in decades, since the invention of cell phones and that kind of technology. But the conversation about phone booths reminds me of my youth.
I used to live at the YMCA and the rooms didn’t have phones. No cells phones were available back then because it was well before the 1980s. The only way you could place a phone call was to use the one phone booth in the building, which was on the second-floor landing. The rooms were on the third floor, and they were for men only, of course.
Also on the third floor was an old snack vending machine and I’m pretty sure I’ve told this story before as I recollected while writing this post.
I got a Butterfinger candy bar from that vending machine one time. I took a bite out of and saw half a worm wiggling around in it. You don’t want see a worm at all, but half a worm has a whole different meaning.
I was worried and used the pay phone to call the local emergency room. I think I paid less than a quarter to place the call.
I guess I would have been relieved to hear the ER doc tell me that I would be OK—if he hadn’t been laughing so hard. Good thing it wasn’t a long distance call.
I want to give a shout out to the Big Mo Pod Show Subverting Expectations that aired on May 11, 2024 following the Friday Big Mo Blues Show on May 10, 2024.
What impressed me most and puzzled me a lot was the tune that Big Mo didn’t talk about on the podcast. The tune was a dazzling guitar performance called “Hot Fingers” by a duo called Lonnie Johnson and Blind Willie Dunn. Big Mo said it was recorded in the 1920s.
I looked for a video of it and could find several with the picture of what looked like a Caucasian guitarist and nobody else. I also saw one picture with the Caucasian guitarist and what looked like a cut-and-pasted photo of a black guitarist.
Because I couldn’t tell who was who, I googled their names. It turns out that Lonnie Johnson was a well-known blues guitarist. He was black. Lonnie Johnson recorded “Hot Fingers” with another famous jazz guitarist named Eddie Lang, who was white. Eddie Lang used the alias of Blind Willie Dunn in order to hide his race while performing with Lonnie Johnson. I’m not sure how Eddie Lang could pass for black, an interesting twist in the late 1920s. I’m not saying either was racist. Why would they have performed together if they were? And why would Eddie Lang have adopted the black-sounding pseudonym?
So that brings me back to the title of the Big Mo Pod Show which was Subverting Expectations. The expectation that gets subverted had to do with a tune I don’t remember hearing on Friday night. It was “That Lovin’ Thang,” by the group Tas Cru, with which I’m unfamiliar. Big Mo remarked that you could listen to the blues as played by Tas Cru with an expectation that they were going to make mistakes in their performance—which never happened, attesting to their talent.
On the other hand, it strikes me that the story behind Lonnie Johnson and Blind Willie Dunn (Eddie Lang) does create its own sort of subverted expectation, in a different sense. I know Blues music experts already knew that, but it was news to me.
I got an update to the Big Mo Pod Show on Iowa’s only jazz and blues radio station KCCK 88.3 in Cedar Rapids (translator 106.9 in Iowa City). Last Friday on the Big Mo Blues Show, host John Heim (aka Big Mo) played a lot of tunes, which he gets quizzed about a day or so later on the Big Mo Pod Show.
He gets quizzed about the name of that tune, the artist, and why he picked that tune for the show. He got them all except for one; he said “East Coast Blues” instead of “West Coast Blues” as the song by Blind Blake. He was almost perfect.
I was listening that night, but the Seasick Steve number I missed. It’s misspelled on the KCCK website on May 5, 2024 as “Internet Coyboys,” but it’s “Internet Cowboys.” Maybe by the time you read this, it’ll be corrected. It’s all about spending too much time on the internet. We need to disconnect. I’m sort of a fan of Seasick Steve, ever since I heard him do “You Can’t Teach an Old Dog New Tricks.” It means something special to old dogs like me.
I wish I could have made the title of this post “Why It’s So Hard to Be a Human.” But that would mean I know why it’s so hard to be a human.
The reason this comes up is because of a song I heard last Friday night on the Big Mo Blues Show on KCCK radio in Iowa. The title is “Hard To Be A Human.” I’ve never heard of the vocalist, Bettye LaVette, who has been around a long time. A musician named Randall Bramblett wrote the song and he’s been around forever too, although I just learned of him as well.
I’m going to connect this song with the paranormal show I usually watch on Friday nights, “The Proof is Out There,” which I watch after I listen to the Friday Night Blues with Big Mo.
The show lives on videos from people who report seeing and hearing things like UFOs and Bigfoot or whatever that’s paranormal. There are a lot of fakes and conventional explanations uncovered on “The Proof is Out There,” including UFO videos sent in by contributors.
The reason I’m connecting the song “Hard To Be A Human,” to the paranormal is the letter “A” in the title. There’s another song with a similar title, but without the “A.” In my mind, leaving out the article “A” makes it clear that song is about humans for humans.
By contrast, the song with the article “A” makes me think of extraterrestrials. “A human” could imply that there might be some other life form aside from humans. Of course, there’s no such song as “Hard To Be An Extraterrestrial” (or, if you’ve read Douglas Adams’ book, “The Hitchhiker’s Guide to the Galaxy,” maybe “Hard To Be A Vogon”). Insert “Martian” if that makes thinking about this any easier, which it probably won’t.
There is a song entitled “Hard To Be Human,” which I think is really about how difficult it is to be human, without considering whether there could be any other beings besides the human ones.
Just adding the specific article “A” in front of the word “human” led me to wonder if you could interpret the song in a galactic sense. Now, I have no problem admitting that all this is probably just because of the temporal juxtaposition of the song and the paranormal TV show.
On the other hand, I have this thought. While I couldn’t find the full lyrics to “Hard To Be A Human,” I could understand some of them. I could discern underlying themes suggestive of Christianity. There are definite references to the Bible, such as walking in the garden “apple in my hand”, the lyric “I’m just another life form,” and “First He made the mountains, then He filled up the sea; but He lost his concentration when he started working on you and me.”
I’m willing to concede that the “just another life form” phrase might have been restricted to just the life forms on planet Earth. However, might it suggest that God made beings (and mistakes) on other planets and their inhabitants?
I hope these references are familiar to at least some readers, because I think the point of the song might go beyond the everyday struggle of being human. I think there might be an attempt to raise the notion of trying to compare the sense of being a human with that of some other kind of being not from this planet.
The older I get, the less sure I am that a human is the only kind of being in the universe. It’s a big universe. If we’re not the only life form in the universe, could life be harder for other life forms?
Probably the answer is no. I don’t see extraterrestrials in millions of flying saucers blotting out the sun in a desperate attempt to move here. Inflation is outrageous. And, after all, it’s pretty hard to be a human.
I heard John Heim (aka Big Mo) on KCCK talk at length about MayRee’s hand battered catfish tonight. There was much more detail than usual. I can’t remember all of them. One I do remember is that her joint is on the corner of Highway 6H and Snowflake Road-sort of.
MayRee will give you a choice of 3 beverages that sound like a crazy cross between a soft drink and white lightning moonshine or something. One flavor is “clear” and another could be something like pumpkin spice, but I probably misheard that.
I got a comment from a blogger, Everyday Lillie. She has not heard of nitrates in catfish but appreciated the information.
MayRee cooks them with “manic delight.” They are really something, I guess.
I heard this Sonny Landreth piece tonight on the show.
Last night on the KCCK Big Mo Blues Show I listened to something I haven’t heard since the mid-1970s. It was a radio commercial for the Green Beetle and Frank’s Liquor Store. It ran right after the song, “Memphis Women and Fried Chicken.”
I think I first heard this radio ad while I was a student at Huston-Tillotson College (now Huston-Tillotson University) in Austin, Texas in the mid-1970s.
I heard it early on in the evening in my sweltering college dorm room. Later on, I heard a stirring rendition of the opening song, “Lift Every Voice and Sing,” for another radio program, the name of which I can’t recall. I don’t know who sang it, but her voice was breathtaking. I have not heard a better version of it since.
The contrast between the “Old Crow Boogie” and “Lift Every Voice and Sing” was striking. No matter what race, culture, gender we are, we struggle to reconcile these opposites.
Go Retire Psychiatrist 