As a recent subscriber to BLUES ACCESS, I look forward to each issue and the reviews in particular. One particular review, though, really got to me. Leland Rucker’s review of Paint It Blue: Songs of the Rolling Stones (BA#32) starts out with a virtual panning of the group. With all due respect, Mr. Rucker, a band of this stature comes out with new material every two-three years and then goes out on tour to support the new release. Sure, they play the fossils, but what contemporary or older blues/rock act doesn’t? Is John Lee Hooker a nostalgia act when he sings "Boogie Chillun" or "One Bourbon, One Scotch, One Beer"? Are these songs not etched in stone? Would you classify B.B. King a nostalgia act, too? After all, what significant thing has he done in the last say, five years that isn’t a remake of a standard that is etched in stone? Don’t get me wrong here, I buy these artist’s new releases, but I don’t classify them as nostalgia acts. For the past two years, I’ve done four blues radio shows on a local college station (WUSB, Stony Brook, N.Y. 90.1 FM). During each one I play something in the blues vein by the Rolling Stones. Had it not been for my love of their music, I wouldn’t have pursued the blues. I am forever in their debt because I had to go to England to discover music native to my own country! By the way, this nostalgia act has in the past and present featured blues artists on the bill of their pay-per-view shows (Taj Mahal, John Lee Hooker and Bo Diddley, to mention a few). I have no problem with the rest of the review. I have the CD, and I agree with most of what you say. I especially like Junior Wells’ "Satisfaction." May he rest in peace. I for one listen to the Stones a lot and do pay attention to their lyrics. To me, they are as fresh today as they were 30 years ago. Nostalgia act indeed! The Beach Boys are a nostalgia act, and perhaps even Chuck Berry is a nostalgia act, but the Stones? Come on, Leland, get a grip!
Ted Pappacena
Booty Call Now let me see if I have this straight: Bob Margolin writes a letter (exercising his First Amendment rights) to BLUES ACCESS to complain that BLUES ACCESS #31 published (an exercise of its First Amendment rights) an unfavorable blurb about his latest CD. I’m sure the irony of this is lost on Mr. Margolin. But a couple of other points. Perhaps Mr. Margolin, while castigating BLUES ACCESS by saying "the magazines you compete with at least try to travel on a higher road," ought to disclose that he is a contributor to one of those magazines. And perhaps, as a result, his view of what constitutes the high road is somewhat skewed. And secondly, in the full review of Up & In which appears in BLUES ACCESS #32, the following lyric is reprinted from "Alien’s Blues": The earth’s so full of natural beauty But all they want to do is kick each other’s booty Looks like Red Rooster was right: The lyrics are "flat out silly." So quit cryin’, Bob. Maybe your friends at that competing mag will do better by you.
Marc Wieman
Say That Again I just read Bob Margolin’s response (BA #32) to the Rooster’s review of his record (BA #31). I listened to Up & In, read Bryan Powell’s review (BA #32) and formed my own conclusion. I have been a blues fan for 40 years, and I am well aware of Bob Margolin’s contributions to the blues world. He is a fine musician, but let’s face it, his singing is mediocre at best, and I don’t care for the CD. Regarding Muddy Waters, I think the Rooster was truthful rather than sarcastic.
Mike Casello
On the Other Hand I just finished reading the letter by Bob Margolin in BA#32. I couldn’t agree with him more. Several times over the past year or so I have been bewildered by the tone and lack of respect to blues artists by your record reviewers. I mean, how can you disrespect a musician chosen by Muddy Waters? The fact that Muddy thought he was good enough speaks volumes. If your reviewer doesn’t like a particular genre of the blues doesn’t give him the right to personally slam someone. Your job should be to help publicize and promote all forms of blues, not just the particular type that the reviewer likes. As a hard-core fan of Johnny Winter, the music made by Keb’ Mo’ doesn’t quite interest me. However, I could never say anything so personally negative about him. I want to see all blues musicians be successful. Another example is the review of Jimmy Roberts and the Triple Crown Blues Band’s Voodoo Blues. Your reviewer said, "Didn’t Johnny Winter do this 30 years ago?" Is this bad? Apparently so, yet to me this is a compliment. That comparison is enough for me to seek out this new band and see what they’re all about. Your magazine does a fine job of promoting the various types of blues musicians, from the blues purists to modern blues. Your record reviewers should do the same.
J. Douglas Brown
Journeyman’s Side Road One of my favorite columns in your magazine is Adam Gussow’s Journeyman’s Road. As a fairly young (27-year-old) harp player and fan of Satan and Adam, I find Adam’s stories about his influences and blues discoveries fascinating. Adam’s column is usually the first thing I read when I get my new BLUES ACCESS in the mail. I particularly liked the columns on Nat Riddles. Adam, it must have been enlightening to have a mentor like Nat. I’ve never heard any of his music, but for some reason he reminds me of DC’s own Charlie Sayles — perhaps because Charlie also plays on the street and has taught many local harp players. Has Nat ever recorded anything commercially? He sounds like someone I would love to hear. Keep up the good work!
Steve Levine
Ebony and Ivory Nadine Cohodas’ statement that the blues has a larger white audience than black may not be quite accurate, at least based on record sales. Malaco Records probably sells more blues records produced for a black audience than all of Alligator’s record sales. Certainly Denise LaSalle outsells Koko Taylor. If white fans of blues/rock are considered part of the contemporary blues audience, then why aren’t black fans of soul/blues accorded the same status?
Burnham Ware
Comparing retrospectives Just a note to thank you for your thoughtful comments on the Harry Smith Anthology (Catfish Whitey’s Pond, BLUES ACCESS #32). Santa was kind enough to give me the boxed set, and the Old Boy also included both the Cantwell and Marcus books. It might be interesting some time to compare the Smith anthology with the Roots N’ Blues Retrospective 1925–1950 anthology. The Retrospective is dedicated to Smith; a nice nod of respect I think. Once again, thanks for a thoughtful review.
James Ronda
Spread the Butter
I have been reading your five-part biography of Paul Butterfield and it’s marvelous. This man was a genius, and the bio hit dead on like one of his harp solos. I saw him only once — 1969, Atlantic City (N.J.) Rock Festival, held at the race track — and his set was the best thing (for me) in those three days, which included sets by the Byrds, Procol Harum, B.B. King, Frank Zappa, Creedence, Santana (I’m not making this up, ask anyone who was there), Chicago, Joni Mitchell, Dr. John, etc. But Butter killed them all. His sound of that time is best reflected on The Paul Butterfield Blues Band — Live (that’s only on vinyl, bro). Funky does not begin to describe that band. Thanks for a great mag.
James Emert
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