5 collection on Apple Music and Spotify to hear her complete works from 1940-1941. Sometimes a blues musician got paid with an apple or a can of sardines, sometimes she made as much as a hundred dollars. Perhaps it was cheaper to record a country boy’s guitar than an established vaudeville professional. She was known to spit mid-song without losing a beat.Their sessions in May and December of 1941 fused her more urban sound, (for example her vocal delivery on “Nothin’ In Ramblin”), with Son Joe’s back-up style, which combined big chords with an insistent beat to create a chunky swing feel. Although Son’s playing has an impelling pulse and solidness their instrumental interplay is less intricate than what Minnie and Kansas Joe recorded. The companies began to seek out and record other singers in the same vaudevillian genre. It’s rural party music, with doubling of parts helping punch the sound through in a loud environment in the pre-electric age.Minnie was quick to embrace the latest technologies in order to be heard above the crowds She was one of the first blues players to use a National in 1929, and to play an electric wood body National and various electric guitars in the ’40s and ’50s.Minnie’s fame began to spread northward by word of mouth and records. Photo courtesy the Frank Driggs collection. The traveling musician was often a lonely stranger, an outsider who might not know the local situation, and musicians often teamed up. It remains vital and influential today because of her inventive, rhythmic guitar playing and her songs, which capture people and events and bring them to … Theatrical, glamorous blues queens dominated the first decade of recorded blues. View Memphis Minnie song lyrics by popularity along with songs featured in, albums, videos … "Bright Lights, Big City: Urban Blues". Her recordings were reissued by Chris Strachwitz on Blues Classics in the late sixties, and had a profound influence on several young musicians, particularly the late guitarist JoAnn Kelly, and Maria Muldaur who still sings Minnie’s songs today.
"Memphis Minnie". LaVere, Steve, and Garon, Paul (1973).
Douglas was born on June 3, 1897, in Algiers, Louisiana. Perhaps the glamour of beaded and tiaraed blues royalty seemed wrong for a time of soup kitchens and extensive poverty, although blues listeners surely always lived in poverty.
(a version of this article was originally published in Acoustic Guitar Magazine 1997)Sources not cited in the text are from record labels and personal conversations with musicians. He standardized the sound of his blues offerings, using musicians like Tampa Red, Big Bill Broonzy and Thomas Dorsey to back up different artists. Record companies are remarkably mono-thematic about marketing, and Minnie, like many other blues musicians, played jazz and swing tunes as well, although there are only hints of this in her 200 recorded sides. By 1929, Douglas had married another guitar-player, Joe McCoy, who was a good singer and guitarist, but reputedly a jealous fellow. These sides were never issued by Regal but can now be heard on the Biograph CD Memphis Minnie: Early Rhythm and Blues 1949.In 1957 Minnie had an incapacitating heart attack, and Son Joe became too ill to perform.
Courtesy Vintage Books USA.As a working musician, Minnie’s guitar style evolved partly in response to the kind of places she played and the people for whom she played.
The forties treated Minnie and Son Joe well and they performed both together and separately depending on finances, (they could make more money playing separate gigs). She and Brown began playing together around 1915 in the resort town of Bedford Mississippi, where tourists could take a ferryboat trip around nearby Lake Cormorant. Music (like most things) was still homemade: for entertainment, people threw parties–suppers where roast shoat, custard pies and candy sticks dipped in corn whiskey got worked off dancing the “shoofly”, the “scratch” and the “shimmy-she-wobble.” Minnie started playing banjo when she was seven years old, and was influenced by the string bands which played for dancers who partied all night and hit the fields at dawn. Clearly she had by that time embraced the next phase of the blues.The poet Langston Hughes was overwhelmed by Minnie’s “rolling mill” sounds. The poet Langston Hughes saw her perform New Year’s Eve 1942, at the 230 Club, and was thoroughly overwhelmed by her “scientific” (i.e.
Minnie used the name both publicly and privately, although her family still called her Kid.Minnie and Joe began a steady series of recording dates in New York, and Memphis, first for Columbia, later for Vocalion, Decca, Okeh and Bluebird. loud) sound. I’ve noted where I think she’s playing-what position and what key. Her recorded output is not necessarily the same as her live set. Memphis Minnie discography and songs: Music profile for Memphis Minnie, born 3 June 1897.
Many of her hits are still standards in more than one genre, like “What’s The Matter With The Mill?”, “Chauffeur Blues” or “When The Levee Breaks”. The official job prospects for black women were limited to domestic service and farm work both of which demanded grueling labor and subservience for low pay. Here’s links to a few of my favorite MM tunes.
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