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Muddy Waters - First Recording Sessions 1941-1946 Audio CD

A fair review of the Muddy Waters "First Recording Sessions 1941-1946" Audio CD. Please note that the below review is the views of the authors, and authors only. You can get a complete list of all Muddy Waters reviews here, or go back to the Muddy Waters tabs.

Muddy Waters Band: Muddy Waters
Title: First Recording Sessions 1941-1946
Rating:
Release Date: 2005-03-22
Media: Audio CD

Tracks: 1: Country Blues 2: I Be's Troubled 3: Ramblin' Kid Blues - Son Simms 4: Rosalie - Son Simms 5: Joe Turner Blues - Son Simms 6: Pearlie May Blues - Son Simms 7: Take a Walk With Me 8: Burr Clover Blues 9: I Be Bound to Write You 10: You're Gonna Miss Me 11: You Got to Take Sick and Die Some of These Days 12: Why Don't You Live So God Can Use You? 13: Country Blues No. 2 14: Mean Red Spider 15: I'm Gonna Cut Your Head - Homer Harris, Muddy Waters 16: Atomic Bomb Blues - Homer Harris, Muddy Waters 17: Tomorrow Will Be Too Late 18: Jitterbug Blues 19: Hard Day Blues 20: Burying Ground Blues 21: Come to Me Baby - James Clark, Muddy Waters 22: You Can't Make the Grade - James Clark, Muddy Waters 23: Rollin' and Tumblin', Pt. 1 - Leroy Foster, Muddy Waters 24: Rollin' and Tumblin', Pt. 2 - Leroy Foster, Muddy Waters

Muddy Becomes Muddy
I have explained elsewhere some of my reasoning for this as well for my personal preferences in highlighting other blues artists first. I have spent very little ink over the past year as I go through some of the great acoustic and electric blues guitars and performers on the iconic Muddy Waters. Nevertheless, when all is said and done no one who loves the blues in its various incantations can avoid the influence and importance of Muddy's work. I will argue here that this little compilation of early, mainly pre-Chicago electric blues, Muddy is a worthy historical document on two counts.

First, because it is in chronological order it shows the evolution of Muddy's style away from the traditional country blues sound of the Delta that was becoming passé. Secondly, because some of this pre-Chicago sound is, to this reviewer's ear at least, better than many of his later pieces. As evidence I would point to the pure jam efforts on the classic "Joe Turner's Blues" and "Pearlie May Blues". Then move down to "Mean Spider Blues" and "Come To Me Baby". None of these are in the league of "Mannish Boy" when he got it going but I think this is worthy Muddy. The argument continues.
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