There’s nothing I love more than a good old fashioned murder ballad. Maybe it’s the juicy juxtaposition of the details of a grisly crime uttered sotto voce style over a plaintive dirge. Or maybe I’m just sick. But this isn’t about me. This week TDB brings you modern day murder ballads from some of today’s hottest new artists! You get hangings, stabbings, scorned lovers and much much more. This very special collection is only available through TDB and is not sold in any stores. And if you act now, we’ll include matricide as a bonus gift! Continue reading ‘Modern Day Murder Ballads’
Any discussion of white boys playing the blues generally has to involve a purist going on about how “derivative” or “inauthentic” it is with frequent references to long-dead always obscure bluesmen with claims that they were the originals.
But, once you face the reality that everything and everyone is somehow a product of influences and predecessors, the argument fizzles. Just bring up the fact that Wallace Willis, a Native American, wrote Swing Low, Sweet Chariot back in the mid 19th century and then walk away from the blank stares. In reality it was the adaptation of that tune by the Jubilee Singers that made it a timeless classic. I’ve made my point so let me put the lid back on this can of worms before it turns into a Ken Burns project.
The lesson my friends is to appreciate the music for what it is rather than trying to DNA test it for lineage. It’s the serendipitous melding of experiences and influences that keeps music fresh. While I like Mozart and all, I’d be pretty disappointed if we hadn’t moved on to other things in the last 300 or so years.
By this time you’re all thinking, ok I’m with you but… who is Dr. Hoffmann and where does Bo fit into this? Continue reading ‘Stuff White People Play and the Legacy of Dr. Hoffmann and Bo Diddley’
