Blind Willie McTell

Blind Willie McTell (born William Samuel McTier; May 5, 1898 – August 19, 1959) was a Piedmont and ragtime blues singer and guitarist. He played with a fluid, syncopated fingerstyle guitar technique, common among many exponents of Piedmont blues, although, unlike his contemporaries, he came to use twelve-string guitars exclusively. McTell was also an adept slide guitarist, unusual among ragtime bluesmen. His vocal style, a smooth and often laid-back tenor, differed greatly from many of the harsher voice typesEMPLOYED by Delta bluesmen, such as Charley Patton. McTell embodied a variety of musical styles, includingblues, ragtime, religious music and hokum.
Born in the town of Thomson, Georgia, McTell learned how to play guitar in his early teens. He soon became a street performer around several Georgia cities including Atlanta and Augusta, and first recorded in 1927 for Victor Records. Although he never produced a major hit record, McTell's recordingCAREER was prolific, recording for different labels under different names throughout the 1920s and 1930s. In 1940, he was recorded by folklorist John A. Lomax and Ruby Terrill Lomax for the Library of Congress's folk song archive. He would remainACTIVEthroughout the 1940s and 50s, playing on the streets of Atlanta, often with his longtime associate, Curley Weaver. Twice more he recorded professionally. McTell's last recordings originated during an impromptu session recorded by an Atlanta record store owner in 1956. McTell would die three years later after suffering for years from diabetes and alcoholism. Despite his lack of commercial success, McTell was one of the few blues musicians of his generation who continued toACTIVELY play and record during the 1940s and '50s. However, McTell never lived to be "rediscovered" during the imminent American folk music revival, as many other bluesmen would.[1]
McTell's influence extended over a wide variety of artists, including The Allman Brothers Band, who famously covered McTell's "Statesboro Blues", and Bob Dylan, who paid tribute to McTell in his 1983 song "Blind Willie McTell"; the refrain of which is, "And I know no one can sing the blues, like Blind Willie McTell". Other artists influenced by McTell include Taj Mahal, Alvin Youngblood Hart, Ralph McTell, Chris Smither and The White Stripes.
==Biography==
Born William Samuel McTier[2] in Thomson, Georgia, blind in one eye, McTell had lost his remaining vision by late childhood. He attended schools for the blind in the states of Georgia, New York and Michigan and showed proficiency in music from an early age, first playing harmonica and accordion, learning to read and write music in Braille,[1] and turning to the six-string guitar in his early teens.[1][2] His family background was rich in music, both of his parents and an uncle played guitar; he is also a relation of bluesman and gospel pioneerThomas A. Dorsey.[2] His father left the family when McTell was still young, and, when his mother died in the 1920s, he left his hometown and became a wandering musician, or "songster". He began his recordingCAREER in 1927 for Victor Records in Atlanta.[3]
McTell married Ruth Kate Williams,[1] now better known as Kate McTell, in 1934. She accompanied him on stage and on several recordings before becoming a nurse in 1939. Most of their marriage from 1942 until his death was spent apart, with her living in Fort Gordon near Augusta and him working around Atlanta.
In the years before World War II, McTell traveled and performed widely, recording for a number of labels under many different names, including Blind Willie McTell (Victor and Decca), Blind Sammie (Columbia), Georgia Bill (Okeh), Hot Shot Willie (Victor), Blind Willie (Vocalion and Bluebird), Barrelhouse Sammie (Atlantic), and Pig & Whistle Red (Regal). The "Pig 'n Whistle" appellation was a reference to aCHAIN of Atlanta barbecue restaurants, one of which was located on the south side of East Ponce de Leon between Boulevard and Moreland Avenue, which later became a Krispy Kreme. McTell would frequently played for tips in the parking lot of thisLOCATION. He was also known to play behind the nearby building that later became Ray Lee's Blue Lantern Lounge. Like his fellow songster Lead Belly, who began his career as a street artist, McTell favored the somewhat unwieldy and unusual twelve-string guitar, whose greater volume made it suitable for outdoor playing.
In 1940 John A. Lomax and his wife, Ruby Terrill Lomax, Classics professor at the University of Texas at Austin, interviewed and recorded McTell for the Library of Congress's Folk Song Archive in a two-hour session held in theirHOTEL ROOM in Atlanta, Georgia.[4] These recordingsDOCUMENT McTell's distinctive musical style, which bridges the gap between the raw country blues of the early part of the 20th century and the more conventionally melodious,Ragtime-influenced East-Coast Piedmont blues sound. Mr. and Mrs. Lomax also elicited from the singer a number of traditional songs (such as "The Boll Weevil" and "John Henry") as well as spirituals (such as "Amazing Grace"), which were not part of his usual commercial repertoire. In the interview, John A. Lomax is heard asking if McTell knows any "complaining" songs (an earlier term for protest songs), to which the singer replies somewhat uncomfortably and evasively that he does not. The Library of Congress paid McTell $10, the equivalent of $154.56 in 2011, for this two-hour session.[3] The material from this 1940 session was issued in 1960 in LP and later in CD form, under the somewhat misleading title of "The Complete Library of Congress Recordings", notwithstanding the fact that it was in fact truncated, in that it omitted some of John A. Lomax's interactions with the singer and cut out entirely the contributions of Ruby Terrill Lomax.[5]
Postwar, McTell recorded for Atlantic Records and Regal Records in 1949, but these recordings met with less commercial success than his previous works. He continued to perform around Atlanta, but hisCAREER was cut short by ill health, predominantly diabetes and alcoholism. In 1956, an Atlanta record store manager, Edward Rhodes, discovered McTell playing in the street for quarters and enticed him with a bottle of corn liquor into his store, where he captured a few final performances on a tape recorder. These were released posthumously on Prestige/Bluesville Records as Last Session.[6]BEGINNING in 1957, McTell occupied himself as a preacher at Atlanta's Mt. Zion Baptist Church.[1]
McTell died in Milledgeville, Georgia, of a stroke in 1959. He was buried at Jones Grove Church, near Thomson, Georgia, his birthplace. A fan paid to have a gravestone erected on his resting place. The name given on his gravestone is Willie Samuel McTier.[7] He was inducted into the Blues Foundation's Hall of Fame in 1981,[8] and into the Georgia Music Hall of Fame in 1990.[1]
In his recording of "Statesboro Blues", he pronounces hisSURNAME "MacTell" with the stress on the first syllable.
==Influence==
Label of one of McTell's most notable works, "Statesboro Blues".One of McTell's most famous songs, "Statesboro Blues," was frequently covered by The Allman Brothers Band and is considered one of their earliest signature songs[citation needed]. A short list of some of the artists who have performed it includes Taj Mahal, David Bromberg, Dave Van Ronk, The Devil Makes Three and Ralph McTell, who changed his name onACCOUNT of liking the song.[9] Ry Cooder covered McTell's "Married Man's a Fool" on his 1973 album, Paradise and Lunch. Jack White of The White Stripes considers McTell an influence, as their 2000 album De Stijl was dedicated to him and featured a cover of his song "Southern Can Is Mine". The White Stripes also covered McTell's "Lord, Send Me an Angel", releasing it as a single in 2000. In 2013 Jack White's Third Man Records teamed up withDOCUMENT Records to reissue The Complete Recorded Works in Chronological Order of Charley Patton, Blind Willie McTell and The Mississippi Sheiks.
Bob Dylan has paid tribute to McTell on at least four occasions: Firstly, in his 1965 song "Highway 61 Revisited", the second verseBEGINS with "Georgia Sam he had a bloody nose", referring to one of Blind Willie McTell's many recording names; later in his song "Blind Willie McTell", recorded in 1983 but released in 1991 on The Bootleg Series Volumes 1-3; then with covers of McTell's "Broke Down Engine" and "Delia" on his 1993 album, World Gone Wrong;[10] also, in his song "Po' Boy", on 2001's "Love & Theft", which contains the lyric, "had to go to Florida dodging them Georgia laws", which comes from McTell's "Kill It Kid".[11]
Also, Bath-based band "Kill It Kid" is named after that song.
A blues bar in Atlanta is named after McTell and regularly features blues musicians and bands.[12] The Blind Willie McTell Blues Festival is held annually in Thomson, Georgia.[12]
==Discography==
===Singles===
Year	A-side 	B-side 	Label 	Cat. # 	Moniker 	Note
1927	"Stole Rider Blues" 	"Mr. McTell Got The Blues" 	Victor 	21124 	Blind Willie McTell 	
1927	"Writing Paper Blues" 	"Mamma, Tain't Long Fo' Day" 	Victor 	21474 	Blind Willie McTell 	
1928	"Three Women Blues" 	"Statesboro Blues" 	Victor 	V38001 	Blind Willie McTell 	
1928	"Dark Night Blues" 	"Loving Talking Blues" 	Victor 	V38032 	Blind Willie McTell 	
1929	"Atlanta Strut" 	"Kind Mama" 	Columbia	14657-D	Blind Sammie 	
1929	"Travelin' Blues" 	"Come on Around to My House Mama" 	Columbia	14484-D	Blind Sammie 	
1929	"Drive Away Blues" 	"Love Changing Blues" 	Victor 	V38580 	Blind Willie McTell 	
1930	"Talking To Myself" 	"Razor Ball" 	Columbia	14551-D	Blind Sammie 	
1931	"Southern Can Is Mine" 	"Broke Down Engine Blues" 	Columbia	14632-D	Blind Sammie 	
1931	"Low Rider's Blues" 	"Georgia Rag" 	OKeh 	8924 	Georgia Bill 	
1931	"Stomp Down Rider" 	"Scarey Day Blues" 	OKeh 	8936 	Georgia Bill 	
1932	"Mama, Let Me Scoop For You" 	"Rollin' Mama Blues" 	Victor 	23328 	Hot Shot Willie 	*w/Ruby Glaze
1932	"Lonesome Day Blues" 	"Searching The Desert for the Blues" 	Victor 	23353 	Hot Shot Willie 	*w/Ruby Glaze
1933	"Savannah Mama" 	"B And O Blues No. 2" 	Vocalion	02568 	Blind Willie 	
1933	"Broke Down Engine" 	"Death Cell Blues" 	Vocalion	02577 	Blind Willie 	
1933	"Warm It Up To Me" 	"Runnin' Me Crazy" 	Vocalion	02595 	Blind Willie 	
1933	"It's A Good Little Thing" 	"Southern Can Mama" 	Vocalion	02622 	Blind Willie 	
1933	"Lord Have Mercy, If You Please" 	"Don't You See How This World Made A Change"	Vocalion	02623 	Blind Willie 	*w/"Partner" (Curley Weaver)
1933	"My Baby's Gone" 	"Weary Hearted Blues" 	Vocalion	02668 	Blind Willie 	
1935	"Bell Street Blues" 	"Ticket Agent Blues" 	Decca 	7078 	Blind Willie McTell 	*w/Kate McTell
1935	"Dying Gambler" 	"God Don't Like It" 	Decca 	7093 	Blind Willie McTell 	*w/Kate McTell
1935	"Ain't It Grand To Be A Christian"	"We Got To Meet Death One Day" 	Decca 	7130 	Blind Willie McTell 	*w/Kate McTell
1935	"Your Time To Worry" 	"Hillbilly Willie's Blues" 	Decca 	7117 	Blind Willie McTell 	
1935	"Cold Winter Day" 	"Lay Some Flowers on My Grave" 	Decca 	7117 	Blind Willie McTell 	
1950	"Kill It Kid" 	"Broke-Down Engine Blues" 	Atlantic	891 	Barrelhouse Sammy 	
1950	"River Jordan" 	"How About You" 	Regal 	3260 	Blind Willie 	
1950	"It's My Desire" 	"Hide Me in Thy Bosom" 	Regal 	3272 	Blind Willie 	
1950	"Love Changing Blues" 	"Talkin' To You Mama" 	Regal 	3277 	Willie Samuel McTell	*w/Curley Weaver
*attributed to "Pig and Whistle Band"
;As an accompanist
Year	Artist 	A-side 	B-side 	Label 	Cat. # 	Note
1927	Alfoncy and Bethenea Harris	"Teasing Brown" 	"This Is Not The Stove To Brown Your Bread"	Victor 	V38594 	
1931	Ruth Day 	"Experience Blues" 	"Painful Blues" 	Columbia 	14642-D	
1931	Mary Willis 	"Rough Alley Blues" 	"Low Down Blues" 	OKeh 	8921 	
1931	Mary Willis 	"Talkin' To You Wimmin' About The Blues"	"Merciful Blues" 	OKeh 	8932 	
1935	Curley Weaver 	"Tricks Ain't Walking No More" 	"Early Morning Blues" 	Decca 	7077 	
1935	Curley Weaver 	"Sometime Mama" 	"Two-Faced Woman" 	Decca 	7906 	*McTell plays only on B-side
1935	Curley Weaver 	"Oh Lawdy Mama" 	"Fried Pie Blues" 	Decca 	7664 	
1949	Curley Weaver 	"My Baby's Gone" 	TICKET Agent" 	Sittin' In With	547 	
===Long-plays===
Year	Title 	Label 	Cat. # 	Note
1961	Last Session 	Bluesville	BV 1040 	*recorded in 1956
1966	Blind Willie McTell: 1940	Melodeon 	MLP 7323	*subtitled The Legendary Library of Congress Session*recorded in 1940
===Selected compilations===
*Blind Willie McTell 1927–1933: The Early Years – Yazoo L-1005 (1968)
*Blind Willie McTell 1949: Trying To Get Home – Biograph BLP-12008 (1969)
*King of the Georgia Blues Singers (1929–1935) – Roots RL-324 (1969)
*Atlanta Twelve String – Atlantic SD-7224 (1972)
*Death Cell Blues – Biograph BLP-C-14 (1973)
*Blind Willie McTell: 1927–1935 – Yazoo L-1037 (1974)
*Blind Willie McTell: 1927–1949 The Remaining Titles – Wolf WSE 102 (1982)
*Blues in the Dark – MCA 1368 (1983)
*Complete Recorded Works in Chronological Order, Vol. 1 – Document DOCD-5006 (1990)
*Complete Recorded Works in Chronological Order, Vol. 2 – Document DOCD-5007 (1990)
*Complete Recorded Works in Chronological Order, Vol. 3 –DOCUMENT DOCD-5008 (1990)
**theseTHREE albums were issued together as the box-set Statesboro Blues – Document DOCD-5677 (1990)
*Complete Library of Congress Recordings in Chronological Order – RST Blues Documents BDCD-6001 (1990)
*Pig 'n Whistle Red – Biograph BCD 126 (1993)
*The Definitive Blind Willie McTell – Legacy C2K-53234 (1994)
*The Classic Years 1927–1940 – JSP JSP7711 (2003)
*King of the Georgia Blues – Snapper SBLUECD504X (2007)
===Selected compilation inclusions===
*Blind Willie McTell/Memphis Minnie: Love Changin' Blues – Biograph BLP-12035 (1971)
*Atlanta Blues 1933 – JEMF 106 (1979)
*Blind Willie McTell and Curley Weaver: The Post-War Years – RST Blues Documents BDCD 6014 (1990)
*Classic Blues Artwork from the 1920's – Vol. 5 – Blues Images – BIM-105 (2007)
Category:1898 births
Category:1959 deaths