Why the Blues is STILL Important (maybe now more than ever)

The Blues had a baby, and they named it Rock and Roll—McKinley Morganfield (Muddy Waters)

 Does The Blues have “the blues?”

I have had several conversations recently about the relevancy of blues music today. Sometimes these statements and conversations surprise me–but they probably shouldn’t. Several once vibrant and thriving blues scenes are now remnants of their former selves (clubs have shut down or don’t do music anymore, OR do music but not blues, regional agents say that they can’t book blues acts, etc.). I can also think of at least two blues festivals that have announced they are no longer going to operate. In addition, attendance at festivals that are in operation are clearly lower than in past years. You also don’t hear “blues-based music” (I will define this below) on the radio as much—or it is rare.

Interestingly, I do hear cover bands of all kinds frequently playing blues-based songs. They tend to be predictable ones (usually one of a couple of Stevie Ray Vaughn songs), HOWEVER those songs DO tend to get very enthusiastic crowd responses—and responses from people of ALL ages. That alone should tell us something.

 I have also attended, or run sound for, small festivals in the past couple of years that featured solo artists and bands doing what can only be described as “blues on steroids”—basically rocked up delta-like blues with massively overdriven slide guitar in spades, and variations on “12 bar” or similar progressions, with vocals and lyrics undoubtedly influenced by traditional artists of the past. These fests and artists avoid the “blues” label, or color it with words such as “swamp” or “stomp,” likely because the grooves are closer to heavy metal than anything a traditional blues band would do. Surprisingly, the crowds are young (20s to 30s) and very, very enthusiastic—with a higher percentage of female fans than many would assume.

As I will discuss later, I think clearly people respond to that spark and energy on an almost visceral and unconscious level. This is true despite the responses I often get when I ask people if they like blues. Usually I get a shrug and a tepid response—even from musicians. I have been told things like, “it’s alright…but I like to dance,” (something you should tell the people filling the dance floor and singing along to the latest bar band version of Pride and Joy), or, “I’m trying to get beyond the whole ’12 bar’ thing. It just gets old.” I think it’s vital, therefore, that we get to the root of the issues that are affecting blues and blues-based music, in all its forms, and contemplate some solutions. Clearly the spark is still there, even if it suffers from some confusion and needs a burst of “air” to bring it to full flame again.

One part of the problem may be a LOT of confusion about what blues actually is, how it works, and the history and impacts on music of many kinds. Let’s begin with a definition…

Definition Time: What do I mean by “The Blues?”

What is “the blues?” This definition may, in part, be the main source of confusion and prejudice. Bear with me though, because the definition involves some elements that may be challenging to understand. Look for upcoming posts and videos to clarify this, or email me at the address below:

Blues is not just about “12 bars” and “pentatonic scales,” (although understanding what those scales are, and why they work in this art form, and would generally not work in most standard western music, is critical). “Blues” is a distinct art form with origins, form and essential elements that fall outside of standard western music in most regards. Without diving too deep into the world of “Tri-tone intervals, etc.” (here and here for more on that), it is important to recognize that blues is based on modes, scales and harmony that tends to be dissonant and even “unresolved” by conventional definition. Most blues progressions, because of the unique harmony and modes upon which they are based, also fall outside of conventional western harmony, chord voicings and progressions. Accordingly, a pentatonic scale (a basic blues building block) and the harmony, chords and chord voicings that underlie that scale, are built around certain sounds and intervals. Many people and players refer to it as a “b7 sound” (or the sound made when the seventh note in a standard major or minor scale, is lowered a half step). Sometimes the modes and scales employed, because of the inclusion of that b7 (and sometimes b5) sound, can often also include minor (b3rd) sounds, that are included even in songs with major 3rds in most chords (something very rare in western music). This is true regardless of the form and format in which these chords are employed (not all blues songs have a “12 bar” format). These sounds and other aspects of the art form are also found in other blues-based music, including rock, soul, R&B, country, reggae, etc.

Is it REALLY Gone?

In part because of the elements mentioned in the definition, the blues sound has an impact and energy that is unique. This may actually be because of the music’s very nature, and a sort of unconscious, primal response to the emotion, tension, release of that tension, etc. that are critical elements of music, harmony and corresponding energy. It is fascinating either way, and something that I believe will ultimately carry the music back to the mainstream. I know there are many that scoff at this, but I think part of the assumption is based on a misunderstanding of what blues is, its impacts and presence in music they currently love and follow.

With all of that said, I still believe that the response and understanding has its greatest power and impact when people experience blues in its most basic and rawest form (I recently wrote an article on the difference between bands that play occasional blues songs and “blues bands.” You can find that here), but either way—whether it’s a standard “lumpty shuffle (think Pride and Joy)” played by a bar band, or the opening riff of an AC/DC song (unquestionably blues-based), people respond to this stuff. Look at the impacts that artists like Chris Stapleton and Sturgill Simpson have already had on the Country music world—Chris in particular is steeped in blues, soul and R&B. There’s also a reason that blues-based rock bands like Rival Sons, Tedeschi-Trucks and others have music in heavy rotation TV commercials and are now the chosen opening acts for big names like (another blues-based band) The Rolling Stones (a band named after a Muddy Waters song). Jack White was also just recently raging in all his blues-based glory as the musical act on Saturday Night Live and Larkin Poe just graced the stage on Jimmy Kimmel Live. There’s a spark here. We need to fan that flame and lead the charge in the next music revolution.  

How Did We Get Here? The roots of American music, the “British Invasion” and why all of this matters

I believe the first key to making this happen is to go back and find the roots that have defined so much of what we consider “American music,” and recent “revolutions” that made this possible. In a recent video done by YouTuber Rick Beato, he leads a discussion on this very topic (you can find it here). All involved agreed that popular music has lost something since corporate consolidation of media in the mid-90s (primarily as a result of the Telecommunications Act of 1996) and advent of Pro Tools (recording software) and the accompanying pitch correcting software. In Rick’s opinion, producers within these mega companies that have taken over media of all kinds, like clean, reproducible formulas and formats that fit into neat “grids” and boxes (like in most recording software). The “song products” of all genres that result are predictable, polished and neat, mostly all written by a handful of “ghost writers,” and created by computers and a handful of producers and studio people. The blues cannot fit into boxes like that—especially with regards to the mentioned pitch correction software. This music, and all offshoots of this music, are imperfect, often improvised, and based around musical “tension” and finding notes “in between”—notes that don’t fit neatly into western musical rules and forms, or grids and software. This is in part what makes the music exciting and what pulls the listener in, and gives it that deep, human element. It drips of angst and pain, the rawness of the history. It is what makes the music real and so much more than “12 bars” and a “pentatonic box.” This is true for traditional blues, as well as the “blues baby” mentioned above—rock and roll. As discussed in the video, this is what captivated the British artists in the 1960s, who took everything they could from American blues records and created something completely new that, ironically, took America by storm when it made the return trip (hence the description generally assigned—The British Invasion). Those British artists new all too well who they owed for their success and, as a result, many of their African American blues heroes, found new audiences and success with the assistance of the British kids who had named bands after their songs, covered their songs and, later, gave them top billing at rock venues. All of this revolutionized music in American and around the world.

Where Do We Go From Here?

So, what does this mean for us today?

• We need to go back to our roots—take a tip from Jack White, The Black Keys, Rival Sons, Chris Stapleton, Sturgill Simpson, Alabama Shakes, Larkin Poe and many R&B artists who found their voices and inspiration from Aretha Franklin, Etta James, Koko Taylor, James Brown and other blues and soul voices—and go back to where it started. Learn the songs, and the “vocabulary” of the music (beyond pentatonic scales and “12 bars”)
• If you are a player or aspiring player, learn songs—traditional standard blues songs (contact me for a list). The art form is in those songs. This becomes the foundation you can build on. All the great rock players you know, especially those greats from the 60s and 70s who we see as “rock icons” today started exactly in this place too. They also borrowed (in some cases without credit) riffs and even songs from those traditional artists. This is controversial in itself, but it does show the depth of the influence.
• Listen deeply and with our hearts to the power and essence of the music—especially those elements that carried over to soul, funk, rock, reggae, etc. and made American music what it is–“call and response,” “tension and release,” etc. 
• Learn the history of the music and the unique places and artists that brought a range of elements from African, Native and European music forms and cultural elements together to create the American folk, jazz, and blues traditions that became the foundations for American music in ALL its forms.
• Support artists that are carrying these traditions forward. There are a lot of young, new artists who are going deep and bringing these elements back into the mainstream (see some of the artists already listed above), including Marcus King, Christone “Kingfish” Ingram, Jackie Venson, King Solomon Hicks, Shemekia Copeland, Joanne Shaw Taylor, Josh Smith, and many more.
• Join or help organize a local blues society in your area. Seek out clubs and other venues open to hosting shows and blues jams and work to get them involved along with any local artists and that are keeping the blues and other blues-based music alive. Hosted blues jams can be a key element for building a scene.
• Share this music with young people every chance you get. I have had some astounding experiences as I share Muddy Waters or Aretha Franklin with young people in some of the work I do. This music has power.

Lastly, keep hope alive. Lately I have seen a lot of YouTube videos, Podcasts, etc. that seem to paint a picture of hopelessness with regards to music today and the elements of corporate power and mediocrity that are hell bent on keeping things as they are. People have always found a way to dig deep and find the next horizon. In fact, it often comes out of the depths of desperation and angst. In fact, in this instance, I think the power can’t be contained by its very nature. Let’s do this!

Play on!

Join our Facebook page Real Blues You Can Use for more discussions on these topics. For in-person or virtual lessons, coaching and mentoring with Mark, contact him at: imwiththebandmz@gmail.com and visit his website at: www.im-with-the-band.org.

Mark Zanoni