I figure it this way: There's blues people, and then there's blues Nazi's. Blues Nazi's-the ones who always act like they're superior to everyone else because they know two more facts about Howlin' Wolf and bought their copy of The Best of Little Walter two years before everyone else did-are a most odious lot, divided into two distinct camps. In Column A, we have the ones who listen to it and write about it, who generally have that Charles Emerson Winchester on M.A.S.H air about them that makes you want to strangle their pear shaped asses. These are the doorknobs who think that everyone playing blues with white skin is some kind of sleazeball carpetbagger, utterly devoid of talent. In Column B, the ones who actually play it, like to keep the music totally mummified and preserved, regurgitating their record collection note for note, lick for lick, never advancing their conceptions any further until a new CD of Muddy Waters out-takes gets released. And if you think heavy metal bands dissing each other is just some genre folly of misinformed youth, just get a bunch of Nazi combos together and listen to them rip each other apart like a bunch of high school kiddies with more jealousy than talent going for them. You'll change your tune right quick.Mem Shannon of New Orleans can't get gigs sponsored by the Blues Nazi's, often associated with blues society groups across this fair land, because he doesn't do shuffles or Sweet Home Chicago.
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Tuesday, December 2, 2008
Blues Nazi's Among Us
From the liner notes of the Gary Primich release Company Man (Black Top 1997) written by the late Cub Koda, who couldn't be more correct all these years later: