Cherokee Music Post

As a blues guitarist, I was particularly interested in the several blues tracks that were assigned. Of the greatest interest were ӀReservation Blues,Ԁ ӀEastbound Greyhound,Ԁ and ӀCherkee Boogie.Ԁ I found that ӀReservation BluesԀ and ӀEastbound GreyhoundԀ incorporated a number of electric blues styles. Eddy ClearwaterҀs track incorporates elements both of the electric Delta/Memphis and the Chicago styles. The combination of big band instrumentation and the heavy use of vibrato on guitar produces a sound reminiscent of BB King, but the song also includes a Muddy Waters-style breakdown toward the middle of the track. Blues Nation seems to have more of a Chicago sound, but the guitar playing has a distinct Texas blues influence. IҀm unsure whether this stylistic blend is simply a reflection of the most nationally popular, heavily recorded electric blues subgenres or something more organic. I imagine the Texas blues notes, and possibly also the Mississippi/Memphis elements, could be rooted in the regional blues tradition. I would speculate that the Chicago influence stems from the fact that it is heavily recorded and nationally popular.

The use of language in the lyrics was also of some interest to me, mostly in the way that the songwriters ӀreclaimԀ racist and stereotypical language. Both ӀReservation BluesԀ and ӀCherokee BoogieԀ draw heavily on these elements. Clearwater styles himself as Ӏthe ChiefԀ and makes reference in his song to a Ӏsquaw.Ԁ Bull Moose Jackson makes reference to Geronimo and incorporates Hollywood-style war-whooping. This deliberate use of offensive terms reminds me of the way many African-Americans use the term Ӏnigger.Ԁ Among minorities facing significant discrimination, this redefinition of racial slurs appears to be a common coping mechanism. It seems to serve both to reestablish some sense of ownership over the terms used to describe oneҀs group, as well as to take the sting out of offensive language. Interestingly, Blues Nation directly suggests a similarity between the black and Indian experience, singing that it doesnҀt matter whether you come from the plantation or the reservation.

I also noticed some interesting musical parallels between the African-American and Indian blues styles, most notably the use of call and response. Most of African-American music, from gospel to blues, is predicated on call-and-response, which, obviously, bears a striking similarity to stomp dance songs. Bull Moose Jackson apparently saw the same similarity and incorporated stomp dance song elements into a boogie tune.