Many readers wrote to comment on the musical component of “Get his mojo back (in four steps with two bonus tracks.” Readers Graham Clarke and Drew Barnes wrote to disagree with my declaration that Muddy’s “Got My Mojo Working” recorded live at the Super Joy-Scout Jamboree in Chicago on April 24, 1969 is the definitive version. They both agree that Muddy’s seminal 1960 live “At Newport” recording is the definitive version.
Rog Martin wrote with a remembrance of things past:
I was able to see a performance including Otis Spann and Sam Lay shortly after the release of the album. And I owned that album for many years, through moves back and forth across half the United States, only to lose it in my next-to-last move. I am grateful that your reference showed it is again available. Thank you!
Glenn Wright Bowen wrote with a similar remembrance rendered in the style of Mr. Pickwick in Dickens’s Pickwick Papers:
West side of Cleveland, 1973, “Smiling Dog Saloon”: Friday, Saturday, Sunday, two sets each night with Muddy @$5.00 cover; beer was $2.50 a pitcher. Did all three nights/all sets.
Dr. Ramon Hannah wrote:
Thanks for reminding me of the great album “Fathers & Sons.” I remember wandering into Tower Records in San Francisco late one night in ’71 when one of the clerks put that album on the PA system.
Hearing what Otis Spann did to a piano stopped me dead in my tracks. It amazed and enthralled me. Not only did I buy the album, but spent the next 20 years collecting everything Spann recorded, and learning a lot about Chicago Blues.
That single album was the seminal album in my Blues education and appreciation. Thanks for recalling the memories, and giving the album the praise it deserves.
Dr. Hannah wrote a follow-up message as well:
One omission both of us made, which should be corrected–we forgot the incredible bass work of Donald “Duck” Dunn.
And Professor Scott Masten of the University of Michigan Business School reminded of a message he’d sent us in response to the messages we received regarding an earlier endorsement of “Fathers and Sons” here:
Just a note following up on the responses you received after posting the cover of “Fathers and Sons.” Like apparently many others, the first thing I did on seeing the post was get out and play my copy. I can only imagine that the effect of so many people playing Muddy at the same time must have been to create a great disturbance in the blues force, as if a million souls cried out.
You guys are becoming too powerful.
As I responded to to Professor Masten then: May we always exercise such power as we have with the wisdom displayed on that occasion.
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