Review Casey Bill Weldon

We Gonna Move written by bluesnews.de

4 of 5 Stars

External influences have always had a significant impact the blues off. Looking at the CD ‘We Gonna Move (To
The Outskirts Of The Town) ‘, with 24 songs by the singer and Guitarist Casey Bill Weldon, is among other things the world economist economic crisis, which has become today’s cliché of I mean simply structured blues contributed. Served labels previously the need for multi-faceted rural styles, rural farming and the fear of bad investments made for one Focus on more promising urban trends. In addition to formations characterized by guitar, piano and bass, the twelve-bar structure also became the epitome of the blues.
On this basis, numerous acoustic musicians in Chicago created the basis for the electric blues of later decades.
The fact that Weldon, who was marketed as “Hawalian Guitar Wizard” at the time, was the godfather of some of the striking slide licks by Muddy Waters is evident from the classic blues songs, which make up around two thirds of the CD. Thus, the compilation is not only worth listening to but also interesting from a historical point of view. Weldon, who was presumably born as Nathan Hammond in Kansas in 1901 and who for a long time was mistakenly mistaken for Will Weldon (including a member of the Memphis band) due to a lack of certain biographical details, worked with many representatives of the Chicago blues. These included Big Bill Broonzy (gtr), Tampa Red (gtr), Charlie MeCoy (mandolin), Amett Nelson (cl), Black Bob (pno) and Peetie Wheatstraw (pno, vi), on whose distinctive vocals Weldon was guided.
There are two tracks on the CD that refer to the global economic crisis. This is how the “Flood Water Blues” came about a few days after a devastating flood that caused President Roosevelt to build dikes as part of the economic stimulus program known as the “New Deal”. In the course of the project, the Working Progress’ Administration ‘had already been created, which however – as Weldon reported in WPA Blues’ – tore down people not only work but also, as part of urban redevelopment measures, sometimes also neighborhoods that provided affordable housing for the poor, mostly afro american population offered. From the 1920s onwards, a lively jazz scene developed in Chicago, in which blues, New Orleans jazz, hokum and ragtime merged into a style that was often danceable and which in turn contributed to the development of swing. This is reflected in a way that is worth listening to in around a third of the songs on the CD. (fu) bluesnews.de