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Saturday, April 30, 1983

Muddy Waters died: April 30, 1983

Originally posted April 30, 2012.

McKinley Morganfield, better known as Muddy Waters, was born on 4/4/1915 in Rolling Fork, Mississippi. Some sources indicate his birth year as 1913, but the bio on MuddyWaters.com cites 1915. He died on April 30, 1983.

Waters ranks second only to Robert Johnson as the top blues acts of all time. Waters was pivotal in the development of the Chicago blues style. He taught himself to play harmonica in the early 1920s and picked up guitar in the early 1930s.

Among his most significant songs are “I Feel Like Going Home” (1948), “Rollin’ Stone” (1950), “Hoochie Coochie Man” (1954), and “Got My Mojo Working” (1957). All have been inducted into the Grammy Hall of Fame. The latter three and “Mannish Boy” also made the Rock and Roll Hall of Fame’s list of the 500 Songs That Shaped Rock and Roll. “Hoochie Coochie” is also in the National Recording Registry of the Library of Congress and made NPR’s list of the Most Important American Musical Works of the 20th Century. “Mojo” is also among the RIAA’s selections for the RIAA’s 365 songs of the 20th century.

Hoochie Coochie Man

Best of (1954), Down on Stovall’s Plantation (1966), McKinley Morganfield (aka “Muddy Waters”) (1971), The Chess Box (1972), Can’t Get No Grindin’ (1973), and The Complete Plantation Recordings (1993) are all Blues Hall of Fame inductees. In addition, Time magazine named The Anthology 1947-1972 (1947-72) one of the Top 100 Albums of All Time.

His most celebrated album is At Newport, a live album from 1960. It makes the DMDB’s lists of top 1000 albums of all time, Top 10 Blues Albums of All Time, and the top 50 live albums of all time. It also ranks as one of the 100 Greatest American Albums according to Blender magazine and one of the 100 Essential Albums of the Century according to Vibe magazine.


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Tuesday, April 12, 1983

R.E.M. released its debut album, Murmur: April 12, 1983

Originally posted April 12, 2012.

image from avaxhome.ws

“Singer Michael Stipe has often said that the title was chosen because it’s one of the easiest words to pronounce in the English language.” JD Ironically, it is also an apt description of his singing style. AZ “The lyrics and the melodies seem buried, almost subliminal, and even the hookiest songs…resist clarity.” RS “His voice works more as a fourth instrument, complementing the band musically.” PK

“Like all great bands, R.E.M.’s individual parts…are as interesting as the collective sound.” AZ Peter Buck’s guitar playing draws “heavily on the trademark Rickenbackers of the early Byrds, with the occasional burst of Velvets-style feedback and garage-rock fuzz thrown in for emphasis.” JD Mike Mills provides “melodic counterpoints with his ultra-musical bass parts, and [drummer Bill] Berry shows considerable imagination in varying his propulsive backbeats with deft and colorful use of elaborate patterns on the tom-toms. Both also add beautiful harmony vocals.” JD

“Though critics swamped R.E.M.’s 1983 full-length debut with country-rock comparisons to the Byrds, Murmur sounds like no one else.” AZ While “firmly in the tradition of American folk-rock, post-punk, and garage rock, Murmur sounds as if it appeared out of nowhere, without any ties to the past, present, or future.” AMG “The songs on Murmur sound as if they’ve existed forever, yet they subvert folk and pop conventions by taking unpredictable twists and turns into melodic, evocative territory, whether it’s the measured riffs of Pilgrimage, the melancholic Talk About the Passion, or the winding guitars and pianos of Perfect Circle.” AMG We also get ““the amusing perplexity of 9-9 and Moral Kiosk; the soothing wisdom of Stipe’s voice in Shaking Through.” SL “Nearly every song is an unforgettable gem.” PK

“The band made its recorded debut in the summer of 1981 with a song that paid homage to the spirit of the young, independent broadcasters…The tiny Hib-Tone label only pressed 1,000 copies of Radio Free Europe, but the single topped the Village Voice’s year-end critics' poll, and the attention helped the band land its deal with I.R.S.” JD From there, they record the E.P. Chronic Town in 1982. However, by the time of their debut album, R.E.M. left “behind the garagey jangle pop of their first recordings,” AMG “de-emphasizing the backbeat and accentuating the ambience of the ringing guitar.” AMG

Radio Free Europe

“The production, by then-college radio stalwarts Don Dixon and Mitch Easter, is shimmering but never slick, making this rise above the early DIY indie rock dustheap without falling prey to the new wave excesses of the early ‘80s scene.” PK “Throughout the sessions, there was pressure from I.R.S. to produce a hit, but…the band say they tuned the company out and proceeded to craft the sort of finely textured cult album they adored” – Big Star’s Third/Sister Lover, Velvet Underground’s eponymous third album, Neil Young’s Tonight’s the Night, and Wire’s Pink Flag. JD The “result should have been a complete mess” PK but became “one of the most remarkable, near-perfect debut albums of the rock era” PK and “a founding document of alternative rock, released just as Gen X was starting to go to college.” RS “Truly a must-own album.” PK


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