"I hope they never play it." During the mid-‘70s, Waters underwent a studio renaissance on a new label, Blue Sky. "I really went with the company with that part," he said. The nadir was his pseudo-psychedelic 1968 travesty ‘Electric Mud.’ Muddy freely ripped the album later on. "I go back a couple of years later and didn’t bring it, and then they’re cryin’, ‘Where’s your electric guitar?’"Īlways loyal to Chess, the ‘60s weren’t overly kind to Muddy from a recording standpoint.
‘Where’s he comin’ from with all this noise?’" said Muddy, who tried to comply on his next visit. "I went over there, and they went stone nuts. British fans accustomed to Big Bill Broonzy’s acoustic blues weren’t quite ready for the aural assault. In between the two Mojos, Waters made his maiden voyage to England in 1958, bringing along his electric guitar. "I put the arrangement on there," says Cotton. But this rendition wouldn’t be the one everyone so widely copied that version was done live at the 1960 Newport Jazz Festival with James on harp (Chess issued Waters’ set on LP). As Cotton noted, Little Walter was still his main harp man in the studio other participants were his essential 88s ace Otis Spann, guitarist Jimmy Rogers, bassist Willie Dixon, and new drummer Francis Clay. When Muddy got back to Chicago, he made the song his own on either Decemor January 16, 1957. I taught him the words when I knew everything. I need to learn that song so I can do it.' He said, 'Learn the words to it for me.' So I learned the words, and I learned to play it. "Muddy said, 'That's my kind of stuff there, talkin' about the mojo and all that kind of thing.
She's the one that originally did 'Mojo,’" says his then-road harpist, James Cotton. "We went on tour with a lady named Ann Cole.
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