Blind Willie McTell (born William Samuel McTier; May 5, 1898 – August 19, 1… Read Full Bio ↴Blind Willie McTell (born William Samuel McTier; May 5, 1898 – August 19, 1959) was a Piedmont and ragtime blues singer and guitarist. He played with a fluid, syncopated fingerstyle guitar technique, common among many exponents of Piedmont blues, although, unlike his contemporaries, he came to use twelve-string guitars exclusively. McTell was also an adept slide guitarist, unusual among ragtime bluesmen. His vocal style, a smooth and often laid-back tenor, differed greatly from many of the harsher voice types employed by Delta bluesmen, such as Charley Patton. McTell embodied a variety of musical styles, including blues, ragtime, religious music and hokum.

Born in the town of Thomson, Georgia, McTell learned how to play guitar in his early teens. He soon became a street performer around several Georgia cities including Atlanta and Augusta, and first recorded in 1927 for Victor Records. Although he never produced a major hit record, McTell's recording career was prolific, recording for different labels under different names throughout the 1920s and 30s. In 1940, he was recorded by folklorist John A. Lomax and Ruby Terrill Lomax for the Library of Congress's folk song archive. He would remain active throughout the 1940s and 50s, playing on the streets of Atlanta, often with his longtime associate, Curley Weaver. Twice more he recorded professionally. McTell's last recordings originated during an impromptu session recorded by an Atlanta record store owner in 1956. McTell would die three years later after suffering for years from diabetes and alcoholism. Despite his mainly failed releases, McTell was one of the few archaic blues musicians that would actively play and record during the 1940s and 50s. However, McTell never lived to be "rediscovered" during the imminent American folk music revival, as many other bluesmen would.

McTell's influence extended over a wide variety of artists, including The Allman Brothers Band, who famously covered McTell's "Statesboro Blues", and Bob Dylan, who paid tribute to McTell in his 1983 song "Blind Willie McTell"; the refrain of which is, "And I know no one can sing the blues, like Blind Willie McTell". Other artists influenced by McTell include Taj Mahal, Alvin Youngblood Hart, Ralph McTell, Chris Smither and The White Stripes.

Born William Samuel McTier in Thomson, Georgia, blind in one eye, McTell had lost his remaining vision by late childhood. He attended schools for the blind in the states of Georgia, New York and Michigan and showed proficiency in music from an early age, first playing harmonica and accordion, learning to read and write music in Braille, and turning to the six-string guitar in his early teens. His family background was rich in music, both of his parents and an uncle played guitar; he is also a relation of bluesman and gospel pioneer Thomas A. Dorsey. His father left the family when McTell was still young, and, when his mother died in the 1920s, he left his hometown and became a wandering musician, or "songster". He began his recording career in 1927 for Victor Records in Atlanta.

McTell married Ruth Kate Williams, now better known as Kate McTell, in 1934. She accompanied him on stage and on several recordings before becoming a nurse in 1939. Most of their marriage from 1942 until his death was spent apart, with her living in Fort Gordon near Augusta and him working around Atlanta.

In the years before World War II, McTell traveled and performed widely, recording for a number of labels under many different names, including Blind Willie McTell (Victor and Decca), Blind Sammie (Columbia), Georgia Bill (Okeh), Hot Shot Willie (Victor), Blind Willie (Vocalion and Bluebird), Barrelhouse Sammie (Atlantic), and Pig & Whistle Red (Regal). The "Pig 'n Whistle" appellation was a reference to a chain of Atlanta barbecue restaurants, one of which was located on the south side of East Ponce de Leon between Boulevard and Moreland Avenue, which later became a Krispy Kreme. McTell would frequently played for tips in the parking lot of this location. He was also known to play behind the nearby building that later became Ray Lee's Blue Lantern Lounge. Like his fellow songster Lead Belly, who began his career as a street artist, McTell favored the somewhat unwieldy and unusual twelve-string guitar, whose greater volume made it suitable for outdoor playing.

In 1940 John A. Lomax and his wife, Ruby Terrill Lomax, Classics professor at the University of Texas at Austin, interviewed and recorded McTell for the Library of Congress's Folk Song Archive in a two-hour session held in their hotel room in Atlanta, Georgia. These recordings document McTell's distinctive musical style, which bridges the gap between the raw country blues of the early part of the 20th century and the more conventionally melodious, Ragtime-influenced East-Coast Piedmont blues sound. Mr. and Mrs. Lomax also elicited from the singer a number of traditional songs (such as "The Boll Weevil" and "John Henry") as well as spirituals (such as "Amazing Grace"), which were not part of his usual commercial repertoire. In the interview, John A. Lomax is heard asking if McTell knows any "complaining" songs (an earlier term for protest songs), to which the singer replies somewhat uncomfortably and evasively that he does not. The Library of Congress paid McTell $10, the equivalent of $154.56 in 2011, for this two-hour session. The material from this 1940 session was issued in 1960 in LP and later in CD form, under the somewhat misleading title of "The Complete Library of Congress Recordings", notwithstanding the fact that it was in fact truncated, in that it omitted some of John A. Lomax's interactions with the singer and cut out entirely the contributions of Ruby Terrill Lomax.

Postwar, McTell recorded for Atlantic Records and Regal Records in 1949, but these recordings met with less commercial success than his previous works. He continued to perform around Atlanta, but his career was cut short by ill health, predominantly diabetes and alcoholism. In 1956, an Atlanta record store manager, Edward Rhodes, discovered McTell playing in the street for quarters and enticed him with a bottle of corn liquor into his store, where he captured a few final performances on a tape recorder. These were released posthumously on Prestige/Bluesville Records as Last Session. Beginning in 1957, McTell occupied himself as a preacher at Atlanta's Mt. Zion Baptist Church.

McTell died in Milledgeville, Georgia, of a stroke in 1959. He was buried at Jones Grove Church, near Thomson, Georgia, his birthplace. A fan paid to have a gravestone erected on his resting place. The name given on his gravestone is Eddie McTier. He was inducted into the Blues Foundation's Hall of Fame in 1981, and into the Georgia Music Hall of Fame in 1990.

One of McTell's most famous songs, "Statesboro Blues," was frequently covered by The Allman Brothers Band and is considered one of their earliest signature songs. A short list of some of the artists who also perform it includes Taj Mahal, David Bromberg, The Devil Makes Three and Ralph McTell, who changed his name on account of liking the song. Ry Cooder covered McTell's "Married Man's a Fool" on his 1973 album, Paradise and Lunch.
Jack White of The White Stripes considers McTell an influence, as their 2000 album De Stijl was dedicated to him and featured a cover of his song "Southern Can Is Mine". The White Stripes also covered McTell's "Lord, Send Me an Angel", releasing it as a single in 2000.
In 2013 Jack White's Third Man Records teamed up with Document Records to reissue The Complete Recorded Works in Chronological Order of Charley Patton, Blind Willie McTell and The Mississippi Sheiks.

Bob Dylan has paid tribute to McTell on at least four occasions: Firstly, in his 1965 song "Highway 61 Revisited", the second verse begins with "Georgia Sam he had a bloody nose", referring to one of Blind Willie McTell's many recording names; later in his song "Blind Willie McTell", recorded in 1983 but released in 1991 on The Bootleg Series Volumes 1-3; then with covers of McTell's "Broke Down Engine" and "Delia" on his 1993 album, World Gone Wrong; also, in his song "Po' Boy", on 2001's "Love & Theft", which contains the lyric, "had to go to Florida dodging them Georgia laws", which comes from McTell's "Kill It Kid".
Also, Bath-based band "Kill It Kid" is named after that song.

A blues bar in Atlanta is named after McTell and regularly features blues musicians and bands. The Blind Willie McTell Blues Festival is held annually in Thomson, Georgia.

Low Rider's Blues
Blind Willie McTell Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

You called me a lowrider
I'm going back to tennessee
I say you called me a lowrider
And I'm going back to tennessee
And mama there's no reason why
Baby you should be straight for me

Baby you make with your daddy

Share your lock and key
I say you make with your daddy
Share your lock and key
What I mean it don't matter
I go on with me

I got women in georgia, alabama and tennessee
I got women down in georgia, alabama and tennessee
So I don't let no white gal worry me

You're good cold whiskey baby
Driving your daddy's two engine
I say you're good cold whiskey
Driving your daddy's two engine
Just as well I left him
Baby I want you to learn

I love good cold whiskey
But baby not good for me
I say I love my good cold whiskey
But it ain't no good for me

But I try to rule you baby
And you tried to mistreat poor old me

Overall Meaning

Blind Willie McTell's song Low Rider's Blues is a blues tune that tells the story of a man who has been called a lowrider and is going back to Tennessee, leaving behind a woman who he believes is mistreating him. The singer is seemingly content with leaving the woman behind, as he has women in Georgia, Alabama, and Tennessee. He speaks of the woman as though she is trying to control him, saying that he tries to rule her, but she mistreats him. He also warns her of the dangers of drinking and encourages her to share her love with her father.

The song is an interesting portrayal of the relationship between men and women in the early 20th century South. The singer's casual attitude towards relationships and the way he speaks of women in different states shows that he is not invested in any one woman. He seems to be more invested in staying true to himself and his individuality. The song also highlights the prevalence of drinking and how it can negatively affect relationships.

Line by Line Meaning

You called me a lowrider
You referred to me as a person from a lower social class.

I'm going back to tennessee
I'm returning to my hometown of Tennessee.

And mama there's no reason why
Mother, there's no justification for it.

Baby you should be straight for me
Darling, you should be honest and truthful with me.

Baby you make with your daddy
Honey, you should have a closer relationship with your father.

Share your lock and key
Share your secrets with him.

What I mean it don't matter
What I mean is of no importance.

I go on with me
I will continue to live my life regardless.

I got women in georgia, alabama and tennessee
I have female companions in Georgia, Alabama, and Tennessee.

So I don't let no white gal worry me
So, I don't let any Caucasian woman cause me any stress.

You're good cold whiskey baby
You are a good, strong drink of whiskey, my dear.