His family considered it normal to play music, with his father playing guitar and harmonica, his mother playing piano, and a relative who was a one-man band. At the age of three, Musselwhite moved to Memphis, Tennessee. When he was a teenager, Memphis experienced the period when rockabilly, western swing, electric blues, and some forms of African American music were combining to give birth to rock and roll. The period featured legendary figures such as Elvis Presley, Jerry Lee Lewis, and Johnny Cash, as well as minor legends such as Gus Cannon, Furry Lewis, Will Shade, Royal Bell, Memphis Willie B., Johnny Burnette, Red Roby, Abe McNeal, and Slim Rhodes. Musselwhite supported himself by digging ditches, laying concrete and running moonshine in a 1950 Lincoln. This environment was Musselwhite's school for music as well as life, and he acquired the nickname "Memphis Charlie."[citation needed]
In true bluesman fashion, Musselwhite then took off in search of the rumored "big-paying factory jobs" up the "Hillbilly Highway", legendary Highway 61 to Chicago, where he continued his education on the South Side, making the acquaintance of even more legends including Muddy Waters, Junior Wells, Sonny Boy Williamson, Buddy Guy, Howlin' Wolf, Little Walter, and Big Walter Horton. Musselwhite immersed himself completely in the musical life, living in the basement of, and occasionally working at Jazz Record Mart (the record store operated by Delmark Records founder Bob Koester) with Big Joe Williams and working as a driver for an exterminator, which allowed him to observe what was happening around the city's clubs and bars. He spent his time hanging out at the Jazz Record Mart at the corner of State and Grand and the nearby bar, Mr. Joe's, with the city's blues musicians, and sitting in with Big Joe Williams and others in the clubs, playing for tips. There he forged a lifelong friendship with John Lee Hooker; though Hooker lived in Detroit, Michigan, the two often visiting each other, and Hooker serving as best man at Musselwhite's wedding. Gradually Musselwhite became well known around town.
In time, Musselwhite led his own blues band, and, after Elektra Records' success with Paul Butterfield, he released the classic[citation needed] Stand Back! album in 1966 on Vanguard Records (as "Charley Musselwhite"), to immediate and great success. He took advantage of the clout this album gave him to move to San Francisco, where, instead of being one of many competing blues acts, he held court as the king of the blues in the exploding countercultural music scene, an exotic and gritty figure to the flower children. Musselwhite even convinced Hooker to move out to California.
Since then, Musselwhite has released over 20 albums, as well as guesting on albums by many other musicians, such as Bonnie Raitt's Longing in Their Hearts and The Blind Boys of Alabama's Spirit of the Century, both winners of Grammy awards. He also appeared on Tom Waits' Mule Variations and INXS' Suicide Blonde. He himself has won 14 W. C. Handy awards and six Grammy nominations, as well as Lifetime Achievement Awards from the Monterey Blues Festival and the San Javier Jazz Festival in San Javier, Spain, and the Mississippi Governor's Award for Excellence in the Arts.
In 1979, Musselwhite recorded The Harmonica According to Charlie Musselwhite in London for Kicking Mule Records, intended to go with an instructional book; the album itself became so popular that it has been released on CD.
Unfortunately, Musselwhite, as with many of his peers, fell victim to alcoholism; by his own admission[citation needed], he had never been on stage sober until after he stopped drinking entirely in 1987.
In 1990 Musselwhite signed with Alligator Records, a step led to a resurgence of his career.
Over the years, Musselwhite has branched out in style. His 1999 recording, Continental Drifter, is accompanied by Quarteto Patria, from Cuba's Santiago region, the Cuban music analog of the Mississippi Delta. Because of the political differences between Cuba and the United States, the album was recorded in Bergen, Norway, with Musselwhite's wife ironing out all the details.
Musselwhite believes the key to his musical success was finding a style where he could express himself. He has said, "I only know one tune, and I play it faster or slower, or I change the key, but it’s just the one tune I’ve ever played in my life. It’s all I know."[1]
His past two albums, Sanctuary and Delta Hardware have both been released on Real World Records.
Cadillac Women
Charlie Musselwhite Lyrics
Jump to: Overall Meaning ↴
From the album The Well
Mama she told me, Papa told me too (2x)
"Don′t let Cadillac women run all over you."
Mama she told me when I was young and wild (2x)
"Have your fun now, 'cause there′ll be trouble after a while."
I wouldn't take advice, had to live my life
Too hot for hell, for me she's just right
Despite what they say I can′t let her be
Too hot for the Devil, just right for me
I still remember what Mama used to say (2x)
"Laugh it up now, boy, you′ll have trouble one day."
Papa he told me, Mama sat and moaned (2x)
"Don't let Cadillac women drive you away from home."
I wouldn′t take advice, had to live my life
Too hot for hell, for me she's just right
Despite what they say I can′t let her be
Too hot for the Devil, just right for me
It ain't no hurry, I didn′t come to stay
I ain't in no hurry, I didn't come to stay
Just came here, mama
To drive your blues away
The lyrics of "Cadillac Women" by Charlie Musselwhite contain a message about heeding advice from parents and the consequences of not doing so, particularly when it comes to relationships with "Cadillac women." The repeated warnings from Mama and Papa underscore the importance of not allowing oneself to be taken advantage of or led astray by individuals who may have ulterior motives.
The mention of being young and wild suggests a period of rebelliousness and living in the moment without considering long-term repercussions. Mama's advice to "have your fun now" implies that there will be consequences for actions taken in the pursuit of immediate gratification. This phrasing serves as a cautionary tale about the choices made in youth and the potential for future trouble.
The singer of the song acknowledges that despite others warning him about the dangers of pursuing a particular woman, he is drawn to her allure and cannot resist the temptation. The repeated refrain of being "too hot for hell" but "just right" for the singer highlights the conflicting feelings he has about this Cadillac woman – she may be seen as dangerous or risky, yet she holds an undeniable appeal.
The final lines of the song suggest a sense of impermanence and transience, with the singer stating that he didn't come to stay but only to "drive your blues away." This could imply a fleeting encounter or relationship that serves as a temporary escape from life's troubles. Overall, "Cadillac Women" delves into themes of youthful recklessness, the struggle between heeding advice and following one's desires, and the transient nature of certain relationships.
Writer(s): Charlie Musselwhite
Contributed by Sadie T. Suggest a correction in the comments below.