Going For A Song: Early Days 8

In those callow years, even though I did attempt to play the blues, I always knew deep down that playing the blues would never be the life work of someone like me, shaped by the sinuous rythmns of the "Marie Elenas" and the "Besame Muchos".
The red bearded English man, who attempted to hook me up with an "agent of inspiration", did not know although he played
the blues well for a red bearded English man, that even in those undiscriminating times, I knew the difference between his playing, and that of Brownie McGee and Sonny Terry, who used to come to Toronto frequently, in that era. These men were
two excellent representatives of the blues tradition, from the southern United States. Come to think of it, there was always
something wild about Sonny Terry's harmonica playing, interspersed with "hoots and hollers", and his singing deeply
rooted in the place where he was born. What is the fascination that so many young guitar bucks have had, and still have, with
playing the blues?. I have observed this phenomenon in my travels in places as far north as Scotland and Scandinavia. It
always used to tickle me when I would hear a singer from Glasgow say, "The noo, I'd like to do a wee b-l-e-u-s for ye", and
then launch into what was for him as close as he could get to an Alabama growl with, "Baby please don't go", or some other
blues song, that originated somewhere very far south from where it was being sung. Come to think of it, maybe it was
equally amusing for my Scottish friends, when they heard me sing a Robbie Burns song, in my Caribbean Scottish accent...
I guess both sides in this musical over-reaching should get brownie points for adventurousness.....................Quester.