Quarentena

1. Nobody's Fault But Mine

First recorded in 1927, Nobody's Fault But Mine is a composition by Blind Willie Johnson—singer, songwriter, and blues guitarist—widely regarded as one of the greatest slide guitarists of all time.

Blind Willie Johnson's first instrument was a Cigar Box Guitar, built by his father when he was just six years old. The Cigar Box Guitar became a common instrument during the Great Depression, as it was inexpensive and could be made at home.

It was in this context of crisis that Nobody's Fault But Mine emerged—a song about personal responsibility and the importance of making the right choices.

The title, which translates to "It's nobody's fault but mine", is included in this album as a reflection on our ability to recognize that much of what we reap is the result of what we ourselves have sown. The consequences of our choices, whether good or bad, will come.

This track was recorded using only voice and Cigar Box Guitar, as a tribute to Blind Willie Johnson and to the Cigar Box Guitar’s deep connection to the roots of the Blues.

Click here to listen to the original version by Blind Willie Johnson.

2. Grinnin' In Your Face

Grinnin' In Your Face is a song by Son House (Eddie James House, 1902-1988).

Son House was a highly influential blues singer and guitarist, known for recordings like "Death Letter" and "Preachin' The Blues." Though his work from the 1920s and 1930s didn’t gain widespread recognition until the 1960s, when Country Blues was rediscovered, his impact on the genre remains immense.

In its original form, Grinnin' In Your Face stands out for its distinctive interpretation, supported only by the slow, uneven clapping of Son House. In the song, he advises: "Don’t mind if people laugh in your face." He later directly addresses the listener: "They don't care how you're trying to live/They’ll talk about you anyway." As a comfort to those hurt by the mocking smiles of others, he offers: "A true friend is hard to find."

In today’s world, where empathy can often be lacking, this song resonates with anyone who has ever felt ridiculed by someone they considered a friend: "A true friend is hard to find." Don’t worry about those who laughed at you. Nobody can hold you back, and only you can walk your own path.

The decision to perform this song with only the sound of clapping, like in Son House’s original recording, stems from the raw power of the idea that no other musical elements are needed. The simplicity of the voice and claps strips the music down to its most fundamental essence. It's just the song, and its message reverberates in its purest form.

Singing "a cappella" is demanding, requiring deep emotion and energy, but the outcome is a remarkable purity, one that might not be captured if more instruments were involved.

Click here to listen to the original version by Son House.

3. Hard Times Killing Floor Blues

Composed by Skip James (Nehemiah Curtis James, 1902-1969), "Hard Times Killing Floor Blues" is one of the most captivating songs I’ve ever heard! Recorded in 1931, during the height of the Great Depression, a time of extreme economic crisis, this song, nearly 100 years old, remains timeless and, not by coincidence, resonates strongly with today’s world.

It addresses many of the struggles faced at the time, especially by Black people, including unemployment, poverty, racism, and discrimination in the workforce. Skip James refers to the slaughterhouses, or "Killing Floors," which were often the only places where Black people could find work, and were considered to be dead-end jobs.

One day, I was reading an article about urban waste collection and the accidents caused by improperly packaged trash. Not long after, I saw a photo showing medical school graduates, all white, alongside a newly hired group of garbage collectors, all Black. I had been drawn to this song for a while, and when I saw those images—of a country so unequal, with a long and painful history of slavery still affecting its social structure—I realized how perfectly this song fit. It was essential to include it in the album.

The guitar used in this recording is a Resonator, which has a distinct, somewhat "nasal" tone that I really love. It was also a common instrument during the time the song was recorded, before the electric guitar came to be. The open D minor tuning gives the song a heavy, somber feel, a hallmark of Skip James’ sound. The capo on the 4th fret helps adjust the song’s key to suit my voice.

I have to admit, I’m drawn to songs that "sound minor," as if they’re weighed down, literally. They just grab me. I sing them, and I end up feeling exhausted... but fulfilled.

Click here to listen to the original version by Skip James.

4. Devil Got My Woman

Devil Got My Woman" is another powerful song by Skip James. Composed in 1931, this track has a dark, almost ethereal vibe where Skip James sings about stealing his best friend's woman and mourns the fact that she was taken back by him.

The song speaks of the pain of betrayal: "I’d rather be the devil than be that woman's man," as he says early on. Later, he seems to refer to his friend as the devil himself, the one who took his love away.

Love and betrayal are frequent themes in blues, but when I listen to "Devil Got My Woman," I feel it goes deeper. At some point in life, everyone has felt the sting of betrayal, whether in a romantic relationship, a friendship, or even in work. And trust is always the part that takes the hardest hit. Skip James' sorrow, with all the expressive techniques he employs, truly conveys that emotion.

James uses an open D minor tuning, a hallmark of his style, and a falsetto voice, which adds to the heavy, haunting tone that draws me in every time. 

For this version, I’ve used an open E minor tuning, along with a Resonator guitar, which I feel perfectly captures the essence of 1930s blues.

Click here to listen to the original version by Skip James.

5. Found My Baby Crying

"Found My Baby Crying" is a song written by Lightnin' Hopkins (1912 - 1982), a blues singer, songwriter, and guitarist from Texas. Lightnin’ was heavily influenced by the Texas blues legend Blind Lemon Jefferson, with whom he played and spent time.

Hopkins is known for his unique style, musical "catchphrases," and particularly his way of singing. With his deep, distinctive tone, he effortlessly navigates different octaves from the beginning to the end of a phrase. 

The song "Found My Baby Crying" was recorded in 1965. It tells the story of a man who comes home to find his wife crying because of financial troubles. He reassures her, saying, “Don’t cry, baby, things are about to change.”

The financial crisis during the pandemic has affected many people, and it’s hard not to immediately relate the song’s lyrics to the current difficulties that so many people are experiencing.

The guitar performance of this song includes many of Lightnin’ Hopkins’ signature musical phrases. Some things simply must be acknowledged. As a singer deeply inspired by his style, I pay tribute to Lightnin’ with every line.

And don’t forget... Things are about to change.

 
Click here to listen to the original version by Lightnin' Hopkins.

6. Trouble So Hard

"Trouble So Hard" is a composition by Vera Hall (1902 - 1964), an American singer and songwriter who navigated between Blues, Folk, Spirituals, and Work Songs.

Vera Hall wasn’t a widely recognized artist, but her contribution to the culture of African American music is unquestionable! She gained more visibility after being recorded by John Lomax for the American National Library in the late 1930s.

"Trouble So Hard" was first recorded in 1937, and its singing style is reminiscent of the songs sung by slaves on cotton plantations, where one main voice would call out and others would respond.

"Oh, Lordy, trouble so hard Don't nobody know my troubles but God"

Vera Hall's song begins with a joyful moment and ends with a sorrowful one. Combined with the phrase "Nobody knows my troubles but God," it brings a reflection on how we judge the lives of others. Everyone has their own struggles, good and bad moments. Each person holds their own joy and pain, and it’s not our place to judge them. Another timeless song that resonates especially in times like these, when empathy seems to be lacking.

The references used to create this version are numerous. The cigar box guitar reappears, providing a raw, gritty sound that I truly enjoy! The stomp box accompaniment in this song adds an incredible power to it. And the change from the original single-note melody to the traditional blues triadic melody gave it the sound I was aiming for—my own interpretation.

Click here to listen to the original version by Vera Hall.