"Blues is real. There are only three things for certain in life...death, taxes and the blues"

Mighty Mo Rodgers: Odysseus and the blues sirens

Maurice "Mighty Mo" Rodgers is a remarkably original singer/songwriter who’s shaped his life experiences into a terrifically eclectic and immensely deep vision on his debut, “Blues Is My Wailin' Wall.” Maurice Rodgers, was born in 1942 in East Chicago, Indiana but actually studied classical piano as a lad.

Of course growing up in the 60s meant you had to be affected by the brilliant soul music coming out of Memphis and soon Mighty Mo started his own soul band the Rocketeers while in high school but by college started the Maurice Rodgers Combo. He quit college and headed to Los Angeles and started performing, recording as a session player where he gigged with T-Bone Walker, Albert Collins, Bobby "Blue" Bland, Jimmy Reed, and many others. He also served as a producer, most notably on Sonny Terry and Brownie McGee's classic 1973 album "Sonny And Brownie". He selected the material, which featured three of his own compositions, rounded up John Mayall, Arlo Guthrie, John Hammond, Michael Franks, Sugarcane Harris and others as backing musicians. He gave up music for awhile heading to Cal State Northridge where he earned a degree in philosophy while simultaneously working as a staff songwriter for Chappell Publishing and Motown. He completing a Master degree in Humanities with an astonishing thesis, "Blues as Metaphysical Music (Its Musicality and Ontological Underpinnings)", and this can be felt on his first album released in 1999, "Blues Is My Wailin' Wall". That album was in many ways a soundtrack to an unmade documentary called "The History Of The Blues". Willie Dixon may have claimed it first but these days Mighty Mo Rodgers is the Blues. Perhaps nobody digs as deep into the art form to elucidate what it means for Black Americans and all humanity in general. “Cadillac Jack” is the fifth cycle of the Blues Odyssey by Mighty Mo Rodgers. Mo Rogers’ album is the musical journey encapsulating the time on Route 66 where Blues became Rock n' Roll.

Interview by Michael Limnios

Photo Credits: Yann Charles, Albie Burks, Xav Alberghini, Christian Rock, Didier Jordan

What do you learn about yourself from the blues, what does the blues mean to you?
Blues teaches you...if you listen. If you don't listen you will learn nothing and create only noise. Blues is a muse. A Blues Muse First I had to learn to listen...only then did Blues give up a few of its secrets And what Blues teaches, is only for you. You see Blues deconstructs you. Breaks u down, humbles you...because Blues is truth and the truth will set you free. Blues means everything to me. We ARE the Blues People...and Blues is a gift from God, given to us to deny the lie of our nothingness. And (now) has gone around the world...to liberate...the world from its illusion of division and divisiveness...that is race, class, sex and culture and color. Blues shows through the power of its metaphyscial sound that (indeed) the world is one.

In what age did you play your first gig and how was it like (where, with whom etc.)?
I played when I was in high school. A kind of rock n' roll, rhythm & blues band. Doing mostly was popular then. Earlier I studied classical piano, (I still love classical music). I studied only for about 3 years. But music, in general has always been a part of my life. Like most young men, music was a way to get the girls to look at you, plus it was fun. It's not by chance, that rock n' roll, meant freedom, but that's another subject. I played in my high school band with my best friend, Willie B. Spencer. He played sax and another friend Ben Brown played drums. All of this was in East Chicago and Gary, Indiana. The band was called The Rocketeers.

What experiences in your life make you a GOOD BLUESMAN and SONGWRITER?
To be a good Blues song writer, once again, you have to really listen and look around. Also listen, to the great Blues song writers. Willie Dixon was one of the best. I listened to him. A Great bass player too. I kind of backed into the Blues and I'm glad I did. Too often today young folks just wake up and say, "I think I'll play the blues". It ain't that simple. Blues may be simple as to structure...but it is complex as to texture, tone and timing and of course content. Plus it is grounded in life's existential conditions. The REAL Bluesmen and Blueswomen sing about life, their life, sadly today too many so-called bluesmen, sing only "a blues song"...which is just like any other song. Life's experiences...ARE your Blues anything less...well really ain't Blues...just "the blues" We all have a book to be written...that is our life. Blues, real Blues...is your life story.
Yes, you can sing the experiences of others...with empathy and humanity...but without that...it comes off as what I call, Disneyland blues, recycled blues...and in truth...melodrama..."acting blues". It sells though because it's like opera...a Wagner opera. It ain't easy...always playing on the edge of the abyss...where Blues lives. I too, have to step back from the edge, and use tropes. But that only works if (you be) listenin' to the voices...of the haunted and allow them to speak through you.

How do you describe Mighty Mo Rodgers sound and progress, what is your music philosophy?
My Blues musical song comes out of what I've lived and what I've come to know… Life is the teacher and ones life is the real direct link. Blues is not abstract this way but comes out of lived...life. Anything less...dehumanizes Blues making it mimic of the real thing. And in truth, that's what people are mostly doing and buying today. There is not much original Blues out there. I do ALL original Blues and my themes come out of what I see as the human condition today. This is LIVING blues not some dead Blues about "a mule kickin' in my stall" Only Howlin' Wolf can do Howlin" Wolf, only Muddy can do Muddy, only Elmore James can do Elmore James. Yet all these young artist try to sing like them...is just fake and if you listen to the real thing and listen to them, well...the latter is just disingenuous at best and opportunistic at worse.
So my sound basically takes from the pages of America and the world and puts it in my Blues and/or filters it through Blues. Blues is my teacher and muse...I just have to listen. Blues is a philosophy of life. I fact (one of my Blues cycles) is entitled The Philosophy of Blues 101 Most of the black people (who created Blues) were uneducated. In a way that was a blessing and a curse. I, on the other hand, was able to get a higher education, and my major was philosophy. Interesting you write from Greece....the motherlode and foundation of Western philosophy. As Greece is to the West ascendency in the world, so is Blues as to the ascendency of American music. In fact without Blues, there would be no jazz, rock n' roll, rhythm and blues, soul, funk, house...and even hip hop. It all comes out of and because of Blues. I use my degree in philosophy to articulate for all of my heroes and sheroes who could not read or write yet unleashed on the world the profound sound...called Blues. Blues IS the Big Bang I am in the mist of doing my Blues Odyssey. A twelve cycle journey...through "the blues"...back to Blues. Deconstructing...as a go along. Blues through negation...shows we were not to go...thus showing me where to go. It IS my muse.

From whom have you have learned the most secrets about the blues music?
When I was a young man I had the good fortune to write for and produce a Blues album (what's what it was back in the 60s) on Sonny Terry and Brownie McGhee. They really opened by eyes and heart to how deep Blues is. Up until that time I did mostly rhythm and blues and soul music...children of the blues. I really didn't think of myself as a blues artist. In truth, from where I came from, and how I was brought up (middle class) I really didn't "feel" the blues. It was not that I didn't feel or think as a black American, indeed I did. But rather Blues...was and is (in that time) still part of (mostly) the black community. White America really had not discovered it, when I was growing up...in the late 50s. My father had a night club and indeed I saw great blues artist. Jimmy Reed, Earl Hooker, Willie Dixon...Albert King, Wolf and Muddy. And of course they were all over black radio. They sung Blues and LIVED it too.

The movie "Cadillac Records" alludes to this somewhat though there were two brothers that owned Chess Records. I met both of them and saw how they treated their artist....as hired help at best and really paid them little to nothing. All these great Blues masters, made their money playing on the road. I saw all of this, first hand in the comfort zone of a middle class and safe home in East Chicago, Indiana. In truth, these guys were struggling to just survive. Did I want to live like this? Or course not. What most people don't understand is that most of the pioneers of Blues lived and died poor. It was a real hustle then. The labels ripped you off and (too often) white artist covered their music and made the lion's share of their creation. I look at the 'so-called' rock n' roll hall of fame. All the people today who make it in and very rich be they white or black. It should be called the millionaires rock and roll induction ceremony. I way Buddy Guy (a millionaire) jammin' with one of the Rolling Stones. I think Bruce came in to jam too. I just happen to catch it 'cause I don't look at stuff like that,...but anyway...I was thinking" wow! A billion dollar business based on a BLUES LICK...and these millionaires call themselves...working class heroes"...Now don't get me wrong ain't nothing wrong with making money, But with Blues...it's a secular church and there should be tidings where if you get rich off of it you have to give 10% of your earnings to the Church of the Blues. I would be at the airport when all these English groups come over to tour...and demand they pay 10% tidings to the Church of the Blues a general fund to pay for health care and housing to old blues folks who ain't got nothing. I would give Eric Clapton a by because he's responsible and Eric Burton too. But Led Zeppelin I'd make them pay double...they have ripped off too many Blues lines and musical hooks. Got rich of the blues and they know as much about Blues is the Queen of England does which is zero.

I did not feel ready to do Blues until I was in my 30s and that's the truth. You got to go to the School of Blues before you can graduate and take what you (think) you know in the world. Sonny Terry taught me that. Blues is indeed a school and it ain't just about playin' it. You can have all the chops in the world. You can know all the notes and technique that make Blues blues. But understand this: technique is only a tool. To be original in Blues ain't easy. You use your blood for your paint and your skin as your canvas to paint as best you can.
Taking out of your life...out of lived life...anything less is not really the real deal...only more of the same...ol' "the" blues. I also learned the secrets... from my mother. No one, but no one has LIVED blues like black women. As I say in one of my songs..."Blues Is A Woman, Woe Is A Man" People like to go back to Robert Johnson as one of the beginnings of Blues...that's crap. Ma Rainey and Bessie Smith and so many other black blues women come way before Robert Johnson. Listen to the genius of Aretha Franklin...that's Blues or Mahalia Jackson...that's Blues. Most commercial blues really ain't Blues but just recycled blues. Not much originality goin' on. But fans are to blame for this. They want Muddy or Wolf or "Sweet Home Chicago" please If I hear "Sweet Home Chicago" one more time...it ain't going to be too sweet up in there. But as I said...it is very difficult to do original Blues. Why because Blues IS truth and the truth will set you free. But folks are afraid of the truth. They lie to themselves and they lie to one another. Blues don't lie. It can't lie...because it comes from God...and God don't play. Most folks don't want the truth of existence...their existence. Blues has taught me all this...I can do no less than honor it...the Blues Muse

What is the “feel” you miss most nowadays from the Stax and Muscle Shoals era?
The miracle that was Stax, was that for a short time blacks and whites came together to "feel" one another through music as Americans. Memphis is really the crossroads of American music and in truth is the heart of rock n' roll, not Cleveland. Memphis, where Dr. King was killed and where Elvis recorded, is the South and only an hour away from Mississippi. The South with all of its ugly history gave the world Blues and all that followed it. Blues took that which was (disfigured) and (transfigured)....it into something wonderful. This is not by accident...but a miracle. The 'feel' of Blues is still in popular music. In fact...the power of popular American music comes from the "feel" of Blues...that IS its power. Feeling is not really a sense but rather a transcendental sense...that holds all of humanity together...it comes out of empathy...which comes out of love. That indeed is "One World". The power of "feeling" Blues is totally misunderstood.

There has been a lot written on all of the musical players in Blues and rock n' roll. There has been a lot written about the singers too of Blues and rock n' roll. But barely nothing on the "voice" of Blues and Rock n' roll. For in truth, to really sing Blues or rock n' roll or any of what comes from this...you have to sound black. Blues IS sounding black. Blues IS black of tongue. Africans didn't bring a guitar over on a slave ship or a harp or a piano.
They only had their "cry...their Holy Howl. Blues comes out of the existential void when, (only in America) they took away the drum from the African. That's why you hear polyrhythms all across the Americas and in the West Indies Island (but not in America) because they (didn't) take away the drum. In Mississippi they had the black codes that forbid Africans from making or playing drums. And for an African…a drum is one of the existential (s) that makes the African... African.

Ghana...the first black African country to get its independence...had a drum on its first stamp. And there are at least 12 African countries that have drums on their stamps too. Drums for an African are not just for rhythm or dancing. They are communication and a gateway to the other world. Portals...to the dead. And all over the Americas, where Africans...were enslaved...they (still) had the drum. Not so in Mississippi and other Southern states because of the black codes. There are WORSE things you can do to a man...then enslave him. You can (totally) take away his humanity and/or by take away any and all things that made him what he (used) to be...the final insult...."they took away the drum".
A Bluesman...knows this profound truth. Self-preservation is not the (first) law of life. The first law of life is sanity. When life don't make sense....all the money in the world won't save you. Sanity IS the first law of life. To make sense of life...to make sense of (your) individual life...is what we are all called to do...in the end. Blues as a "feeling"...is not sad and defeating...for it is hopeful. If you can sing about your sorrows and sins...in the end blues says "you'll get to do it again". Hope is the dope...of Blues. And it "feeling" is the power of the Middle Passage and the diaspora through which the Blues People came.
As I sing on my first cd "Blues Is My Wailin' Wall"...'they took away the drum'...that's how the Blues did come" Blues came as an ontological call...of being. Humans (black Africans) were reduced to chattel...things...a lie to God and God responded by bring Blues from within this ontic vacuum...as the Holy Howl. That's its power, that's what/why so many people from around the world respond to it. To "feel"...Blues one must remember you are (at best) a FACILITATOR. Ego tripping on Blues...like «look at me» doesn’t do it.
One must approach Blues in a humble manner if you want to "feel" what it is a about. Yes it's a lot fun and "shake your booty" music too and "I feel all right 'cause I got my woman"...but it is much, much more. Real Blues can make you a better human being. Look around ya...there's Blues everywhere...start there...if u want the truth. And Blues says...."use me to tell that truth"

Which was the best moment of your career and which was the worst?
The best moment...well let me say it in my Blues mantra. Every tone, a tune, to a testament, of a tale, in a timeless truth...of the Blues Those moments ...are the best. And the worse moments are those where I fall short of the above. It's a constant fight to transcend the trivial and superficiality of one's own life. But if you are dedicated...sometime Blues will give you a small piece of the truth.

Which is the most interesting period in your life and why?
Now is always the most interesting period for me because it really ain't a period. Now is where you can catch a peep of 'nu bluez'.....today/now...is the closes you can come to eternity In truth you only can write out of your (time frame) as permanent as it may seem to be it really is quite ethereal and surreal. Blues will remind you of this...if you listen. We all have our "crossroads" and cross to bear...and in the end....death is how the poor get back at the rich. Yeah...Blues WILL keep you honest.

How has the music business changed over the years since you first started in music?
Music has changed quite a bit. With the opening of the internet and digital there are lots of possibilities and lots of dead ends. There's (more) noise now...because music is driven by commerce rather than the other way around and it's an oxymoron...the "music business". And if you don't know much business you'll get the business. Driven by quarterly profits...it is (sadly) not about quality but quantity. I tell young folks you better be in it because it's your passion first and not for profit. Most people in music (in fact in all the art) really don't make much money if they make any money at all. I really didn't start to make any money until I started to produce my music and control my songs completely.
I could have made a whole lot of money if I had let certain people (in the business) produce me and direct me in ...their direction.
I said no a lot, still do. Why? Because I refuse for someone to tell me what it means to be a black Bluesman in America. Too often, the Blues text is controlled by people who don't have a clue as to what Blues is. Blues comes out of slavery. That’s a cold fact. If not for slavery, there would be no Blues...no billion dollar music business. Now I'm cool with that. But don't try and demand that I take my eye off of my vision. I (do) have a vision and it is driven by my Blues Muse. "If you dance to the music you pay the piper". Which means...some company gives you some money to do...your music ...your vision and (most often) they want to (tell) you what to do. I don't need anyone to paint my picture. Say, you an artist and you painting a picture on the street, and someone come up to you and say "can I paint on your picture?" That's crazy. As I said, blues comes out of slavery it is our (hell)ocaust from which something beautiful happened...Blues. I am on (my) Blues Odyssey...don't need no one to drive my ship...God is my co-captain.
The worse thing about the music business and Blues in particular are the blues police. People who control the festivals and major venues. Too often, who they have playing...are really quite pedestrian in their blues playing. They do generic blues at best. The blues police...come out of the new (racism) in America. It's not about race as much as it is about class today. And they book...what you know. And these blues police...really don't know anyone black, so in an ethnocentric way, they book only what they know and that's usually a white boy...trying to play the blues. Now I ain't being racist here. I got white cats in my band, but they are there because they can play not because they are white. The great Stevie Ray Vaughn, now he could play the blues. Why?  Because he knew the Blues Muse and came to it with humanity and love and empathy. Stevie Ray said something once and I repeat it here. He was coming off the stage once and someone asked him...'how it go' and Stevie said "not so good...I sounded white". Now that's a simple but profound truth...Blues IS sounding black, plain and simple. But too often a lot of these white cats...(well they may sound good)...but it ain't Blues it's at best rock n' roll...and at these Blues festivals all over America, they are shouting and singing like they're Blues singers...they are definitely not that. Hell, you just can't wake up one day and say..."I think I'll do John Lee Hooker". Fall out of bed and say "I'll do the Wolf." You got to be born to that. Hell I don't try to do Wolf or Hooker...and my black ass is black.

I was born middle class...safe and only begin to understand the Blues when I went out into the world taking what (really) is the only thing you can take, if u are black...and that's the Blues voice...black of tongue. That's what hip hoppers come out of. That don't mean just because you are black, you can sing Blues. That's silly. But if u be black you do start off with an advantage...if u got the gift. But often, when white folks like Stevie or Kim Wilson, when they do get it right...can leap frog over a lot of black folks who indeed sound just as good, because the blues police...in an ethnocentric way...cater to what looks like them. This is natural, but the (consequence) of all the blues police out there, telling the public what is and what ain't Blues is creating...and white blizzard that is marginalizing black blues. The people who created it are being erasured out.
Sam Phillips famously said..."if I could find a white boy who sounded black, I could make a million dollars"...and Elvis walked through the door...and the rest, as they say is history. Elvis loved the blues...that's a fact. I don't believe all that racist crap that has been said about him... you don't sing with passion and feeling as he did when he did his rock and roll blues and (not) love the blues. I put it in a song "The Boy Who Stole The Blues"...as a metaphoric feeling to that time.

My new cd "Cadillac Jack" expands on this. Blues magazines in America like Blues Revue...have cover stories on blues artist. 80% of the cover stories are on white blues artist 80%! I've had "Redneck Blues" voted one of the blues records...of the decade...and another "Red, White and Blues”  the urban blues alban of the year. I go to Europe often Spring, Summer and Fall...and ain't never seen hardly any of these "cover"...story...blues acts in Europe...even once. It really don't bother me...though...because as one (good) critic wrote... "Mighty Mo Rodgers" music will be around long after all these "I lost my baby" blues artist are gone." That's about right Blues is the hen that laid the golden eggs...don't kill the chicken...it be black and blue...and if (no more) do what it do...blues be through

What advice would you give to aspiring musicians thinking of pursuing a career in the craft?
My advice is simple and wished I'd known it when I was young. Do what you love, be inspired and do it like your life depend on it. Surround yourself with (only) positive people who believe in you. And in those places that you are weak (in getting) your art out there, get someone who is strong. Network, network, network, Pray, believe and do...stay focused. Success in life is energy and staying focused. "Keep your eye on the sparrow"

Why did you think that Mighty Mo Rodgers continues to generate such a devoted following?
Anyone who has followed my (path of music) knows (or should know) that I am driven by a vision. I come from a time when we believed that music could change the world...I still do...believe this. Blues is truth. And it is my ship, my tool in my journey to Truth. My music is fun, ironic and I do laugh at life with all of its craziness and absurdity. Love is what brought us here and love is what gets us through and love is what brings us back. There are only three things that are for certain...death, taxes and the blues.
Now I can't help you with the first one...that's up to the man or woman...up stairs. I can't help you with the second one either...that's up to your government. But the third one...well Blues I can help you with that. No matter if you black, white, red, yellow...or brown, rich or poor...a loser or a winner...man or woman...gay or straight and everything in between...u gonna get some Blues. Now Blues has its own antidote. It takes...Blues...to cure the blues. I am just a Doctor...of the blues. I will cure you...with its truth. The gift given to my people from God...to give to the world...the Blues will set you free.

 Are there any memories from L.A with T-Bone, Albert Collins, Jimmy Reed, and many others, which you’d like to share with us?
Backing up T-Bone Walker a great guitarist and the writer of "Stormy Monday" was wonderful, Albert Collins to was great. But for me Jimmy Reed was the real Blues. He was the first blues artist I really listened too. He doesn't get the respect he deserves because his style was so understated. But what he sing about and how he did it, well for me...that was and is the blues. I've played behind Sam and Dave, Edwin Starr the great Roy Brown and did shows with the Temps and Four Tops and toured with Michael Franks. I've done festivals with so many people jazz and blues and it's all good. Blues is still out there...and younger generations are getting turned on to the blues, and that's a good thing.

Which memory from Sonny Terry and Brownie McGhee makes you smile?
Just watching Sonny and Brownie work together was a musical education. Sadly they argued like two old women and late in their careers they broke up, but in truth they were like a hand with a glove, they needed each other and worked great together. I really enjoyed doing the record I did with them. Brownie always said it was his favorite record. I remember later going to see them at the Ash Grove, THE folk house in LA. And Brownie didn't want to do a song I recorded on their album, Randy Newman's "Sail Away".  Sonny loved the song so he just did it all by himself. Sonny and his harp. Man it was so beautiful, it made me cry. He was the blues....and brought me back to it by showing how deep and beautiful Blues is that performance put a smile on my face.

What is the best advice a bluesman ever gave you? What are the secrets of Blues Life?
No Bluesman really ever gave me any advice face to face. But I've heard the thoughts and ideas of many great Bluesmen and women, in their music and have learned from that. Blues lyrics are our best poetry. And if you listen to what the original Blues masters put down...well it's all there. I just build on that foundation; I stand on the shoulders of giants. So listen to the blues it will give you all the advice you ever need. T-Bone Walker did give me some advice once. I was dating this woman and she was crying because I had cut her loose. He said..."don't dog her around." It was a one night stand...but he was right and I learned to respect someone who digs you even if you don't dig them. I was very young but you learn what goes around comes back around....that's the blues.
What are the secrets of Blues life? If I told you that would it wouldn't be a secret, now would it? Listen to the Blues. "Many are called but few a chosen"...and if you are chosen the Blues Muse will tell you the secrets...you need to know. I can't tell you 'cause what was told to me...was for me. And what is told to you...is for you... alone.

What’s the best jam you ever played in? What are some of the most memorable gigs you've had?
Too many to name. I love all the gigs I do. Why? Because the Blues fans are really the stars. All the people here and overseas who love support and buy Blues are the real stars. They know the real deal. And jams I did and liked? Probably T-Bone Walker...way back in the day. Nowadays I don't do much jamming because all I do when I'm playing live is original Blues music.

Do you know why the Blues is connected to the Afro American culture and civilization?
Blues is connected to the African American culture because, simply put we are the Blues People. As Jews are the People of the Book, we are the People of the Blues. Sadly too many black folk have gotten away from their roots as they have become more like middle class white America. For them Blues represents too many bad memories of hard times.

Yet Blues lives on inasmuch as it is the foundation of all popular Western Americana music. If not for Blues there would be no rhythm and blues, rock and roll, soul, heavy metal, funk, disco, house, and hip hop. Every 25 to 30 years black Americans create a new sound that reenergizes music. That new 'musical miscegenation' becomes a money making commodity because it's grounded in Blues, in a musical and metaphysical way. Blues is the Holy Howl. It is the echo of an ugly past where through slavery the Africaness was washed away from African slaves brought to the United States. They were made invisible...to themselves. Blues came as a reminder of who, what and where they...BE and who they BE. And because Blues comes from beingness itself, it is Godly music. Blues is not devil music.

That's just some spin by mostly white writers and black preachers who say this music coming from uneducated, low life poor black folks who were supposed to do...nothing. Nonsense! From a people who were the least free...has come the freest music of all...blues/jazz. Blues is an existential ontological argument...call and response between the African and the African American...when (one and the same) ran into himself...down at the crossroads. Trying to get away...running and running. And no one is happier than a slave who is running away. He may not know where he is going but he sure knows where he's been. And on the run...he's so happy. And that's the Blues mantra..."I'm happy...happy as a runaway" Cogito ergo sum, or as I like to say it, cogito ergo..."boom boom boom boom"...gonna shoot you right down, as John Lee Hooker sing. Blues IS the African American civilization. It not only civilizes you and me, it also makes sense of life. The way blacks folks talk and walk, our style and wow...that's copied around the world...that is our culture. Blues IS an existential attitude wherein one makes "sense" of life. The original Blues artist knew that making sense of life is the real first law of life, not self-preservation. And white folks need Blues too. They respond to it because they feel honesty (there) that you won't find anywhere. That honesty comes from the fact that Blues comes from God to deny the lie of our nothingness, wherein they found themselves...once freed as slaves in America. It gave them an (identity) as a response to the call...of mother Africa to the and loss and found people...the Blues People. Therefore everybody needs the blues and gets the blues. Blues is real. There are only three things for certain in life...death, taxes and the blues

What is your DREAM and NIGHTMARE? Happiness is……
We all have dreams; we all (sometimes) have nightmares. I would rather say...life IS a dream. A phantasmagoria wherein we make sense of the dream as we live out (our) life. Happiness is in the (now) as you live your dream between the light and the dark with (only) love to guide you And if you are to get (through) you need Light. The light of truth...that is in all of us, in the beginning of our life. Sadly, the Light gets dissipated as we go on because of hate (which is the loss of Light). So one must learn to...leave hate to those who are too weak to love.
And Blues (being truth) will help you on your journey through life...if you listen.

Any last Comment for the Greek blues Fans?
Someday I'll tour Greece...Socrates laid down some real good Blues..."know thyself"...now that's some real existential deconstructive down home chicken lickin' blues

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