Revolutionary Underwear

Rock 'n' roll black

Facing a movie - who knows how many movies have me up? - Only two issues that concern me the truth: they are the characters watched from near and far, how fast, quick or slow, are staging the situations they are tormented subjects? What new relationships are weaving between people, or between people and things, how fast and how far they are they shown us?
I must admit in the sense that the staging overexcited succession plans treated with electroconvulsive m'indiffèrent always more. To show me more sensitive to the time of thought, slow thinking, to life as it happens, my preference is for filmmakers like works that leave the fabric weave fabric, with things happen on time, their own time.

Jimmy Reed, Big Boss Man

With music, it's the same. Short-circuit bore me, freezes me hysteria, frenzy get tired. I love the languid rhythms, cadences indolent, the "mid-tempo" stretched to laziness. So too does the Jimmy Reed blues , this rock 'n' roll black - nice expression I'm Peg Leg Odell - slower, less edgy and angry than whites. In six discs of the first magnitude, The Vee-Jay Years (1953-1965), Jimmy Reed leaves a legacy of hilly dormant volcanoes where the fire still smoldering as much as disease may smolder and revolutions. In revolution precisely Odds and Ends (1957) puts the blues backwards, ass over head, and gives his music an edge on what can, in these same records, s' listen at the time. Absolute class, definitive Jimmy Reed: go ahead and slowly everyone, make a Copernican revolution that saw the arrival of the turtle before the hare, low behind the strong overcome the dark white.

Year unknown

Warning masterpiece!

• Odds And Ends (The Vee-Jays Years, 1953-1965 - Charly)

But of course when it rains, the pitch is heavier, slower walking more ...

• Little Rain (The Vee-Jays Years, 1953-1965 - Charly)