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Prison Blues

Once will not hurt, I could compose this package in the manner of Question for a champion . Top it off! Born in 1914 sentenced homicide, I am serving my sentence at Angola Penitentiary where I sing the blues in accompanying me on guitar ... and blah blah blah, and blah blah blah ...

It says there anything? No. Is not that stupid? Si Could I ever say something? This is not won!

(photo Taylor Lasseigne)

Splash, splash ...! In 1958, came to record songs of prisoners, ethnomusicologist Harry Oster landed at Angola Prison eventually fall on the prisoner Robert Pete Williams who convicted of murder, pays his debt to society by pushing the song in his last entrenchments. Between these walls at the foot of these towers, where 30 years earlier, Alan Lomax another ethnomusicologist, recorded Leadbelly for the first time, Harry Oster engrave in wax laments electrifying Robert Pete Williams and even help secure his release on parole. What should we think of this? Know that what destroyed the rebuilt power? That American society - its brutality, its violence - leads his black artists in the dungeon? Than in the U.S., prisons, run by whites, blacks make great artists? That art, far from being a path that leads nowhere, opens a path to salvation? Who knows ...?

Harry Oster & Robert Pete Williams

Leadbelly and Alan Lomax

The answer, as obvious as a multiply, yet fits in a few LPs of light and sorrow. Set in the human soul to eternity, the blues of Robert Pete Williams took birth in a guitar slightly off, slightly sour, almost out of tune when read as a leathery hand already, the thousand faults of a life, the mistakes along the way, repentance, the pain of being, the questions turned to the sky ...