Clarence Carter – I Stayed Away Too Long
Yeah, I love Otis, Pickett, but my man Clarence? He don’t get enough love.
He’s more than just “Patches” & “Strokin”. Appreciate!
More Clarence love…
From the write up in Snatching It Back (only $9.98):
Well, I’II tell ya, it makes no difference if you came from the city. And it don’t matter if you came from the country. And some of you out there within the sound of my voice may have come from the suburbs,” declares Clarence Carter, in his most stentorian tones, at the climactic moment of his lost masterpiece. “Making Love (At The Dark End Of The Street”). He is preaching on one of his great themes -the furtive pursuit of love- but he might as well be sending a message about the universality of his music. For Clarence Carter is both an artist steeped in the most traditional aspects of Southern music and one of the most modern of all deep bluesmen.
Unlike most of his peers in the Southern soul hierarchy. Carter’s musical approach harkened directly back to acoustic country blues. Specifically, he was the final link in a long chain of blind blues singer-guitarists, a descendant of Blind Lemon Jefferson. Blind Willie McTell, and Blind Willie Johnson, among others. Like them, he was possessed of a special vision, darkling and a little frightening. In Carter’s case, love, particularly cheating love, became the great spiritual metaphor. In a sense, he owed more to the preaching gospel-blues of Blind Willie Johnson than any of the others, for even when he was singing the melody straight, you always had the feeling that Carter was reaching for a homily and his vocals feature frequent interjections and interpolations. spoken, gasped and hummed, whose source could only be the gospel church.
On the other hand… (read more)