Blind Willie McTELL & Bob Dylan
Born William Samuel McTier (or McTear) in Thomson, Georgia, blind in one eye, McTell had lost his remaining vision by late childhood, but became an adept reader of Braille. He showed proficiency in music from an early age and learned to play the six-string guitar as soon as he could. His father left the family when McTell was still young, and when his mother died in the 1920s, he left his hometown and became a wandering busker. He began his recording career in 1927 for Victor Records in Atlanta.
In the years before World War II, he traveled and performed widely, recording for a number of labels under a different name for each one, including Blind Willie McTell (Victor and Decca), Blind Sammie (Columbia), Georgia Bill (Okeh), Hot Shot Willie (Victor), Blind Willie (Vocalion), Red Hot Willie Glaze (Bluebird), Barrelhouse Sammie (Atlantic) and Pig & Whistle Red (Regal). His style was singular: a form of country blues, bridging the gap between the raw blues of the early part of the 20th Century and the more refined East Coast "Piedmont" sound. He took on the less common and more unwieldy 12-string guitar because of its volume. The style is well documented on John Lomax's 1940 recordings of McTell for the Library of Congress, for which McTell earned ten dollars.
In 1934, he married Ruthy Kate Williams (now better known as Kate McTell). She accompanied him on stage and on several recordings, before becoming a nurse in 1939. Most of their marriage from 1942 until his death was spent apart, with her living in Fort Gordon near Augusta, and him working around Atlanta.
Post-war, he recorded for Atlantic Records and Regal Records in 1949, but these recordings met with less commercial success than his previous works. He continued to perform around Atlanta, but his career was cut short by ill health, predominantly diabetes and alcoholism.
In 1956, an Atlanta record store manager, Edward Rhodes, discovered McTell playing in the street for quarters and enticed him into his store with a bottle of corn liquor, where he captured a few final performances on a tape recorder. These were released posthumously on Prestige/Bluesville Records as Blind Willie McTell's Last Session.
McTell died in Milledgeville, Georgia, of a stroke in 1959.
He was inducted into the Blues Foundation's Hall of Fame in 1981.
HAND ME MY TRAVELIN' SHOES: In Search of Blind Willie McTell, by Michael Gray You can READ about the Book @ the above Link!
"Blind Willie McTell" is a song by Bob Dylan, titled after the blues singer Blind Willie McTell. It was recorded in 1983 but left off Dylan's album Infidels and officially released in 1991 on the The Bootleg Series Volumes 1-3 (Rare & Unreleased) 1961-1991. The melody is loosely based on "St. James Infirmary Blues". For the song, Dylan, seated at the piano and accompanied by Mark Knopfler on the twelve-string acoustic guitar, sings a series of plaintive, heartbreaking verses depicting allegorical scenes which reflect on the history of American music and slavery. Each verse ends with the same negative refrain: "Nobody can sing the blues like Blind Willie McTell."
Following three albums with overt Christian themes, Infidels struck most major rock critics (perhaps erroneously) as dealing largely with secular concerns, and they therefore hailed it as a comeback. Yet contrasted with Dylan's contemporary live performances, the studio album seemed flat and stagnant to many fans. "Blind Willie McTell" confounds the story further. When bootleggers released the outtakes from Infidels, the song was recognized as a composition approaching the quality of such classics as "Tangled Up In Blue", "Like a Rolling Stone" and "All Along the Watchtower".
According to the Rolling Stone, September 7, 2006 interview "Dylan can't possibly be sorry that the world has had the benefit of hearing, for instance, "Blind Willie McTell", - an outtake from 1983's Infidels that has subsequently risen as high in most people's Dylan pantheon as a song can rise, and that he himself has played live since. Can he? Bob Dylan - "I started playing it live because I heard the Band doing it. Most likely it was a demo, probably showing the musicians how it should go. It was never developed fully, I never got around to completing it. There wouldn't have been any other reason for leaving it off the record. It's like taking a painting by Monet or Picasso - goin' to his house and lookin' at a half-finished painting and grabbing it and selling it to people who are 'Picasso fans.'""
The Michael Gray book "Song and Dance Man III: The Art of Bob Dylan" (2002) includes a highly perceptive chapter about this song and its musical and historical background.