Authors: Peter Guralnick
Nighthawk Blues
NIGHTHAWK BLUES
“An exceptional book. … In
Nighthawk Blues
Guralnick reaches for the most elusive goal of anyone who writes about music this passionate and complex — to make the reader feel the power of the blues, and the joy it offers.”
— Franklin Jones,
Jackson Sun
“An ambitious novel. … Refreshingly different from the usual run of music fiction.”
— Simon Frith,
Boston Phoenix
“Engrossing and evocative. … Guralnick is most moving in his depiction of the Hawk himself.”
— Harry Sumrall,
Washington Post
“Guralnick brings the same sensitivity and loving attention to detail to his fictional characters that he brought to their
real-life
counterparts in his two wonderful collections of musicians’ portraits:
Feel Like Going Home
and
Lost Highway.
”
—
Library Journal
“Unlike most efforts to explicate the mystery, majesty, and urgency of the blues, this book is grounded in a black voice — the ornery, weathered, contradictory, restless voice of the Screamin’ Nighthawk. … Mr. Guralnick takes a larger-than-life mythos and grounds it within the humble boundaries of tar-paper shacks and dirt roads, feverish
one-night stands
and jugs of demon whiskey.”
— Steve Dollar,
Atlanta Journal-Constitution
“A true love story full of pleasure as well as pain.”
— Walter Carter,
Nashville Tennessean
“Guralnick writes with tremendous feeling for the rough-and-tumble dignity of the Screamin’ Nighthawk.”
— Dave Marsh
“Peter Guralnick’s novel draws upon his vast experience of the music he has known and reported on, and he has turned his information into the stuff of people and feeling. We can all be pleased and grateful that Guralnick came to fiction. We knew he was a comprehensive reporter, and now we know that he is extraordinarily able as a storyteller, too.”
— Mark Harris, author of
Bang the Drum Slowly
“As a search for depth and authenticity in an America that sees those qualities fading away,
Nighthawk Blues
says something to anyone who ever looked outside himself for something that can only be found within.”
— Don McLeese,
Chicago Reader
“The author of superb nonfiction profiles of blues, country, and rock ’n’ roll artists, Peter Guralnick may very well have fashioned his ultimate portrait in the Screamin’ Nighthawk. … He has created a character against which we must no measure our own personal blues heroes.”
— Robert Hull,
Creem
Feel Like Going Home
Lost Highway
Sweet Soul Music
Searching for Robert Johnson
Last Train to Memphis: The Rise of Elvis Presley
Careless Love: The Unmaking of Elvis Presley
Copyright © 1980, 1988 by Peter Guralnick
All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review.
Originally published in hardcover by Seaview Books, November 1980 First Back Bay paperback edition, October 2003
The characters and events in this book are fictitious. Any similarity to real persons, living or dead, is coincidental and not intended by the author.
Grateful acknowledgment is made to the New York State Council on the Arts and the National Endowment for the Arts for financial assistance with the publication of this work. Permission to reprint lyrics from the following songs is gratefully acknowledged: “Don’t Deceive Me” by Chuck Willis © 1954 by Tideland Music Corp.; “How Long, How Long Blues” words and music by Leroy Carr © copyright 1929 by MCA Music, a division of MCA Inc., N.Y., N.Y., copyright renewed. All rights reserved.
Warner Books
Hachette Book Group
237 Park Avenue, New York, NY 10017
Visit our website at
www.HachetteBookGroup.com
.
First eBook Edition: April 2009
ISBN: 978-0-316-07544-2
FOR ALEXANDRA
Now you’s dirty mistreater
Robber and a cheater
Slip you in the Dozens
Your pappy is your cousin
Your mama do the Lordy Lord . . .
— “Dirty Mother for You”
Contents
V: THE SCREAMIN’ NIGHTHAWK: LAST OF THE LEGENDARY BLUESMEN
WRECK ON THE HIGHWAY
As USUAL they were arguing—it was always about money or women or something that had happened in the dim forgotten past, and half the time it was a combination of all three. Hawk was driving, his hands gripped tight around the wheel. Teenochie sat next to him, stiff and erect, a derby perched lightly atop his shaven head. Wheatstraw kept one hand on the doorhandle, and every so often the door itself flew open, prompting cries of “What you doing, you crazy fool, you want to get us all killed?” and a squealing of car brakes.
“What you talking about?” Hawk’s voice boomed out unmodulated, filling the automobile as if it were a concert stage. “I been knowing that gal for fifty-two years, and she be doing tricks when I met her. That gal got a cock that’s made of whalebone, and your dick better be made of rubber if you want to last the time with her. One time she get a whole orchestra in the studio, and she do ’em all, sometimes two at a time. That’s why they call her Ma Grinder. She-it.” He chuckled to himself. “That gal keep all the nickels she ever made, she have more money than Rockefeller ever seen.”
Wheatstraw giggled, and the door nearly flew open again. He gave his Woody Woodpecker laugh and fished a battered harmonica out of his suitcoat pocket.
“Yeah, yeah, but still and all, she wasn’t no whore,” Teenochie protested. “She made some good records—”
“Shoot. Just because she whispered sweet nothings in your ear fifty-two years ago!” Hawk rolled down the window and spat contemptuously. “You think every pussy you get has got your name written all over it. You get them little old white gals come up to you at the colleges, say, Mr. Teenochie, play me some blues, and right away you be thinking they gonna suck your dick. Shoot. You couldn’t use none of that pussy no more anyway. You better off with a goat.”
“A goat!” said Teenochie indignantly.
“Yeah, just like that 3-in-1 oil, with a goat you can suck, fuck, or buck, then when you get tired of that you can cook it and eat it up—man, that’s where you really getting your money’s worth.”
Hawk guffawed heavily. Teenochie sent daggers of resentment with a lopsided, gold-toothed grin. Wheatstraw ran his lips over the mouth harp, closed his eyes, and dreamed of Arkansas.
“You think they give you a good count?” said Teenochie, taking a long pull from his bottle and pointedly recapping it without offering Hawk a drink.
Hawk nodded. “Don’t make no matter. They got it worked out between them.”
“Who? That kid and Jerry?”
Hawk just grunted.
“Well, Jerry ain’t so bad, man. Not like some of them managers I had. At least the cat is trying.”
“She-it, I wish he try a little harder and just get out of my life,” said Hawk. “I get along fine before I ever knowed that boy, and I get along fine after he be long gone. Sometimes he act like he don’t even think
I
been out here before, but
I
been out here for sixty years, before
I
knowed him, before
I
knowed you—
“I don’t like playing in no college gyms,” Teenochie cut in, not wanting to hear any more of what Hawk had to say, not wanting to put up with any more of Hawk’s emphatic opinions. Ever since they had been out on the road, for nearly a month now, he had had to listen to Hawk’s stories, he had had to endure seeing Hawk get the credit which, if there were any justice in the world, would go to Teenochie Slim, he had had to suffer Hawk’s impatient correction and practical jokes—and he older than Hawk himself and practically having given him his start in the business! He had pleaded with the boy, he had told Jerry that Teenochie Slim was a solo act, but the boy wouldn’t listen, evidently Hawk had taken the boy in, too. He said, “Hawk and
I
are friends, we’ve worked together for a long time now.” Friends! That motherfucker wouldn’t know the meaning of the word “friendship.” Well, that was all right, Teenochie thought. He would get his own back in the end. He always did. He twiddled with the radio dial, but the radio, of course, didn’t work. “Sound of the piano get lost in them gyms,” he said. “Boy didn’t have it miked properly tonight.”
“Hunh!”
“You asleep or awake? I can’t never tell, cause your eyes be open all the time. You still awake?”
“I must be awake. I can still hear your yammering.”
“And another thing. I don’t see why you got to go on last all the time. Just as many peoples there to see me as there is to see you. It make more sense,
I
think, if
I
be out there playing piano behind you, then
I
just stays out there and does my little number at the end.”
“That’s all right,” said Hawk imperturbably. “We just call up the boy and tell him. You know, you stomping all over me tonight anyway—I don’t think
I
want to hear no more piano when I be playing.”
“What you talking about, I be stomping all over you? I couldn’t hardly hear myself, your git-tar was turned up so loud. Hey, where you going? You wandering all over that center line.”
Hawk said nothing. Wheatstraw woke up and started playing his mouth harp, a sad, lonely, achingly astringent blues that seemed curiously at odds with the franchise-cluttered highway. “That’s pretty,” said Hawk, nodding his head. “Play some more.”
Wheatstraw, who scarcely needed encouragement in the first place, beamed. “Yeah, it be better to play than to talk,” he said, in a statement that pretty much summed up his personal philosophy. It was then that Teenochie saw the truck. They seemed to be heading straight for it. “Hey, Hawk, hey, Hawk,” he said, not worried at first, thinking it was just another game Hawk was playing. When he looked over, Hawk was still gripping the wheel, still staring fixedly ahead, but seemingly not seeing anything. “Hey, wake up, you crazy motherfucker,” Teenochie screamed. “Don’t you be doing me this way.” Wheatstraw just kept on playing.
RHYTHM ROCKIN’ BOOGIE
J
ERRY
was in the middle of an uncharacteristic sequence of conference calls—shifting phones from ear to ear, trying to act casual, as if it were really he who was negotiating another big-time deal instead of that improbable impostor who had taken over his true klutzy self—when his secretary, a high-school dropout in blue jeans and pigtails, sailed in oblivious and tapped him on the shoulder. He stared at her, looked out the window, listened to what Sid and the lawyer each had to say, watched the kids run through Harvard Square and the traffic jostle noiselessly along. He raised his hand—no interruptions, he said with a gesture, knowing that Stephie wouldn’t take that kind of ceremony, she would just give him shit about it afterward. Over in the corner was a bar, though Jerry never drank alone and rarely had people in. The big-screen color TV had a game show on; the women were exclaiming silently over a new, all-purpose, all-in-one appliance which, if you believed all the claims made for it, could only help implement Thoreau’s advice to simplify, simplify; the
MC
cooed with his patent-leather hair and stay-press soul. …
“It’s Hawk,” Stephie said loudly.
“Look, could you, I’m sorry, could you hold for a minute, look, why don’t you guys just, uh, talk to each other, I just, something just—What?” he said to Stephie, knowing full well what she had just said.
“It’s Hawk on the other line.”
“So?” He stared at her blankly.
“He’s calling from the hospital,” Stephie said.
This was ridiculous, he was thirty-six years old, he might in some quarters even be considered a success, he didn’t have to apologize to anyone. …
“Look. I’ll call him back.”
“He doesn’t sound so good,” she said. She dabbed at her eye. Did Stephie, too, have feelings that extended beyond the next Springsteen concert? Oh, shit. Why did Hawk always have to be his problem? Truly sometimes he wished he had never met—but then, of course, he would never have met Lori, whose contract he was in the midst of renegotiating. In fact everything that had happened in the last ten years, good or bad, was in some way connected with Hawk. He wished he were married. He should long ago have come to some resolution—
