It’s a raw, unfinished Muddy, but he’s got personality aplenty, sells the song, and the voice is all his own.
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“I Can’t Be Satisfied” was a great record it churns along with plenty of the “rythm accompaniment” ( sic) the label promised, though it was only Mud and his slide guitar, plus the slapping bass of Ernest “Big” Crawford.
Muddy made No.11 in this listing, a decent showing for an unknown guy releasing his first single for a newish label. In post-war America, bluesmen didn’t have pop “hits.” They had their own chart (for which, read: “ghetto”) in which “race records” could compete. Though still one of the best Muddy Waters songs, “hit” may not be quite the right word. Three years later, the record companies were sniffing around and Muddy signed with Aristocrat two years after that, in 1948, he hit with “I Can’t Be Satisfied.” In 1943 he moved north to Chicago and played in clubs, but the city crowd was so noisy that Muddy had to get an electric guitar. Muddy was shocked when he realized how good he sounded: he’d never heard himself sing before. He sang 18 songs into Lomax’s tape recorder in 19 Lomax called them field recordings, but they were done right there in Muddy’s shack. Though he wasn’t missing, Muddy was “found” in Stovall, Mississippi, by blues and folk historian Alan Lomax. The kid got good, learning the tricks that he’d deploy time and time again in the best Muddy Waters songs. He was fascinated by music and began playing guitar and harmonica in his teens, modeling himself on Robert Johnson and Son House when he sang at parties. His mother died young and he was raised by his grandmother, who was amused by her grandson’s inclination to muck around in muddy water she called the toddler Muddy. McKinley Morganfield was born on April 4, 1913, 1914, or 1915 in Mississippi (poor black folk in the US south often didn’t adhere to the rules of registering births because society didn’t care if they lived or died).
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