Gussow was born in a small town outside of NYC, began playing with a band
in college and eventually found his way to a New York blues bar where he
met a storied musician, Nat Riddles, who became his mentor on harp and in
blues life-styles. Riddles disappeared after being shot several times and
later turned up, battling cancer. In the meantime Gussow had met a serious
longtime lover and began the tussling of negotiating romance in the days
of feminist ideology strongholds.
One day on the streets he heard a bearded, manic guitar player working
with a portable amp and high-hat cymbals, sounding like a cross between
"Robert Johnson and Parliament Funkadelic, a Mississippi flood roaring down
Broadway." Mr. Satan (aka Sterling Magee) had worked in Noble Thin Man
Watts band in the sixties and with King Curtis, doing backup behind people
like Little Anthony And The Imperials, Etta James, and Marvin Gaye. He cut
some singles on Sylvia and Tangerine, then decided he preferred working
out on the streets to being in clubs.
Adam sat in with him first in 1986, riding behind his energetic
rhythm-driven picking, blowing through his own Mouse amplifier. "The
difference between watching him play and playing with him was the
difference between sitting through a screening of Twister and being sucked
skyward by a category five. This was hanging on to a lion's tail." The
two decided to team up and split the take in the tip jar. Some five years
later--after Adam had done a stint touring as a musician with the Broadway
show "Big River"--they cut their first album, featuring fractured covers
of staples like "Sweet Home Chicago", "C C Rider" mixed with Mr. Satan's
original pieces.
Their most recent CD, LIVING ON THE RIVER came out in
1996.
Adam mixes a couple of time periods, alternating back and forth between
his youthful days as a beginning harpist/young lover with his older, more
weathered persona--a strawberry blond working regularly on 125th Street,
dealing not only with the varying moods of Mr. Satan, but the vagaries of
street corner winos and passing junkies. The book covers the first 5
years of their partnership, up to their first recording.
Gussow has also written for Harpers, Village Voice etc, and he's an
erudite narrator, not afraid to write with the naive voice of his youth
when recounting that era. He also has a knack for putting the experience
of playing into words that manage to capture the feel of it--to the extent
that that's even possible. The book dwells as much on Adams love life as
it does on the music--and of course the two are intertwined for any
musician. The result is an enjoyable and entertaining account of a young
man's odysseys in love and music.
This review is copyright © 1998 by Tony Glover, all rights reserved.
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