Told through the eyes of young harpest Silent Sam Stamps, Don’t Start Me Talkin’ is a fanatical tale about the spirit of Delta blues, and what it takes to stay true to the music in a modern society plagued with a short attention span and a lust for mainstream pop.
Together, Brother Ben—the Last Delta Bluesman—and his protégé Silent Sam Stamps climb into an old Caddy Brougham and tour the nation performing songs off their chart-topping album. Hardly a stereotypical tale of sex, drugs, and rock ‘n’ roll, the duo upholds a strict respect for themselves, each other, and their art. They live modestly, doing coin laundry, sharing hotel rooms to reduce costs, and shrugging off scene temptations, commercial exploitation, and crass audiences who pressure them to perform songs like “Soul Man.”
The story bursts with eccentric and original character. Williams sets his tale in contemporary society where grande coffees and Kinkos exist, “jooks” have high-priced paraphernalia on the walls, and the duo pays their bills with a gold Corporate Amex. Brother Ben, real name Wilton Mabry, tries up uphold his image of “smoking dynamite and drinking TNT” by leaning on a stage dialect and a stage cough, and habitually swigging from a flask. In reality, he’s an articulate health nut who eats well, exercises, maintains an intense vitamin regiment, and keeps his flask brimming with caffeine-free Diet Dr. Pepper.
As the tour wears on, Silent Sam finds himself increasingly conflicted by the style of music he’s performing alongside The Last Delta Bluesman:
“I’m pretty sure the only recording we’d make would be for a commercial. Maybe even under Kent Bollinger’s direction. For the United Negro College Fund, perhaps. Or a fried chicken franchise.”
The quieter of the two—think neutral narrator Nick Carraway-ish—Sam keeps his head to the ground and his mouth shut, and focuses on perfecting his craft, playing with heart, grit, groin, and gut, and searching for the right audience that would truly understand his music. The duo’s fan base often consists of college professors, health-food storeowners, and “all others who graduated but never found reason to leave Missoula, Ithaca or Athens, GA.”
“I look out in the crowd every night and never see just what I’m looking for,” Silent Sam says. “What we’ve got tonight are young, Soloflex types, tanned and dressed in bright colors and eager to toss each other around a dance floor. The blues faithful come to exalt in the presence of an authentic artifact of some quasi-southern, quasi-African past. Tonight’s crowd would make Jimmy Buffet happy… a payphone is getting as rare as black blues fans.”
It’s easy to get lost in Williams’ crisp narrative, and burn through the novel from cover to cover. Details unfold naturally, and I never found myself straining to re-read a sentence, cringing at an awkward passage, or cutting around fat to get to the meat of his message. Take the opening line:
“It’s said that when Robert Johnson arrived in a new town, the first thing he looked for was an ugly woman who owned her own house. That way, Bob could depend upon a place to sleep, food on the table—he’d supply the liquor—and a bed partner likely as starved for affection as he was.”
Williams lays the story to rest with one of the most extraordinary and well-written conclusions. Never cliché or predictable, we come to learn how powerful and unbreakable the bond is between the two bluesmen, and how it perseveres in the face of tour stressors, musical infidelity, and even retirement. The curtain will rise again for Silent Sam Stamps and Brother Ben in one form or another, and together, they’ll fight to keep Delta blues alive and authentic in an ever-changing contemporary society.
Released in February of 2014, this title is available for purchase over at Curbside Splendor.