I'm sorry, but I can't picture a psychedelic Muddy Waters. My brain's wiring just won't permit it.
I don't think anyone else could have, either, when those albums came out. Between the two
Electric Mud was really the worst, forcing him into a psych thing that didn't really suit
him no matter how much the more psychedelicised blues rockers of that period (circa 1968)
admired him. He was far better suited to working with younger musicians willing to work on
his turf---the
Fathers and Sons album (which included three younger players who learned
directly from him in Chicago before striking on their own in the original Butterfield Blues Band:
Paul Butterfield, Mike Bloomfield, and Sam Lay) was a perfect example.
The
Electric Mud experiment was with the best of intentions, Chess scion Marshall Chess
trying a bid to get Muddy Waters (and Howlin' Wolf, via
This is Howlin' Wolf's New Album. He
Doesn't Like It. He Didn't Like His Electric Guitar At First, Either.) modernised for the rock
crowds whose heroes admired Muddy.
The younger Chess had also started the Cadet Concept label on which he planned to put more
experimental musicians in soul, blues, and rock. The Status Quo was one such group when
he went to England looking for talent and landed the U.S. rights to distribute "Pictures of Matchstick
Men." The best known of the Cadet Concept finds was a kind of psychedelic soul group called
Rotary Connection, a racially integrated band (as the Butterfield Blues Band was) who yielded
up the gifted but ill-fated singer Minnie Riperton.