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Different instruments: piano, guitar, bass, drum, harmonica, other horns NO: banjos, kazoos, jug bands, string bands.
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Louder sounds: electric bass and guitar. amplification of voice and harmonica.
New/different rhythms: swing, jump (shuffle), boogie woogie
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emerged from Texas, Louisiana, mississippi, but established in CHICAGO -“8 to the bar” Piano based but transfered to other instruments |
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Albert Ammons & Pete Johnson Boogie music Piano double |
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“BOOGIE WOOGIE BUGLE BOY” |
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Andrew sisters (1941) became national sensation |
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west point, MS Idolized jimmie rodgers (tried to yodel, but sounded like howl) Charlie Patton, Mississippi Shieks, Ma Rainey, Blind Blake MEMPHIS |
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By howlin wolfe Chicago Blues 1962 Influenced/ created british interest in Chicago blues |
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born in memphis, logest associated with Detroit distinctive 1 chord style, metric & tempo irregularities “talking blue” Detroit (black bottom neighborhood) |
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by John Lee Hooker (1948) later on of the RIAA’s song of the century. detroit (black bottom neighborhood) |
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(beale st. “king biscuit time” radio show) -memphis minnie, sleepy jones estes, bb king, howlin wolf, bobby bland, ike turner, sun records(“rockabilly” Elvis) |
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ragtime, W.C. Handy, petey wheatsraw, bukka white, |
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count basie, charlie parker, luis jordan, Big Joe turner (“Jump Blues”) Jump Blues? |
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Johny otis, Charles Brown, Big Jay Mckneely, T-Bone Walker (“rhythm & blues”, “sentimental Blues”) |
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Black bottom neighborhood JOhn lee hooker |
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Maxwell St. big bill broonzy, muddy waters, little walter, sonny boy williamson 11, buddy guy, howlin wolf (moved in 54′), Elmore James |
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Chicago show business/ recording hub mob stronghold redlight district “house parties” chicago blues |
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born in mississippi raised on stovalls plantation influenced by Son House & Robert Johnson Recorded by the Lomaxes (lib. congress) 1941 “I be bound to write you” moved to chicago in 1943 -played house parites on Maxwell st |
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by Muddy waters recorded 1959 chicago blues |
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“king of slide guitar” influenced by Robert Johnson influeced Jimi Hendrix, Alberta King, Stevie Ray Vaughn Intrigued British Rockers:Mayall, Clapton, Harrison, and brian jones) |
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columbia & bluebird (victor) were the big players upset chess, 1950 (originally aristocrat, 1947) Leonard and Phil, then Son Mashall Roster: muddy waters, sonny boy williamson II, Elmore James, Little Waltr, Budyy Guy, Howlin Wolf, JOhn Lee Hooker, Chuck Berry |
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Soc. Demographic: Baby boomer/ disposable income Technological/circumstantial: Tv, Radio, portable radio Musical: rhythm blues, jump blues with gospel backbeat, record label adopts name to replace “race records” in 1949 (ic black associated) Showmanship Western swing and boogie: slap bass, white associated |
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name for “white targeted rhythm blues incorporates instruments and repertiore from both rhythm and blues and country swing |
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combines rock n roll with country signals white artists (so still rock n roll) |
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becomes catch all term for “black and what had become called the “blues” signals black artists and intended black audience |
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plays “black music” on clevland classical radio station, calls it “rock n roll” concerts popularity soars: black +white NYC 1954 Weekly half hour “Jubilee” show for radio luxembourg introduces american R&B to Europe and parts of Great Britian |
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Bill Haley and his Comets |
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Rock n roll took Big Joe Turners songs”Around the clock” 1947 and “shake rattle and roll” 1954 Bill Haley: “around the clock” 1955 and “shake rattle and roll” 1954 |
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Rock n Roll “match box blues” 1956 BUT Blind Lemon Jefferson version in 1927 |
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rock n roll married young cousin “whole lotta shakin goin on” 1957 BUT Big Maybelle did it 1955 |
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rock n roll “Thats alright” 1954 But Arthur Big Boy Crudup(delta blues) in 1946 “hOuns dog” 1956 BUT BIG MAma Thorton in 1952 |
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Rock n Roll “tutti Frutti” 1956 |
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Rock n roll second to Elvis “tutti Frutti” 1956
covered little richards version and was much more successful
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wrote song that gave hits to others esp. Elvis Delta bluesman tried in vain to recoup royalties had a brief tour in 65 as “father of rock n roll” died a bootlegger |
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12 bar blues “johnn b goode” 1958 narrative of blues being dropped on rock n roll |
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1958 BUT guitar opening from “aint that just another woman” Louis Jordan, guitar by Carl Hogan |
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Subversive target white teens($) |
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Sparked by “dust Bowl” Lomaxes sparked interest among left NYC in folk practices late 1950’s and 60’s blues revival led by Record collectors white middle class love affair |
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romantacized blues performances style and context black blues performers “authenticity” muddy disappointed brits with electric guitar created a cannon for acceptable blues no white no jazz or rhythm and blues or country |
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Rev. gary davis with Peter Seger : Children of Zion |
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Auhtentic black man playing blues very intruguing |
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Still recovering from german bombing econimically depressed alienation among industrial and shipping centers working class adults, disaffected youth american troops at air base, ports Sat nights at 9:30 Jamoree from radio Luxembourg |
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dismembered (potentially color-indpendent esacpist musical tourism both communal and personal both curaed and immediate subversive |
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traditional america folk and blues instruments, often homemade (washboards) Early american blues, folk and country, often also charaterized as having elements of Jazz european american folk” instrumentation |
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origianl work song (slaves) covered in populist folk style by LeadBelly DONEGAN: Bounce/ Happy (ME and my buddys gonna) copyright: Martha ledbetter & Alna Lomax Skiffle |
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“mighty Mississipi” (on youtbe as new orleans battle) |
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Lonnie donegan 1959 no narrative point of view skiffle |
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Inspired by American Folk Revival, records, traveling america blues artists (broonzy, muddy waters) Reactions agianst limits to skiffle reactons to social circumstance, appeal of music |
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favors delta and chicago style Intrumentation/ ground/ repertiore progress from acoustic to electric insturments rapidily after waters tour (1958) becomes guitar centric genre (very lttle bottom) |
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repsonsible for the elevation of the guitar to the defining “tool” of rock ideas of what authentic black practictioners favors group format |
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alexis Korner and blues incorperated |
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“founding father of British blues” began as Jazz, skiffle player 1961 formed blues inc., an electric rhythm and blues band with open door policy produced birtains first R&B record |
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open door policy turned band into clearing house for all of Britain’s evetual blues and rock stars |
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worked as DJ, muscian, never achieved level of fame his alumni did |
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John Mayall and the Blues Breakers |
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clapton joined 1965: established guitar as featured instruments more than 100 players cycled through over the years |
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“hoochie coochie man” 1965 |
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Original by Muddy waters but this version by John mayall and the blues breakers featuring Eric Clapton |
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#2 rollingstones 100 greatest guitar players of all time 3 time inducted rock n roll hall of fame few highly successful figures from Bristian solo career included reggae “me and Mr johnson clapton credited Johnson Drug recovery center : “crossroads” Clapton= GOD |
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Mick jagger Rolling stones |
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at 19 singing 3 nights a week keith richards, charlie watts name from muddy waters song idolized chess records “love in Vain” 1969 did not credit Johnson lost rights on these performances |
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rock, psychedelic, blues turns “mistakes” into artifacts: feedback, distortion |
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Jimi opens with “killin floor” by howlin wolf sexualized performance closes with “wild thing” smashing his guitar and lighting it on fire |
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1968-1970 became countrys highest paid rock star toured with monkees, stoped because didnt mesh; too sexual 1st on rollingstones list as best guitarist |
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jimi band after experience headed deeper into psychadelic elctric church |
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“queen of psychedelic soul” ugly in high school influenced by Ma rainey, bessie smith, Billie Holiday, Big mama thorton, leadbelly San fransico: blues band with; speed, heroin, LSD, Southern comfort periods of sobriety |
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greatful dead, velvet uderground, the byrds, Iron buttterfly |
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“hair metal”/ glam new wave synth pop (no bass (bottom)) Hip Hop MIDI MTV |
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1981 by Micheal Nesmith 1st video: “video killed the radio star” by the BUggles rock and pop(on black) rejected many vids by black artists own rules lauched age of telegenic muscians/acts |
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1985 rock artist performing acoustic backlash agaisnt excessive of 80’s music productional distribtuon chance for artists to gain muscial credibility nirvana: leadbelly Early artist: McCartney, squeeze, stevie ray vaughn eric clapton LL cool J “uptown Unplugged” Irony: resegregated race |
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by Stevie ray vaughn 1989 |
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texas loner, violent, abusive father Influence: albert king, buddy guy, bb king, muddy waters, Jimi hendrix discovered by John Hammond 1982, boosted by David Bowe and Rolling stones drugs and alcohol |
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of by larry davis sung by stevie in 1985 |
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georgia inspired by Muddy waters, albert king, fredd king, Johnny copeland records in early 1980’s popular in Uk, available for exports to US covers of R&B, blues, Grammy origianl songs |
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By robert cray 1980’s blues revival/ mtv? |
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grew out of housing projects and parties in the Bronx Ny 1970 Musical foundations: funk, soul, Jazz, R&B |
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“toasting” african practice of celebrating “warriors” griots, nommo, integral part of arican american cultural practice Modern “boasting” of Muhammid Ali intergal part of Jamiacan “dub” tradtion verbal battle for respect sommon in rural soth, black urban centers and jamaica “dissing” , “Jive”, “Yo Mama” |
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South Bronx, Ny moderate upperincome, mixed pop intil 1950’s cross bronx expressive destroyed neighborhoods 1970’s Ny citi’s most economically devistated area arson, poverty unemployment, gangs street parties(dj’s instead of bands as services reduced) |
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Clive campbell (Kool Herc) |
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kingston, Jamiaca after school dance parties 1973 used 2 turn tables (how to keep dance) dj apart of show developed rhythm style catchphrase adopt from toasting/ dub tradtion |
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how to keep people dancing 2 turntables ready and once song end(break) new song begins |
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kevin donavon south bronx west indian decent street gang (black spaded, warlord) won trip to africa, changed views and purpose left black spaded, formed niversal lulu nation Saw Kool Herc, threw parties of his own |
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1st hip hop label 1978 sylvia robsinson “rappers delight” ist raps 1st record 1979 |
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Sugar hill gang 1979 raps 1st record party song |
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“the message”1982 raps 1st socially conscious hit Sylvia co wrote the song 1st hint of disaffected youth |
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connections of blues & hip hop |
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Localized, disadvantaged, and predominately black evetually multimillion dollar, global phenominon (through blues artists rarely profited) performances have nearly mythical cultural status emphasizes venecular language and other wise unhear/ unheaded socco culture concerns |
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