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| Columbia Records, “St. Louis Blues”
Columbia launched their “race records” division with her signing in 1923 |
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| Vocalion Records, “Sweet Home Chicago” |
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Chess Records, “Got My Mojo Workin”, “I Just Wanna Make Love to You”
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Music reflected the sound of the city (Chicago Blues). Called the architect of Chicago Blues sound. |
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| Chess Records, “Moanin’ at Midnight”
Intense and exciting performer |
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| Chess Records, “Bo Diddley”
Famous for instrumentation and “Bo Diddley beat” |
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| Modern Records, “The Thrill is Gone”, “Sweet Angel” |
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| acoustic (mechanical): sound engraved on a tin cylinder |
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| replaced tin with wax: improved sound quality |
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| Replaces cylinder with flat disc, the format that eventually dominates |
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| increases the sonic accuracy of records, |
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| sound waves converted to electronic signals, imprinted on magnetic tape and then transferred to disc |
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| Networks played music directed at a white, middle class audience: Andrews Sisters, Bing Crosby etc.
Radio used live music, not records |
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| “Tutti Frutti”
Flamboyant artist. Embodied the new music’s sexuality and spirit of rebellion.
A pure strain of rock; sheer physical energy |
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| Country and R his main influences. “Maybellene”, “Roll Over Beethoven”
Guitar sound and technique widely imitated.
Wrote about high school, cars, love–things that every teenager, black and white, experienced |
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| Rural music, like the blues…but Country was for white people by white people. |
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| First to make “hillbilly” music popular. Mixed country with blues. “The Singing Brakeman” |
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| Important songwriter and performer: Songs explore virtually every human emotion; a passionate performer
“Move it on Over” |
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| Sun Records in Memphis. Sold to RCA in 1955. |
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