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Like in the Mardi-Gras streets of New Orleans, the party at Bourbon Street goes on pretty much until you decide to leave. The first show at the Blue fig was magical, playing for an appreciating audience. The atmosphere was relaxed and the warm night was a beautiful start of our five gigs.

The “Crossroad Blues” or simply known as “Crossroads” is a legendary Mississippi Delta Blues classic song by one of the greatest blues artists of all time, Robert Johnson. Many of Johnson’s songs have become blues standards and as it is engraved on his tombstone, “he influenced millions beyond his time”. The legend surrounding “Crossroad Blues” is the story of how Johnson gained his musical talents by making a bargain with the devil he met at the crossroads. The myth has it that he also met his untimely death due to that bargain. Today, 100 years after WC Handy first heard it, the blues no longer commands the attention it once did; to many young listeners, traditional blues—if not contemporary blues—may sound as strange as it did to Handy. But if they listen closely, they’ll discover a rich, powerful history of people who helped build America and created one of the most influential genres of popular music.

The Texas blues is characterized by high, clear singing accompanied by supple guitar lines that consist typically of single-string picked arpeggios rather than strummed chords. African influences are apparent in the blues tonality, the call-and-response pattern of the repeated refrain structure of the blues stanza, the falsetto break in the vocal style, and the imitation of vocal idioms by instruments, especially the guitar and harmonica. Zac Harmon Joins NorthernBlues Music »Zac’s 2009 release for NorthernBlues, From The Root is an eclectic mix of blues, reggae, soul and gospel.

Because Bluescentric cares about the music, every sale of officially licensed merchandise directly benefits the artist estates & labels. Listen to Charlie Bereal play “Smokestack Lightning,” Then, check out Larkin Poe’s take on Howlin’ Wolf’s classic. Check out the Fender Play Live performances of “Boom Boom” with Larkin Poe and Charlie Bereal.

In the early 1960s, however, as bands like The Rolling Stones began to perform covers of Muddy Waters andHowlin’ Wolf, aspiring white blues musicians in the United Kingdom helped resuscitate the genre. In the process, they created gritty rock and roll that openly displayed its blues influences and promoted the work of their idols, who soon toured England to wide acclaim. Although happy to be in demand as performers again, many veteran blues musicians were bitterly disappointed by seeing musicians such as Led Zeppelin get rich by copping the sound of African American blues artists, many of whom were struggling to survive. It was only later, in the 1930s, that some performers began to “export” gospel music to the night clubs. Notable among them was the thundering “Sister” Rosetta Tharpe, who appeared at the “Cotton Club” and who recorded Thomas Dorsey’s Rock Me , considered the first gospel record,I Looked Down The Line ,This Train Is Bound For Glory ,Shout Sister Shout .

They learned how to make music out of washboards, kazoos and jugs.Hometown Skiffle , one of the earliest “samplers”, coined the word “skiffle” to refer to such music. Thanks to the efforts of the previous decades in educating blacks, the 1920s witnessed a “Harlem Renaissance”, led by blacks such as poet Langston Hughes. Music was only one realm in which black culture was being accepted during the 1920s. Most slaves traded with the Americas came from West Africa, whose music was completely different from the music of other parts of Africa.

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