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Blues Music In History
Chicago is often credited as the home of the urban blues, and, with its burgeoning recording industry, the city’s vibrant musical environment became a draw for jazz, blues and other musicians. Other blues expressed some nostalgia for the south, as Muddy Waters did in “Louisiana Blues,” and “Feel Like Going Home” in the late 1940s. In this period, blues was increasingly played by amplified groups that featured drums and electric guitars.
Georgia’s guitarist Arthur “Blind Blake” Phelps was fluent both in blues music, as in West Coast Blues , that featured the line “we’re gonna do that old country rock”, and in ragtime music, as in Southern Rag . The blues singers bridged different realms of black music, bringing together the styles and practices of the minstrel shows, of the vaudeville theaters, of ragtime and of their native rural environments. As ghettos sprouted up in all big cities, the topics of blues music adapted to the urban landscape, and began to depict life in the ghetto. But blues music was never meant to reflect the rhythm of urban life.
The straightforward traditional blues song became a fan favorite and a staple of any Hendrix setlist throughout his career. A genre that ismost influential to music and its development over time, it cannot be denied that the blues pioneered the era of modern rock and endured through the decades of the creation of new music. Blues rock guitar playing is influential in the formation of rock band instrumentation. Born in the Mississippi Delta, the blues penetrated the American popular music in the 1920s – 1930s.
Georgia blues artist Buster Ezell celebrated the African-American heavyweight boxing champion Joe Louis in this blues from 1943. Ezell also recorded this topical song about WWII, “Roosevelt and Hitler.” Buster Brown, who enjoyed a major blues hit in 1959 with “Fannie Mae,” also recorded a 1943 blues about World War II. To get you started we’re looking at some chords in the guitar-friendly key of A. You’ve probably heard of a I-IV-V (one-four-five) progression – it’s a common blues chord sequence and its name tells you that the chords are built on the first, fourth and fifth notes of the major scale.
King’s iconic style was tone-rich and used techniques such as string-bending to twist notes in expressive ways. Here we begin the introduction of the “Three Kings” of electric blues. Freddie King has had a massive influence on many of rock’s greatest guitarists of all time including Eric Clapton, Carlos Santana, Stevie Ray Vaughan, Duane Allman, and Keith Richards. “I Can’t Quit You Baby” is a powerful blues ballad performed by Otis Rush but written and produced by legendary blues songwriter Willie Dixon. Blues historian Gerard Herzhaft identifies “I Can’t Quit You Baby” as a blues standard, a twelve-bar blues song that has been covered by a wide variety of great artists such as Led Zeppelin, Gary Moore, an Eric Clapton. The song became a hit in the early 1960s and reached no. 6 on the Billboard chart.
The New Orleans bluesman nabbed a bestselling single when it was released in 1953, staying at No. 1 on the R&B charts for six weeks. Fender Play instructor Scott Goldbaum shows you how to get this standard chord progression down. “It Hurts Me Too” is a blues standard that was first recorded in 1940 by musician Tampa Red, but Elmore James supplied some of the lyrics that are most familiar today.