Blues is a genre and musical form originated by African Americans in the Deep South of the United States around the end of the 19th century. The genre developed from roots in African musical traditions, African-American work songs, spirituals, Blues incorporated spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ballads. Blue notes, usually thirds or fifths flattened in pitch, are also a part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive effect known as the groove, Blues as a genre is also characterized by its lyrics, bass lines, and instrumentation. Early traditional blues verses consisted of a single line repeated four times, Early blues frequently took the form of a loose narrative, often relating the troubles experienced in African-American society. Many elements, such as the format and the use of blue notes. The origins of the blues are closely related to the religious music of the Afro-American community. The first appearance of the blues is often dated to after the ending of slavery and, later and it is associated with the newly acquired freedom of the former slaves. Chroniclers began to report about blues music at the dawn of the 20th century, the first publication of blues sheet music was in 1908. Blues has since evolved from unaccompanied vocal music and oral traditions of slaves into a variety of styles and subgenres. Blues subgenres include country blues, such as Delta blues and Piedmont blues, as well as urban blues styles such as Chicago blues, World War II marked the transition from acoustic to electric blues and the progressive opening of blues music to a wider audience, especially white listeners. In the 1960s and 1970s, a form called blues rock evolved. The term blues may have come from blue devils, meaning melancholy and sadness, the phrase blue devils may also have been derived from Britain in the 1600s, when the term referred to the intense visual hallucinations that can accompany severe alcohol withdrawal. As time went on, the phrase lost the reference to devils, by the 1800s in the United States, the term blues was associated with drinking alcohol, a meaning which survives in the phrase blue law, which prohibits the sale of alcohol on Sunday. Though the use of the phrase in African-American music may be older, it has been attested to in print since 1912, in lyrics the phrase is often used to describe a depressed mood. The lyrics of traditional blues verses probably often consisted of a single line repeated four times. Two of the first published songs, Dallas Blues and Saint Louis Blues, were 12-bar blues with the AAB lyric structure. Handy wrote that he adopted this convention to avoid the monotony of lines repeated three times, the lines are often sung following a pattern closer to rhythmic talk than to a melody
Rollin' and Tumblin'
Rollin and Tumblin is a blues song first recorded by American singer/guitarist Hambone Willie Newbern in 1929. Called a great Delta blues classic, it has been interpreted by hundreds of Delta and Chicago blues artists, Rollin and Tumblin has also been refashioned by a variety of rock-oriented artists. Hambone Willie Newbern recorded Roll and Tumble Blues on March 14,1929 in Atlanta and it shares several elements of Minglewood Blues, first recorded in 1928 by Gus Cannons Jug Stompers. Newberns Roll and Tumble Blues is a piece with his vocal. The song is performed in the key of A using an open tuning, the tempo varies from an initial 140 beats per minute to a final 158 bpm. A key feature of the song is that the first verse begins on the IV chord, after the first two measures the IV chord resolves to the I chord. Often the IV chord moves to IV♭7 on the measure or the last two beats of the second measure. The lyrics follow a standard blues AAB pattern and relate a failed relationship, Roll and it was released before the advent of race records charts, however, it soon became an oft-covered standard and Newberns best-known song. The best-known version is Muddy Waters Rollin and Tumblin, with Ernest Big Crawford on bass, leonard Chess insisted that Waters record the song less than a month after Waters had recorded a version for the rival Parkway label, featuring his bandmates Little Walter and Baby Face Leroy Foster. The Parkway label credits the Baby Face Leroy Trio, with vocals by Leroy, elmore James recorded a different arrangement of the song in 1960, with himself credited as author. In 1961, Howlin Wolf recorded Down in the Bottom, which employed a new set of lyrics and is credited to Willie Dixon, Delta bluesman Johnny Shines recorded a version called Red Sun, with the traditional music but different, prison-themed lyrics. R. L. Burnside recorded what he titled Rollin Tumblin on several occasions, in 2010, Cyndi Lauper recorded Rollin and Tumblin with Ann Peebles for her blues album Memphis Blues. HowellDevine recorded a version for their album, Jumps, Boogies. Johnson, by Jeff Beck in 2000 on You Had It Coming, the song was recorded by Bob Dylan for his 2006 album Modern Times. Dylan claims authorship of the song on most versions of his record, while musically the arrangement is very similar to the Muddy Waters version, Dylans introduces all new verses, though retaining the two opening lines. A version of the song can be seen on Dr. Feelgoods Going Back Home show from 1975 which was released on DVD back in 2005, Dr. Feelgood also covered the song on their second album Malpractise from 1975. Despite the similarity in title New Minglewood Blues was a different song, the album credits Chris Dreja, Jim McCarty, Jimmy Page and Keith Relf as the songwriters. The same year, Captain Beefheart and His Magic Band recorded Sure Nuff n Yes I Do as the song on their debut album, Safe As Milk