1.
Smithville, Georgia
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Smithville is a city in Lee County, Georgia, United States. The population was 774 at the 2000 census and it is part of the Albany, Georgia Metropolitan Statistical Area. Smithville is located at 31°54′7″N 84°15′19″W, according to the United States Census Bureau, the city has a total area of 2.5 square miles, all of it land. As of the census of 2000, there were 774 people,270 households, the population density was 303.6 people per square mile. There were 305 housing units at a density of 119.6 per square mile. The racial makeup of the city was 28. 81% White,70. 28% African American,0. 39% from other races, hispanic or Latino of any race were 1. 03% of the population. 25. 6% of all households were made up of individuals and 10. 4% had someone living alone who was 65 years of age or older, the average household size was 2.87 and the average family size was 3.44. In the city, the population was out with 33. 5% under the age of 18,10. 3% from 18 to 24,26. 0% from 25 to 44,20. 7% from 45 to 64. The median age was 30 years, for every 100 females there were 87.0 males. For every 100 females age 18 and over, there were 86.6 males, the median income for a household in the city was $31,500, and the median income for a family was $37,083. Males had an income of $29,375 versus $19,286 for females. The per capita income for the city was $12,193, about 23. 3% of families and 27. 7% of the population were below the poverty line, including 34. 8% of those under age 18 and 34. 5% of those age 65 or over. Bill McAfee, baseball player and mayor William J. Sears, Congressman from Florida Hudson Woodbridge, aka Tampa Red, musician in Blues Hall of Fame
2.
Chicago
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Chicago, officially the City of Chicago, is the third-most populous city in the United States. With over 2.7 million residents, it is the most populous city in the state of Illinois, and it is the county seat of Cook County. In 2012, Chicago was listed as a global city by the Globalization and World Cities Research Network. Chicago has the third-largest gross metropolitan product in the United States—about $640 billion according to 2015 estimates, the city has one of the worlds largest and most diversified economies with no single industry employing more than 14% of the workforce. In 2016, Chicago hosted over 54 million domestic and international visitors, landmarks in the city include Millennium Park, Navy Pier, the Magnificent Mile, Art Institute of Chicago, Museum Campus, the Willis Tower, Museum of Science and Industry, and Lincoln Park Zoo. Chicagos culture includes the arts, novels, film, theater, especially improvisational comedy. Chicago also has sports teams in each of the major professional leagues. The city has many nicknames, the best-known being the Windy City, the name Chicago is derived from a French rendering of the Native American word shikaakwa, known to botanists as Allium tricoccum, from the Miami-Illinois language. The first known reference to the site of the current city of Chicago as Checagou was by Robert de LaSalle around 1679 in a memoir, henri Joutel, in his journal of 1688, noted that the wild garlic, called chicagoua, grew abundantly in the area. In the mid-18th century, the area was inhabited by a Native American tribe known as the Potawatomi, the first known non-indigenous permanent settler in Chicago was Jean Baptiste Point du Sable. Du Sable was of African and French descent and arrived in the 1780s and he is commonly known as the Founder of Chicago. In 1803, the United States Army built Fort Dearborn, which was destroyed in 1812 in the Battle of Fort Dearborn, the Ottawa, Ojibwe, and Potawatomi tribes had ceded additional land to the United States in the 1816 Treaty of St. Louis. The Potawatomi were forcibly removed from their land after the Treaty of Chicago in 1833, on August 12,1833, the Town of Chicago was organized with a population of about 200. Within seven years it grew to more than 4,000 people, on June 15,1835, the first public land sales began with Edmund Dick Taylor as U. S. The City of Chicago was incorporated on Saturday, March 4,1837, as the site of the Chicago Portage, the city became an important transportation hub between the eastern and western United States. Chicagos first railway, Galena and Chicago Union Railroad, and the Illinois, the canal allowed steamboats and sailing ships on the Great Lakes to connect to the Mississippi River. A flourishing economy brought residents from rural communities and immigrants from abroad, manufacturing and retail and finance sectors became dominant, influencing the American economy. The Chicago Board of Trade listed the first ever standardized exchange traded forward contracts and these issues also helped propel another Illinoisan, Abraham Lincoln, to the national stage
3.
Illinois
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Illinois is a state in the midwestern region of the United States, achieving statehood in 1818. It is the 6th most populous state and 25th largest state in terms of land area, the word Illinois comes from a French rendering of a native Algonquin word. For decades, OHare International Airport has been ranked as one of the worlds busiest airports, Illinois has long had a reputation as a bellwether both in social and cultural terms and politics. With the War of 1812 Illinois growth slowed as both Native Americans and Canadian forces often raided the American Frontier, mineral finds and timber stands also had spurred immigration—by the 1810s, the Eastern U. S. Railroads arose and matured in the 1840s, and soon carried immigrants to new homes in Illinois, as well as being a resource to ship their commodity crops out to markets. Railroads freed most of the land of Illinois and other states from the tyranny of water transport. By 1900, the growth of jobs in the northern cities and coal mining in the central and southern areas attracted a new group of immigrants. Illinois was an important manufacturing center during both world wars, the Great Migration from the South established a large community of African Americans in Chicago, who created the citys famous jazz and blues cultures. Three U. S. presidents have been elected while living in Illinois, Abraham Lincoln, Ulysses S. Grant, additionally, Ronald Reagan, whose political career was based in California, was the only U. S. president born and raised in Illinois. Today, Illinois honors Lincoln with its official slogan, Land of Lincoln. The Abraham Lincoln Presidential Library and Museum is located in the capital of Springfield. Illinois is the spelling for the early French Catholic missionaries and explorers name for the Illinois Native Americans. American scholars previously thought the name Illinois meant man or men in the Miami-Illinois language and this etymology is not supported by the Illinois language, as the word for man is ireniwa and plural men is ireniwaki. The name Illiniwek has also said to mean tribe of superior men. The name Illinois derives from the Miami-Illinois verb irenwe·wa he speaks the regular way and this was taken into the Ojibwe language, perhaps in the Ottawa dialect, and modified into ilinwe·. The French borrowed these forms, changing the ending to spell it as -ois. The current spelling form, Illinois, began to appear in the early 1670s, the Illinois name for themselves, as attested in all three of the French missionary-period dictionaries of Illinois, was Inoka, of unknown meaning and unrelated to the other terms. American Indians of successive cultures lived along the waterways of the Illinois area for thousands of years before the arrival of Europeans, the Koster Site has been excavated and demonstrates 7,000 years of continuous habitation
4.
Chicago blues
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The Chicago blues is a form of blues music indigenous to Chicago, Illinois. Chicago blues is a type of urban blues, Muddy Waters directly joined that migration, like many others, such as in Florida, avoiding the more harshly southern Jim Crow laws. Bruce Iglauer, founder of Alligator Records stated that, Chicago blues is the music of the industrial city and you cant keep talking about mules, workin on the levee. Chicago blues was influenced by Mississippi bluesman who traveled to Chicago in the early 1940s. The development of blues, up to Chicago blues, is arguably as follows, Country blues, to city blues, Chicago blues is based around the sound of the electric guitar and the harmonica, with the harmonica played through a PA system or guitar amplifier. Urban blues started in Chicago and St. Louis, as created by part-time musicians playing as street musicians, at rent parties. For example, bottleneck guitarist Kokomo Arnold was a steelworker and had a business that was far more profitable than his music. One of the most important early incubators for Chicago blues was the market on Maxwell Street. Residents of the community would frequent it to buy and sell just about anything. It was a location for blues musicians to perform, earn tips. The standard path for blues musicians was to start out as musicians and at house parties. The first blues clubs in Chicago were mostly in black neighborhoods on the South Side. New trends in technology, chaotic streets and bars adding drums to an electric mix, one of the most famous was Ruby Lee Gatewoods Tavern, known by patrons as The Gates. During the 1930s virtually every big-name artist played there, what drove the blues to international influence was the promotion of record companies such as Paramount Records, RCA Victor, and Columbia Records. Through such record companies Chicago blues became a commercial enterprise, the new style of music eventually reached Europe and the United Kingdom. In the 1960s, young British musicians were influenced by Chicago blues resulting in the British blues movement. Bo Diddley, Mike Bloomfield, Mike Wheeler, Homesick James, Johnny Shines, Johnny Young, Floyd Jones, Eddy Clearwater, Mighty Joe Young, Phil Guy, Lil Ed Williams, J. B. Many blues artists recorded for Bluebird, if briefly, while Arthur Crudup, Lil Green
5.
Piano
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The piano is an acoustic, stringed musical instrument invented around the year 1700, in which the strings are struck by hammers. It is played using a keyboard, which is a row of keys that the performer presses down or strikes with the fingers and thumbs of both hands to cause the hammers to strike the strings. The word piano is a form of pianoforte, the Italian term for the early 1700s versions of the instrument. The first fortepianos in the 1700s had a sound and smaller dynamic range. An acoustic piano usually has a wooden case surrounding the soundboard and metal strings. Pressing one or more keys on the keyboard causes a padded hammer to strike the strings. The hammer rebounds from the strings, and the continue to vibrate at their resonant frequency. These vibrations are transmitted through a bridge to a soundboard that amplifies by more efficiently coupling the acoustic energy to the air, when the key is released, a damper stops the strings vibration, ending the sound. Notes can be sustained, even when the keys are released by the fingers and thumbs and this means that the piano can play 88 different pitches, going from the deepest bass range to the highest treble. The black keys are for the accidentals, which are needed to play in all twelve keys, more rarely, some pianos have additional keys. Most notes have three strings, except for the bass that graduates from one to two, the strings are sounded when keys are pressed or struck, and silenced by dampers when the hands are lifted from the keyboard. There are two types of piano, the grand piano and the upright piano. The grand piano is used for Classical solos, chamber music and art song and it is used in jazz. The upright piano, which is compact, is the most popular type, as they are a better size for use in private homes for domestic music-making. During the nineteenth century, music publishers produced many works in arrangements for piano, so that music lovers could play. The piano is widely employed in classical, jazz, traditional and popular music for solo and ensemble performances, accompaniment, with technological advances, amplified electric pianos, electronic pianos, and digital pianos have also been developed. The electric piano became an instrument in the 1960s and 1970s genres of jazz fusion, funk music. The piano was founded on earlier technological innovations in keyboard instruments, pipe organs have been used since Antiquity, and as such, the development of pipe organs enabled instrument builders to learn about creating keyboard mechanisms for sounding pitches
6.
Slide guitar
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Slide guitar is a particular method or technique for playing the guitar. Instead of altering the pitch of the strings in the manner, an object called a slide is placed upon the string to vary its vibrating length. This slide can then be moved along the string without lifting, creating smooth transitions in pitch and allowing wide, Slide guitar is most often played, With the guitar in the normal position, using a slide on one of the fingers of the left hand. This same technique is used to play steel guitar and the Dobro resonator guitar used in Bluegrass music. The technique of using a slide on a string has been traced to one-stringed African instruments similar to a Diddley bow, the technique was made popular by African American blues artists. The first musician recorded using the style was Sylvester Weaver, who recorded two solo pieces Guitar Blues and Guitar Rag in 1923, Blues legend Muddy Waters was also very influential, particularly in developing the electric Chicago blues slide guitar from the acoustic Mississippi Delta slide guitar. Texas blues musician Johnny Winter developed his style through years of touring with Waters. Slide player Roy Rogers honed his skills by touring with blues artist John Lee Hooker. John Lees cousin Earl Hooker may have been the first to use wah-wah, the sound has since become commonplace in country and Hawaiian music. The Rolling Stones featured a guitar as early as their 1963 recording of the John Lennon/Paul McCartney song I Wanna Be Your Man. Guitarist Brian Jones played slide in a very blues-oriented style, Jones was also one of the first English guitarists to play slide and during the bands early years, he was considered one of the best slide guitarists in the music world. His successors Mick Taylor and Ronnie Wood also displayed their own slide guitar skills while with the band, the album Let It Bleed features Keith Richards on slide guitar for the majority of the album, since the band were in-between guitarists during the making of the album. Rolling Stones vocalist Mick Jagger has also played guitar on occasion. Canned Heats Alan Wilson also helped bring slide guitar to music in the late 1960s. George Harrison experimented with slide guitar during the half of The Beatles career, first using the technique on an early outtake recording of Strawberry Fields Forever. The 1965 songs Drive My Car, and Run For Your Life have slide guitar, Harrison later used slide extensively in his solo career, on songs such as My Sweet Lord, Give Me Love, This Is Love, and Cheer Down. He played slide in the Traveling Wilburys as well as on The Beatles 1995 and 1996 reunion singles Free as a Bird, slides may be used on any guitar, but slides generally and steels in particular are often used on instruments specifically made to play in this manner. Often, the strings are raised a little higher off the fingerboard than they would be for conventional guitar playing—especially if the player isnt going to use the fingers for fretting
7.
Kazoo
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The kazoo is a musical instrument that adds a buzzing timbral quality to a players voice when the player vocalizes into it. It is a type of mirliton, which is a membranophone, one of a class of instruments which modifies its players voice by way of a vibrating membrane, a kazoo player hums, rather than blows, into the instrument. The oscillating air pressure of the hum makes the kazoos membrane vibrate, the resulting sound varies in pitch and loudness with the players humming. Players can produce different sounds by singing specific syllables such as doo, similar hide-covered vibrating and voice-changing instruments have been used in Africa for hundreds of years, often for ceremonial purposes. A popular belief is that Alabama Vest, an African-American in Macon, however, there is no documentation to support that claim. The first documented appearance of a kazoo was that created by an American inventor, Warren Herbert Frost, the patent states, This instrument or toy, to which I propose to give the name kazoo. Frosts kazoo did not look like present-day submarine-shaped kazoos, the modern kazoo—also the first one made of metal—was patented by George D. Smith of Buffalo, New York, May 27,1902. These machines were used for many decades, by 1994, the company produced 1.5 million kazoos per year and was the only manufacturer of metal kazoos in North America. The factory, in nearly its original configuration, is now called The Kazoo Factory and it is still operating, and it is open to the public for tours. In 2010, The Kazoo Museum opened in Beaufort, South Carolina with exhibits on kazoo history, the kazoo is played professionally in jug bands and comedy music, and by amateurs everywhere. It is among the instruments developed in the United States. In North East England and South Wales, kazoos play an important role in jazz bands. During Carnival, players use kazoos in the Carnival of Cádiz in Spain, in the Original Dixieland Jass Band 1921 recording of Crazy Blues, what the casual listener might mistake for a trombone solo is actually a kazoo solo by drummer Tony Sbarbaro or Red McKenzie. The Mound City Blue Blowers had a number of hit records in the early 1920s featuring Dick Slevin on metal kazoo. The vocaphone, a kind of kazoo with a tone, was occasionally featured in Paul Whitemans Orchestra. Trombonist-vocalist Jack Fulton played it on Whitemans recording of Vilia and Frankie Trumbauers Medley of Isham Jones Dance Hits, the Mills Brothers vocal group originally started in vaudeville as a kazoo quartet, playing four-part harmony on kazoo with one brother accompanying them on guitar. The kazoo is rare in European classical music, leonard Bernstein included a segment for kazoo ensemble in the First Introit of his Mass. The brief passages have the kazoo chorus sliding up and down the scale as the cheering rises, jesse Fullers 1962 recording of his song San Francisco Bay Blues features a kazoo solo, as does Eric Claptons 1992 recording of the song on MTVs Unplugged television show and album
8.
Blues
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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
9.
Guitarist
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A guitarist is a person who plays the guitar. Guitarists may play a variety of guitar family instruments such as guitars, acoustic guitars, electric guitars. Some guitarists accompany themselves on the guitar by singing or playing the harmonica, the correctness of techniques that a guitarist acquires depends on the quality of training. Learning how to play correctly is crucial for any guitarist no matter which guitar he/she plays, the guitarist may also employ various methods for selecting notes and chords, including fingering, thumbing, the barre, and bottleneck or steel-guitar slides, usually made of glass or metal. These left- and right-hand techniques may be intermixed in performance, while music is an art form in itself, playing an instrument such as the guitar has long been a popular subject for painters. Despite perceived tendencies in mainstream music diffusion, to Rock music and electric guitar, notable guitarists arrived from other genres, Rolling Stone In 2003, Rolling Stone magazine published a list called The 100 Greatest Guitarists of All Time. This list included 100 guitarists whom the magazine editor David Fricke considered the best, the first in this list is the American guitarist Jimi Hendrix introduced by Pete Townshend, guitarist for The Who, who was, in his turn, ranked at #50 in the list. Artists who had not been included in the previous list were added, rory Gallagher, for example, was ranked in 57th place. The 100 Greatest Guitarists of All Time is mentioned in many biographies about artists who appear in the list, despite the appearance in other magazines like Billboard, this publication by Guitar World was criticized for including no female musicians within its selection. However, Guitar World recently published a list of Eight Amazing Female Acoustic Players, including Kaki King, TIME and others Following the death of Les Paul, TIME website presented their list of 10 greatest artists in electric guitar. As in Rolling Stone magazines list, Jimi Hendrix was chosen as the greatest guitarist followed by Slash from Guns N Roses, B. B. King, Keith Richards, Jimmy Page, and Eric Clapton. Gigwise. com, a music magazine, also ranks Jimi Hendrix as the greatest guitarist ever, followed by Jimmy Page, B. B. King, Keith Richards. There are many classical guitarists listed as notable in their respective epochs, media related to Guitarists at Wikimedia Commons
10.
Big Bill Broonzy
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Big Bill Broonzy was an American blues singer, songwriter and guitarist. His career began in the 1920s when he played country blues to mostly African-American audiences, through the 1930s and 1940s he successfully navigated a transition in style to a more urban blues sound popular with working-class African-American audiences. In the 1950s a return to his traditional folk-blues roots made him one of the figures of the emerging American folk music revival. His long and varied career marks him as one of the key figures in the development of music in the 20th century. Broonzy copyrighted more than 300 songs during his lifetime, including adaptations of traditional folk songs and original blues songs. As a blues composer, he was unique in writing songs that reflected his rural-to-urban experiences, born Lee Conley Bradley, he was one of the seventeen children of Frank Broonzy and Mittie Belcher. The date and place of his birth are disputed, Broonzy claimed to have been born in Scott, Mississippi, but a body of emerging research compiled by the blues historian Robert Reisman suggests that he was born in Jefferson County, Arkansas. Broonzy claimed he was born in 1893, and many sources report that year, soon after his birth the family moved to an area near Pine Bluff, Arkansas, where Bill spent his youth. He began playing music at an early age, at the age of 10 he made himself a fiddle from a cigar box and learned how to play spirituals and folk songs from his uncle, Jerry Belcher. He and a friend, Louis Carter, who played a guitar, began performing at social. These early performances included playing at two-stages, picnics where whites and blacks danced at the same event, on the understanding that he was born in 1898 rather than earlier or later, sources suggest that in 1915, 17-year-old Broonzy was married and working as a sharecropper. He had given up playing the fiddle and had become a preacher, there is a story that he was offered $50 and a new violin if he would play for four days at a local venue. Before he could respond to the offer, his wife took the money and spent it, in 1916 his crop and stock were wiped out by drought. Broonzy went to work locally until he was drafted into the Army in 1917 and he served for two years in Europe during the First World War. He immediately left Pine Bluff and moved to the Little Rock area, a year later, in 1920, he moved north to Chicago in search of opportunity. After arriving in Chicago, Broonzy switched from fiddle to guitar and he learned to play the guitar from the veteran minstrel and medicine show performer Papa Charlie Jackson, who began recording for Paramount Records in 1924. Through the 1920s Broonzy worked at a string of odd jobs, including Pullman porter, cook, foundry worker and custodian, to supplement his income and he played regularly at rent parties and social gatherings, steadily improving his guitar playing. During this time he wrote one of his tunes, a solo guitar piece called Saturday Night Rub
11.
Robert Nighthawk
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Robert Lee McCollum was an American blues musician who played and recorded under the pseudonyms Robert Lee McCoy and Robert Nighthawk. He was the father of the blues musician Sam Carr, born in Helena, Arkansas, he left home at an early age to become a busking musician. After a period wandering through southern Mississippi, he settled for a time in Memphis, Tennessee, a particular influence during this period was Houston Stackhouse, from whom he learned to play slide guitar and with whom he performed on the radio in Jackson, Mississippi. After further travels through Mississippi, he found it advisable to take his mothers name and, as Robert Lee McCoy, moved to St. Louis, Missouri, local musicians with whom he played included Henry Townsend, Big Joe Williams, and Sonny Boy Williamson. Kansas City Red was his drummer from the early 1940s to around 1946 and he recorded Kansas City Red’s song The Moon Is Rising. McCoy became a voice on local radio stations. Within a few years, he resurfaced as the slide guitarist Robert Nighthawk and began recording for Aristocrat and Chess Records. In 1949 and 1950, the two styles were close enough that they were in competition for promotional activity. Waters was the more marketable commodity, being reliable and a more confident stage communicator. Nighthawk continued to perform and record, taking up with United Records and States Records 1951 and 1952 and he continued giving live performances on Chicagos Maxwell Street until 1964. He had a stroke followed by an attack and died of heart failure at his home in Helena. He is buried in Magnolia Cemetery, in Helena, the Mississippi Blues Commission honored Nighthawk with a historical marker in Friars Point, Mississippi, on the Mississippi Blues Trail. The marker was placed at Friars Point because Nighthawk called the town his home at times in his itinerant career. He recorded the song Friars Point Blues in 1940
12.
Muddy Waters
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McKinley Morganfield, better known as Muddy Waters, was an American blues musician who is often cited as the father of modern Chicago blues. Muddy Waters grew up on Stovall Plantation near Clarksdale, Mississippi, and by age 17 was playing the guitar and he was recorded in Mississippi by Alan Lomax for the Library of Congress in 1941. In 1943, he moved to Chicago to become a full-time, in 1946, he recorded his first records for Columbia Records and then for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess. These songs included Hoochie Coochie Man, I Just Want to Make Love to You, in 1958, he traveled to England, laying the foundations of the subsequent blues boom there. His performance at the Newport Jazz Festival in 1960 was recorded and released as his first live album, Muddy Waters influence was tremendous, not just on blues and rhythm and blues but on rock and roll, hard rock, folk music, jazz, and country music. His use of amplification is often cited as the link between Delta blues and rock and roll, Muddy Waters birthplace and date is not conclusively known. He stated that he was born in Rolling Fork, Mississippi in 1915, a 1955 interview in the Chicago Defender is the earliest he claimed 1915 as his year of birth, which he continued to use in interviews from that point onward. The 1920 census lists him as five years old as of March 6,1920, the Social Security Death Index, relying on the Social Security card application submitted after his move to Chicago in the mid-1940s, lists him as being born April 4,1913. His gravestone gives his year as 1915. Muddy Waters grandmother, Della Grant, raised him after his mother died shortly after his birth, Grant gave him the nickname Muddy at an early age because he loved to play in the muddy water of nearby Deer Creek. Waters was added later, as he began to play harmonica. The remains of the cabin on Stovall Plantation where Waters lived in his youth are now at the Delta Blues Museum in Clarksdale and he had his first introduction to music in church, I used to belong to church. I was a good Baptist, singing in the church, so I got all of my good moaning and trembling going on for me right out of church, he recalled. By the time, he was 17, he had purchased his first guitar, I sold the last horse that we had. Made about fifteen dollars for him, gave my grandmother seven dollars and fifty cents, I kept seven-fifty, the people ordered them from Sears-Roebuck in Chicago. He started playing his songs in joints nearby his hometown, mostly in a owned by Colonel William Howard Stovall. In August 1941, Alan Lomax went to Stovall, Mississippi and he brought his stuff down and recorded me right in my house, Muddy recalled in Rolling Stone, and when he played back the first song I sounded just like anybodys records. Man, you dont know how I felt that Saturday afternoon when I heard that voice, later on he sent me two copies of the pressing and a check for twenty bucks, and I carried that record up to the corner and put it on the jukebox
13.
Mose Allison
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Mose John Allison Jr. was an American jazz and blues pianist, singer, and songwriter. He became notable for playing a mix of blues and modern jazz. After moving to New York in 1956, he worked primarily in jazz settings, playing with musicians like Stan Getz, Al Cohn. He is described as having one of the finest songwriters in 20th-century blues. His songs were strongly dependent on evoking moods, with his individualistic, quirky and his writing influence on R&B had well-known fans recording his songs, among them Pete Townshend, who recorded his Young Man Blues for the Whos Live At Leeds album in 1970. John Mayall was one of dozens who recorded his classic, Parchman Farm, others who recorded his songs included Leon Russell and Bonnie Raitt. The 1980s saw an increase in his popularity with new fans drawn to his unique blend of modern jazz, in the 1990s he began recording more consistently. Van Morrison and Ben Sidran collaborated with him on an album, Tell Me Something. The Pixies wrote the song Allison as a tribute, Allisons music had an important influence on other performers, such as Tom Waits, Jimi Hendrix, the Yardbirds, the Rolling Stones, and Pete Townshend. He was inducted into the Long Island Music Hall of Fame in 2006, Allison was born outside Tippo, Mississippi, on his grandfathers farm, known as the Island, because Tippo Bayou encircles it. He took piano lessons at 5, picked cotton, played piano in school and trumpet in high school. Allison attended the University of Mississippi for a while and then enlisted in the U. S. Army for two years. Shortly after mustering out, he enrolled at Louisiana State University, in 1956, Allison moved to New York City and launched his jazz career, performing with artists such as Stan Getz, Gerry Mulligan, Al Cohn, Zoot Sims, and Phil Woods. His debut album, Back Country Suite, was issued by Prestige in 1957 and he formed his own trio in 1958, with Addison Farmer on bass and Nick Stabulas on drums. It was not until 1963 that his record label allowed him to release an album entirely of vocals. Entitled Mose Allison Sings, it was a compilation of songs from his previous Prestige albums that paid tribute to artists of the Mojo Triangle, Sonny Boy Williamson, Jimmy Rogers, however, an original composition on the album brought him the most attention, Parchman Farm. For more than two decades, Parchman Farm was his most requested song and he dropped it from his playlist in the 1980s because some critics felt it was politically incorrect. Allison explained in an interview, I dont do the cotton sack songs much anymore and you go to the Mississippi Delta and there are no cotton sacks
14.
Rhythm and blues
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Rhythm and blues, often abbreviated as R&B or RnB, is a genre of popular African-American music that originated in the 1940s. In the commercial rhythm and blues music typical of the 1950s through the 1970s, R&B lyrical themes often encapsulate the African-American experience of pain and the quest for freedom and joy. Lyrics focus heavily on the themes of triumphs and failures in terms of relationships, freedom, economics, aspirations, the term rhythm and blues has undergone a number of shifts in meaning. In the early 1950s it was applied to blues records. This tangent of RnB is now known as British rhythm and blues, by the 1970s, the term rhythm and blues changed again and was used as a blanket term for soul and funk. In the 1980s, a style of R&B developed, becoming known as Contemporary R&B. It combines elements of rhythm and blues, soul, funk, pop, hip hop, popular R&B vocalists at the end of the 20th century included Michael Jackson, R. Kelly, Stevie Wonder, Whitney Houston, and Mariah Carey. Although Jerry Wexler of Billboard magazine is credited with coining the term rhythm and blues as a term in the United States in 1948. It replaced the term race music, which came from within the black community. The term rhythm and blues was used by Billboard in its chart listings from June 1949 until August 1969, before the Rhythm and Blues name was instated, various record companies had already begun replacing the term race music with sepia series. In 2010 LaMont Robinson founded the Rhythm & Blues Hall of Fame Museum, writer and producer Robert Palmer defined rhythm & blues as a catchall term referring to any music that was made by and for black Americans. He has used the term R&B as a synonym for jump blues, however, AllMusic separates it from jump blues because of its stronger, gospel-esque backbeat. Lawrence Cohn, author of Nothing but the Blues, writes that rhythm, according to him, the term embraced all black music except classical music and religious music, unless a gospel song sold enough to break into the charts. Well into the 21st century, the term R&B continues in use to music made by black musicians. In the commercial rhythm and blues music typical of the 1950s through the 1970s, arrangements were rehearsed to the point of effortlessness and were sometimes accompanied by background vocalists. Simple repetitive parts mesh, creating momentum and rhythmic interplay producing mellow, lilting, while singers are emotionally engaged with the lyrics, often intensely so, they remain cool, relaxed, and in control. The bands dressed in suits, and even uniforms, an associated with the modern popular music that rhythm. Lyrics often seemed fatalistic, and the music typically followed predictable patterns of chords, there was also increasing emphasis on the electric guitar as a lead instrument, as well as the piano and saxophone
15.
Hokum
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Hokum is a particular song type of American blues music—a humorous song which uses extended analogies or euphemistic terms to make sexual innuendos. This trope goes back to blues recordings and is used from time to time in modern American blues and blues rock. It is one of the legacies and techniques of 19th century blackface minstrelsy. Like so many elements of the minstrel show, stereotypes of racial, ethnic. Hokum was stagecraft, gags and routines for embracing farce and it was so broad that there was no mistaking its ludicrousness. Hokum also encompassed dances like the cakewalk and the buzzard lope in skits that unfolded through spoken narrative and song. Handy, himself a veteran of a troupe, remarked that, Our hokum hooked em. The minstrel show began in Northern cities, primarily in New Yorks Five Points section, Minstrelsy was a mélange of Scottish and Irish folk music forms fused with African rhythms and dance. It is difficult to tease out those strands, considering the mixed motives of the showmen who presented the minstrel show and the mixed audience who patronized it. It is said that T. D. Soon, the confusion became so complete that almost any minstrel tune played upon the banjo became known as a jig, regardless of time signatures or lyric accompaniment. ”Genuine appreciation among white observers for music and dance so clearly African in origin existed then and now. Charles Dickens praised the intricacies of the hero whom he watched in a New York performance in 1842. Many songs that originated in minstrelsy are now considered American classics, Minstrel troupes composed entirely of African Americans appeared in the same decade. After the American Civil War, traveling productions like Callenders Georgia Minstrels would rival the white ensembles in fame, the difficulties racism presented to African-American entrepreneurs during postwar Reconstruction era made touring a dangerous and precarious livelihood. The hierarchies of the order were satirized, but seldom challenged. While hokum mocked the propriety of polite society, the presumptions and pretensions of the parodists were simultaneous targets of the humor. Darkies dancing the cakewalk might mimic the elite cotillion dance styles of wealthy Southern whites, nonetheless, styles of song and dance that began as inversions of the social structure were adopted among the upper echelons of society, often without a trace of self-consciousness. Political nativism and xenophobia encouraged similar mean-spirited responses to perceived threats of the time, after 1848, when the first substantial influx of Chinese immigrants began seeking their fortunes in the California Gold Rush, Chink characters joined the minstrel walkaround. Hokum enjoyed the license to be outrageous, since the clowning was purportedly all in fun, by the beginning of the twentieth century, the hierarchy of social mores that sanctioned stereotyping came increasingly under attack
16.
Black Angel Blues
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Black Angel Blues, also known as Sweet Black Angel or Sweet Little Angel, is a blues standard that has been recorded by numerous blues and other artists. The song was first recorded in 1930 by Lucille Bogan, one of the classic blues singers. Bogan recorded it as a mid-tempo, twelve-bar blues, featuring her vocal with piano accompaniment, in 1934, Tampa Red recorded Black Angel Blues for Vocalion Records. The song was performed at a tempo and featured prominent slide-guitar lines by Tampa Red. Robert Nighthawk recorded Black Angel Blues in 1949 accompanying Nighthawk on vocal and electric guitar were bassist Willie Dixon. The following year Tampa Red recorded a version of the song, substituting a lyric and calling it Sweet Little Angel, in 1953. In 1956, B. B. King recorded Sweet Little Angel, according to King, I got the idea for Sweet Little Angel from Robert Nighthawks Sweet Black Angel, though I later discovered that the song had been recorded by someone before Nighthawk. At the time black was not a word, as it is now. Instead of using the old title, I changed it to Sweet Little Angel—and that was a pretty big record for me. Kings version, which included a section, was a stylistic shift for the song and it became a hit. In 1957, he re-recorded Sweet Little Angel for his first album Singin the Blues, kings guitar work, with his note-bends sounding almost like a lap steel in places. Kings success, many blues and other artists recorded their versions of Sweet Little Angel, Robert Nighthawks Black Angel Blues was inducted in 2007 into the Blues Foundation Hall of Fame Classics of Blues Recordings category and B. B. Kings Sweet Little Angel is included in the Rock and Roll Hall of Fames list of 500 Songs that Shaped Rock and Roll
17.
It Hurts Me Too
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It Hurts Me Too is a blues standard that is one of the most interpreted blues. First recorded in 1940 by American blues musician Tampa Red, the song is a mid-tempo eight-bar blues that features slide guitar and it borrows from earlier blues songs and has been recorded by many blues and other artists. It Hurts Me Too is based on Things Bout Comin My Way, the melody lines are nearly identical and instrumentally they are similar, although the latter has an extra bar in the turnaround, giving it nine bars. Sam Hill from Louisville, one of several pseudonyms of Walter Vinson, vinsons version is based on his 1930 recording with the Mississippi Sheiks, Sitting on Top of the World. Both songs share several elements with You Got to Reap What You Sow, recorded by Tampa Red in 1929 and by Leroy Carr, the melody lines, played on slide guitar by Tampa Red and sung by Carr, are similar to those in the later songs. Carr and Blackwells song has elements of their own earlier 1928 song How Long, how Long, How Long Blues has been described as one of the first blues standards and the inspiration for many blues songs of the era. In 1949, Tampa Red recorded a variation of It Hurts Me Too and it was recast in the style of a Chicago blues, with electric guitar and a more up to date backing arrangement. The song was a hit and reached number nine on Billboards Rhythm & Blues Records chart in 1949, although the song retained the refrain When things go wrong, so wrong with you, it hurts me too, Tampa Red varied the rest of the lyrics somewhat. This would become the pattern for future versions, in which succeeding artists would interpret the song some of their own lyrics. Several versions of It Hurts Me Too were recorded in the 1940s and 1950s, including those by Stick McGhee, the song used the same lyrics as his earlier version, but featured more prominent slide guitar work. When it was released in 1965, two years after James death, It Hurts Me Too spent eight weeks on the Hot Rhythm & Blues Singles chart, where it reached number 25. The song also appeared on Billboards Bubbling Under Hot 100 Singles chart at number 106, subsequent versions of It Hurts Me Too often showed Elmore James influences, either in the lyrics or guitar parts. Junior Wells made the one of his standards and often used James lyrics. He recorded it several times, including as a single in 1962, volume 1, and in 1979 for his Pleading the Blues album with Buddy Guy. In 2012, Tampa Reds 1940 It Hurts Me Too was inducted into the Blues Foundation Hall of Fame as a Classic of Blues Recording, fayetteville, Arkansas, University of Arkansas Press. Escaping the Delta, Robert Johnson and the Invention of the Blues
18.
You've Got to Love Her with a Feeling
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Youve Got to Love Her with a Feeling, or Love with a Feeling as it was originally titleed, is a blues song first recorded by Tampa Red in 1938. Numerous blues artists have interpreted and recorded the song, including Freddie King who had a number 92 Billboard Hot 100 in 1961 with Youve Got to Love Her with a Feeling, Tampa Red recorded Love with a Feeling as a mid-tempo twelve-bar blues. Accompanying Red, who sang and played guitar, were Black Bob Hudson on piano. In May 1950, Tampa Red recorded a version called Love Her with a Feelin. The song was performed as a Chicago-style blues with Tampa Red on electric guitar with piano, bass. He also recorded it as a piece with vocal and electric guitar in 1961 for his Dont Tampa with the Blues album. On August 26,1960, Freddie King recorded his version titled Youve Got to Love Her with a Feeling for King Records, the song was released as the B-side of the Have You Ever Loved a Woman single on King Records subsidiary, Federal Records. Of the two songs, Youve Got to Love Her with a Feeling was the one to appear in the record charts. Backing King are Sonny Thompson, Bill Willis, and Phillip Paul, Freddie Kings version uses breaks where he sings the first four bars of each twelve-bar verse without the usual instrumental accompaniment. Most versions recorded after King follow this arrangement
19.
Tampa, Florida
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Tampa is a major city in, and the county seat of, Hillsborough County, Florida. It is located on the west coast of Florida on Tampa Bay, near the Gulf of Mexico, the city had a population of 346,037 in 2011. The current location of Tampa was once inhabited by peoples of the Safety Harbor culture. The area was explored by Spanish explorers in the 16th century, resulting in violent conflicts and the introduction of European diseases, which wiped out the original native cultures. In 1824, the United States Army established a frontier outpost called Fort Brooke at the mouth of the Hillsborough River, near the site of todays Tampa Convention Center. The first civilian residents were pioneers who settled near the fort for protection from the nearby Seminole population, today, Tampa is part of the metropolitan area most commonly referred to as the Tampa Bay Area. For U. S. Census purposes, Tampa is part of the Tampa-St. Petersburg-Clearwater, the Greater Tampa Bay area has over 4 million residents and generally includes the Tampa and Sarasota metro areas. The Tampa Bay Partnership and U. S. Census data showed an annual growth of 2.47 percent. A2012 estimate shows the Tampa Bay area population to have 4,310,524 people, Tampa was ranked as the 5th best outdoor city by Forbes in 2008. Tampa also ranks as the fifth most popular American city, based on where people want to live, a 2004 survey by the NYU newspaper Washington Square News ranked Tampa as a top city for twenty-somethings. Tampa is ranked as a Gamma+ world city by Loughborough University, ranked alongside other world cities such as Phoenix, Charlotte, Rotterdam, and Santo Domingo. The word Tampa may mean sticks of fire in the language of the Calusa and this might be a reference to the many lightning strikes that the area receives during the summer months. Other historians claim the name means the place to gather sticks, toponymist George R. Stewart writes that the name was the result of a miscommunication between the Spanish and the Indians, the Indian word being itimpi, meaning simply near it. The name first appears in the Memoir of Hernando de Escalante Fontaneda and he calls it Tanpa and describes it as an important Calusa town. While Tanpa may be the basis for the modern name Tampa, archaeologist Jerald Milanich places the Calusa village of Tanpa at the mouth of Charlotte Harbor, the original Bay of Tanpa. A later Spanish expedition did not notice Charlotte Harbor while sailing north along the west coast of Florida, the name was accidentally transferred north. Map makers were using the term Bay or Bahia Tampa as early as 1695, people from Tampa are known as Tampans or Tampanians. Latin Americans from Tampa are known as tampeños, or tampeñas for females and these terms of Spanish origin emerged after 1900 for the immigrant communities in West Tampa and Ybor City
20.
Ma Rainey
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Ma Rainey was one of the earliest African American professional blues singers and one of the first generation of blues singers to record. She was billed as the Mother of the Blues and she began performing as a young teenager and became known as Ma Rainey after her marriage to Will Rainey, in 1904. They toured with the Rabbit Foot Minstrels and later formed their own group, Rainey and Rainey and her first recording was made in 1923. In the next five years, she made over 100 recordings, including Bo-Weevil Blues, Moonshine Blues, See See Rider Blues, Black Bottom, Rainey was known for her powerful vocal abilities, energetic disposition, majestic phrasing, and a moaning style of singing. Her powerful voice was never captured on her records, because she recorded exclusively for Paramount. However, her other qualities are present and most evident in her early recordings Bo-Weevil Blues, Rainey recorded with Louis Armstrong, and she toured and recorded with the Georgia Jazz Band. She continued to tour until 1935, when she retired and went to live in her hometown, Pridgett claimed to have been born on April 26,1886, in Columbus, Georgia. However, the 1900 census indicates she was born in September 1882 in Alabama and she was the second of five children of Thomas and Ella Pridgett, from Alabama. She had at least two brothers and a sister, Malissa, with whom Gertrude was later confused by some writers and she began her career as a performer at a talent show in Columbus, Georgia, when she was about 12 to 14 years old. A member of the First African Baptist Church, she began performing in minstrel shows. She later claimed that she was first exposed to music around 1902. In 1910, she was described as Mrs. Gertrude Rainey and she continued with the Rabbits Foot Company after it was taken over by a new owner, F. S. Wolcott, in 1912. Beginning in 1914, the Raineys were billed as Rainey and Rainey, wintering in New Orleans, she met numerous musicians, including Joe King Oliver, Louis Armstrong, Sidney Bechet and Pops Foster. As the popularity of blues music increased, she became well known, around this time, she met Bessie Smith, a young blues singer who was also making a name for herself. A story later developed that Rainey kidnapped Smith, forced her join the Rabbits Foot Minstrels, and taught her to sing the blues, from the late 1910s, there was an increasing demand for recordings by black musicians. In 1920, Mamie Smith was the first black woman to be recorded, in 1923, Rainey was discovered by Paramount Records producer J. Mayo Williams. She signed a contract with Paramount, and in December she made her first eight recordings in Chicago, including Bad Luck Blues, Bo-Weevil Blues. She made more than 100 other recordings over the five years
21.
Thomas A. Dorsey
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Thomas Andrew Dorsey was known as the father of black gospel music and was at one time so closely associated with the field that songs written in the new style were sometimes known as dorseys. Earlier in his life he was a blues pianist known as Georgia Tom. As formulated by Dorsey, gospel music combines Christian praise with the rhythms of jazz, Dorsey was born in Villa Rica, Georgia. He was the director at Pilgrim Baptist Church in Chicago, Illinois. His best-known composition, Take My Hand, Precious Lord, was performed by Mahalia Jackson and was a favorite of the Rev. Martin Luther King Jr. Another composition, Peace in the Valley, was a hit for Red Foley in 1951 and has performed by dozens of other artists, including Queen of Gospel Albertina Walker, Elvis Presley. Dorsey died in Chicago, aged 93, the Library of Congress added his album Precious Lord, New Recordings of the Great Songs of Thomas A. Dorsey to the United States National Recording Registry in 2002. Dorseys father was a minister and his mother a piano teacher and he learned to play blues piano as a young man. After studying music formally in Chicago, he became an agent for Paramount Records, in 1924, he put together a band for Ma Rainey called the Wild Cats Jazz Band. He started out playing at rent parties under the names Barrelhouse Tom and Texas Tommy, for a short time around 1926, he accompanied the Pace Jubilee Singers. As Georgia Tom, he teamed up with Tampa Red, with whom he recorded the raunchy 1928 hit record Its Tight Like That, in all, he is credited with more than 400 blues and jazz songs. Dorsey began recording gospel music alongside blues in the mid-1920s and these recordings led to his performance at the National Baptist Convention in 1930, and he became the bandleader of two churches in the early 1930s. His first wife, Nettie, who had been Raineys wardrobe mistress, two days later the child, a son, also died. In his grief, he wrote his most famous song, one of the most famous of all songs, Precious Lord. Unhappy with the treatment received at the hands of established publishers, Dorsey founded the first black gospel music publishing company and he also founded a gospel choir and was a founder and the first president of the National Convention of Gospel Choirs and Choruses. He influenced not only African-American music but also music by white artists, Precious Lord was recorded by Albertina Walker, Elvis Presley, Mahalia Jackson, Aretha Franklin, B. B. King, Clara Ward, Dorothy Norwood, Jim Reeves, Roy Rogers, Tennessee Ernie Ford and it was a favorite gospel song of the Rev. Martin Luther King, Jr. and was sung at the rally held at the Imani Temple the night before his assassination. By his request, it was sung at his funeral by Mahalia Jackson and it was a favorite of President Lyndon B
22.
National String Instrument Corporation
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The National String Instrument Corporation was a guitar company that formed to manufacture the first resonator guitars. National also produced resonator ukuleles and mandolins, in 1927, National produced the first resonator instruments and sold under their National brand. They had metal bodies and a resonator system, with three aluminium cones joined by a T-shaped aluminium spider. Wooden-bodied models soon followed, based on inexpensive plywood student guitar bodies supplied by Kay, Harmony, in 1928, Dopyera left National, and with four of his brothers formed the Dobro Manufacturing Company to produce a competing single resonator design, with the resonator cone inverted. John Dopyera continued to stock in National. The Dobro design was cheaper to produce and louder than the tricone. National soon introduced their own single resonator design, the biscuit, National also continued to produce tricone designs, which some players preferred. In their 1930 catalog, National list eight key associates, including Adolph Rickenbacker, George Beauchamp, Harry Watson, Paul Barth, in 1932, the Dopyera brothers secured a controlling interest in both National and Dobro, and merged the companies to form the National Dobro Corporation. In 1989 a new company in California named National Reso-Phonic Guitars began manufacturing reproductions of resonator instruments based on designs originated by John Dopyera
23.
Resonator guitar
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A resonator guitar or resophonic guitar is an acoustic guitar that produces sound by carrying string vibration through the bridge to one or more spun metal cones, instead of to the sound board. Resonator guitars were designed to be louder than regular acoustic guitars. They became prized for their sound, however, and found life with several musical styles well after electric amplification solved the issue of inadequate guitar sound levels. The body of a guitar may be made of wood, metal. Typically there are two sound holes, positioned on either side of the fingerboard extension. In the case of models, the sound holes are either both circular or both f-shaped, and symmetrical. The older tricone design has irregularly shaped sound holes, cutaway body styles may truncate or omit the lower f-hole. Dopyera experimented with configurations of up to four resonator cones and with cones composed of different metals. In 1927, Dopyera and Beauchamp formed the National String Instrument Corporation to manufacture guitars under the brand name National. The first models were metal-bodied, and featured three conical aluminum resonators joined by a T-shaped aluminum bar that supported the system called the tricone. National originally produced wooden-bodied Tricone models at their factory in Los Angeles and they called these models the Triolian, but made only 12 of them. They changed the body meant for tricones to single-cone models, and this system was cheaper to produce, and produced more volume than Nationals tricone. National countered the Dobro with its own single resonator model, which Dopyera had designed before he left the company and they also continued to produce the tricone design, which many players preferred for its tone. Both National single and tricone resonators remained conical, with their convex surfaces uppermost, single resonator models used a wooden biscuit at the cone apex to support the bridge. At this point, both companies sourced many components from Adolph Rickenbacher, including the aluminium resonators, after much legal action, the Dopyera brothers gained control of both National and Dobro in 1932, and subsequently merged them into the National Dobro Corporation. However, they ceased all resonator guitars production following the U. S. entry into World War II in 1941. Emile Dopyera manufactured Dobros from 1959, before selling the company and trademark to Semie Moseley, in 1967, Rudy and Emile Dopyera formed the Original Musical Instrument Company to manufacture resonator guitars, first branded Hound Dog. In 1970 they again acquired the Dobro trademark, Mosrite having gone into temporary liquidation, the Gibson Guitar Corporation acquired OMI in 1993, and announced it would defend its right to exclusive use of the Dobro trademark—which many people commonly used for any resonator guitar
24.
Seattle
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Seattle is a seaport city on the west coast of the United States and the seat of King County, Washington. With an estimated 684,451 residents as of 2015, Seattle is the largest city in both the state of Washington and the Pacific Northwest region of North America. In July 2013, it was the major city in the United States. The city is situated on an isthmus between Puget Sound and Lake Washington, about 100 miles south of the Canada–United States border, a major gateway for trade with Asia, Seattle is the fourth-largest port in North America in terms of container handling as of 2015. The Seattle area was inhabited by Native Americans for at least 4,000 years before the first permanent European settlers. Arthur A. Denny and his group of travelers, subsequently known as the Denny Party, arrived from Illinois via Portland, the settlement was moved to the eastern shore of Elliott Bay and named Seattle in 1852, after Chief Siahl of the local Duwamish and Suquamish tribes. Logging was Seattles first major industry, but by the late-19th century, growth after World War II was partially due to the local Boeing company, which established Seattle as a center for aircraft manufacturing. The Seattle area developed as a technology center beginning in the 1980s, in 1994, Internet retailer Amazon was founded in Seattle. The stream of new software, biotechnology, and Internet companies led to an economic revival, Seattle has a noteworthy musical history. From 1918 to 1951, nearly two dozen jazz nightclubs existed along Jackson Street, from the current Chinatown/International District, to the Central District, the jazz scene developed the early careers of Ray Charles, Quincy Jones, Ernestine Anderson, and others. Seattle is also the birthplace of rock musician Jimi Hendrix and the alternative rock subgenre grunge, archaeological excavations suggest that Native Americans have inhabited the Seattle area for at least 4,000 years. By the time the first European settlers arrived, the people occupied at least seventeen villages in the areas around Elliott Bay, the first European to visit the Seattle area was George Vancouver, in May 1792 during his 1791–95 expedition to chart the Pacific Northwest. In 1851, a party led by Luther Collins made a location on land at the mouth of the Duwamish River. Thirteen days later, members of the Collins Party on the way to their claim passed three scouts of the Denny Party, members of the Denny Party claimed land on Alki Point on September 28,1851. The rest of the Denny Party set sail from Portland, Oregon, after a difficult winter, most of the Denny Party relocated across Elliott Bay and claimed land a second time at the site of present-day Pioneer Square, naming this new settlement Duwamps. For the next few years, New York Alki and Duwamps competed for dominance, david Swinson Doc Maynard, one of the founders of Duwamps, was the primary advocate to name the settlement after Chief Sealth of the Duwamish and Suquamish tribes. The name Seattle appears on official Washington Territory papers dated May 23,1853, in 1855, nominal land settlements were established. On January 14,1865, the Legislature of Territorial Washington incorporated the Town of Seattle with a board of managing the city
25.
Memphis Minnie
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Lizzie Douglas, known as Memphis Minnie, was a blues guitarist, vocalist, and songwriter whose recording career lasted from the 1920s to the 1950s. She recorded around 200 songs, some of the best known being Bumble Bee, Nothing in Rambling, Douglas was born on June 3,1897, in Algiers, Louisiana. She was the eldest of 13 siblings and her parents, Abe and Gertrude Douglas, nicknamed her Kid when she was young, and her family called her that throughout her childhood. It is reported that she disliked the name Lizzie, when she first began performing, she played under the name Kid Douglas. When she was 7, she and her family moved to Walls, Mississippi, the following year she received her first guitar, as a Christmas present. She learned to play the banjo by the age of 10 and the guitar by the age of 11, the family later moved to Brunswick, Tennessee. After Minnies mother died, in 1922, Abe Douglas moved back to Walls, in 1910, at the age of 13, she ran away from home to live on Beale Street, in Memphis. She played on street corners for most of her teenage years and her sidewalk performances led to a tour of the South with the Ringling Brothers Circus from 1916 to 1920. She then went back to Beale Street, with its thriving blues scene and she began performing with Joe McCoy, her second husband, in 1929. They were discovered by a talent scout for Columbia Records, in front of a barber shop and she and McCoy went to record in New York City and were given the names Kansas Joe and Memphis Minnie by a Columbia A&R man. Over the next few years she and McCoy released a series of records, in February 1930 they recorded the song Bumble Bee for the Vocalion label, which they had already recorded for Columbia but which had not yet been released. It became one of Minnies most popular songs, she recorded five versions of it. Minnie and McCoy continued to record for Vocalion until August 1934 and their last session together was for Decca, in September. Each singer was to sing two songs, after Broonzy sang Just a Dream and Make My Getaway, Minnie won the prize with Me and My Chauffeur Blues and Looking the World Over. By 1935 Minnie was established in Chicago and had one of a group of musicians who worked regularly for the record producer. Back on her own after her divorce from McCoy, Minnie began to experiment with different styles, by the end of the 1930s, in addition to her output for Vocalion, she had recorded nearly 20 sides for Decca and eight sides for Bluebird. She also toured extensively in the 1930s, mainly in the South, in 1938 Minnie returned to recording for the Vocalion label, this time accompanied by Charlie McCoy, Kansas Joes brother, on mandolin. Around this time she married the guitarist and singer Ernest Lawlars and they began recording together in 1939, with Son adding a more rhythmic backing to Minnies guitar
26.
Victor Talking Machine Company
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The Victor Talking Machine Company was an American flagship record company headquartered in Camden, New Jersey. The company was founded by Eldridge R. Johnson, who had previously made gramophones to play Emile Berliners disc records, Victor Talking Machine Co. was incorporated officially in 1901 shortly before agreeing to allow Columbia Records use of its disc record patent. Victor had acquired the Pan-American rights to use the trademark of the fox terrier Nipper listening to a gramophone when Berliner. Barraud noticed that whenever he played a recorded by his brother. Barrauds original depicts Nipper staring intently into the horn of an Edison-Bell while both sit on a wooden surface. The London branch was managed by an American, William Barry Owen, Barraud paid a visit with a photograph of the painting and asked to borrow a horn. Owen gave Barraud an entire gramophone and asked him to paint it into the picture, the original painting still shows the contours of the Edison-Bell phonograph beneath the paint of the gramophone when viewed in the correct light. Only 13 originally commissioned His Masters Voice paintings were commissioned by the company, in 1915, the His Masters Voice logo was rendered in immense circular leaded-glass windows in the tower of the Victrola factory building. The tower remains today with replica windows installed during Radio Corporation of Americas ownership of the plant in its later years, today, one of the original windows is located at the Smithsonian museum in Washington, D. C. There are different accounts as to how the Victor name came about, a second account is that Johnson emerged as the Victor from the lengthy and costly patent litigations involving Berliner and Frank Seamans Zonophone. A third story is that Johnsons partner, Leon Douglass, derived the word from his wifes name Victoria, finally, a fourth story is that Johnson took the name from the popular Victor bicycle, which he had admired for its superior engineering. Of these four accounts the first two are the most generally accepted, perhaps coincidentally, the first use of the Victor title on a letterhead, on March 28,1901, was only nine weeks after the death of British Queen Victoria. Before 1925, recording was done by the purely mechanical. No microphone was involved and there was no means of amplification, the recording machine was essentially an exposed-horn acoustical record player functioning in reverse. The sound-vibrated center of the diaphragm was linked to a stylus that was guided across the surface of a very thick wax disc. The wax was too soft to be played back even once without seriously damaging it, although test recordings were sometimes made, although sound quality was gradually improved by a series of small refinements, the process was inherently insensitive. From the start, Victor innovated manufacturing processes and soon rose to preeminence by recording famous performers, in 1903, it instituted a three-step mother-stamper process to produce more stampers and records than previously possible. These new celebrity recordings bore red labels, and were marketed as Red Seal records, for many years these records were single-sided, only in 1923 did Victor begin offering Red Seals in double-sided form
27.
Mississippi Delta
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The Mississippi Delta is the distinctive northwest section of the U. S. state of Mississippi which lies between the Mississippi and Yazoo Rivers. The region has been called The Most Southern Place on Earth, because of its racial, cultural. It is two hundred miles long and seventy miles across at its widest point, encompassing circa 4,415,000 acres, or, some 7,000 square miles of alluvial floodplain. Originally covered in hardwood forest across the bottomlands, it was developed as one of the richest cotton-growing areas in the nation before the American Civil War. As the riverfront areas were developed first and railroads were slow to be constructed, both black and white migrants flowed into Mississippi, using their labor to clear land and sell timber in order to buy land. By the end of the 19th century, black farmers made up two-thirds of the independent farmers in the Mississippi Delta, in 1890 the white-dominated state legislature passed a new state constitution effectively disenfranchising most blacks in the state. In the next three decades, most blacks lost their lands due to credit and political oppression. African Americans had to resort to sharecropping and tenant farming to survive and their political exclusion was maintained by the whites until after the gains of the Civil Rights Movement in the 1960s. African Americans developed the forms of blues and jazz. As the agricultural economy does not support many jobs or businesses, lumbering is important and new crops such as soybeans have been cultivated in the area by the largest industrial farmers. At times, the region has suffered heavy flooding from the Mississippi River, despite the name, this region is not part of the delta of the Mississippi River. Rather, it is part of a plain, created by regular flooding of the Mississippi. The land is flat and contains some of the most fertile soil in the world and it is two hundred miles long and seventy miles across at its widest point, encompassing circa 4,415,000 acres, or, some 7,000 square miles of alluvial floodplain. On the east, it is bounded by extending beyond the Yazoo River. The shifting river delta at the mouth of the Mississippi on the Gulf Coast lies some 300 miles south of this area, the two should not be confused. The Delta is strongly associated as the place where several genres of music originated, including the Delta blues and rock. The mostly black sharecroppers and tenant farmers had lives marked by poverty and hardship but they expressed their struggles in music became the beat, rhythm and songs of cities. Gussow examines the conflict between blues musicians and black ministers in the region between 1920 and 1942, the ministers condemned blues music as devils music
28.
Billboard (magazine)
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Billboard is an American entertainment media brand owned by the Hollywood Reporter-Billboard Media Group, a division of Eldridge Industries. It publishes pieces involving news, video, opinion, reviews, events and it is also known for its music charts, including the Billboard Hot 100 and Billboard 200, tracking the most popular singles and albums in different genres. It also hosts events, owns a publishing firm, and operates several TV shows, Billboard was founded in 1894 by William Donaldson and James Hennegan as a trade publication for bill posters. Donaldson later acquired Hennegens interest in 1900 for $500, in the 1900s, it covered the entertainment industry, such as circuses, fairs and burlesque shows. It also created a service for travelling entertainers. Billboard began focusing more on the industry as the jukebox, phonograph. Many topics it covered were spun-off into different magazines, including Amusement Business in 1961 to cover outdoor entertainment so that it could focus on music. After Donaldson died in 1925, Billboard was passed down to his children and Hennegans children, until it was sold to investors in 1985. The first issue of Billboard was published in Cincinnati, Ohio, on November 1,1894 by William Donaldson, initially, it covered the advertising and bill posting industry and was called Billboard Advertising. At the time, billboards, posters and paper advertisements placed in public spaces were the means of advertising. Donaldson handled editorial and advertising, while Hennegan, who owned Hennegan Printing Co. managed magazine production, the first issues were just eight pages long. The paper had columns like The Bill Room Gossip and The Indefatigable, a department for agricultural fairs was established in 1896. The title was changed to The Billboard in 1897, after a brief departure over editorial differences, Donaldson purchased Hennegans interest in the business in 1900 for $500, to save it from bankruptcy. That May, Donaldson changed it from a monthly to a paper with a greater emphasis on breaking news. He improved editorial quality and opened new offices in New York, Chicago, San Francisco, London and he also re-focused the magazine on outdoor entertainment like fairs, carnivals, circuses, vaudeville and burlesque shows. A section devoted to circuses was introduced in 1900, followed by more prominent coverage of events in 1901. Billboard also covered topics including regulation, a lack of professionalism, economics and it had a stage gossip column covering the private lives of entertainers, a tent show section covering traveling shows and a sub-section called Freaks to order. According to The Seattle Times, Donaldson also published articles attacking censorship, praising productions exhibiting good taste
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American folk music revival
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The American folk-music revival was a phenomenon in the United States that began during the 1940s and peaked in popularity in the mid-1960s. The revival brought forward styles of American folk music that had, in times, contributed to the development of country and western, jazz. The folk revival in New York City was rooted in the resurgent interest in dancing and folk dancing there in the 1940s. The Weavers had a big hit in 1950 with the single of Lead Bellys Goodnight and this was number one on the Billboard charts for thirteen weeks. On its flip side was Tzena, Tzena, Tzena, an Israeli dance song that reached number two on the charts. This was followed by a string of Weaver hit singles sold millions, including So Long Its Been Good to Know You. The Weavers career ended abruptly when they were dropped from Deccas catalog because Pete Seeger had been listed in the publication Red Channels as a probable subversive, radio stations refused to play their records and concert venues canceled their engagements. Pete Seeger and Lee Hays were called to testify before the House Un-American Activities Committee in 1955, two singers of the 1950s who sang folk material but crossed over into the mainstream were Odetta and Harry Belafonte, both of whom sang Lead Belly and Josh White material. Odetta, who had trained as a singer, performed traditional blues, spirituals. Belafonte had hits with Jamaican calypso material as well as the folk song-like sentimental ballad Scarlet Ribbons, the Kingston Trio avoided overtly political or protest songs and cultivated a clean-cut, collegiate persona. They were discovered while playing at a club called the Cracked Pot by Frank Werber. Their first hit was a rendition of an old-time folk murder ballad, Tom Dooley. This went gold in 1958 and sold more than three million copies, the success of the album and the single earned the Kingston Trio a Grammy award for Best Country & Western Performance at the awards inaugural ceremony in 1959. At the time, no folk-music category existed in the Grammys scheme, the Kingston Trios popularity would be followed by that of Joan Baez, whose debut album Joan Baez, reached the top ten in late 1960 and remained on the Billboard charts for over two years. She did not try to imitate the style of her source material, however. Her popularity would place Baez on the cover of Time Magazine in November 1962, Baez, unlike the Kingston Trio, was openly political, and as the civil rights movement gathered steam, aligned herself with Pete Seeger, Guthrie and others. Harry Belafonte was also present on occasion, along with Odetta, whom Martin Luther King introduced as the queen of folk music. Also on hand were the SNCC Freedom Singers, the personnel of which went on to form Sweet Honey in the Rock, young singer-songwriter Bob Dylan, playing acoustic guitar and harmonica, had been signed and recorded for Columbia by producer John Hammond in 1961
30.
Son House
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Eddie James Son House, Jr. was an American delta blues singer and guitarist, noted for his highly emotional style of singing and slide guitar playing. After years of hostility to secular music, as a preacher and for a few years also as a church pastor and he quickly developed a unique style by applying the rhythmic drive, vocal power and emotional intensity of his preaching to the newly learned idiom. Issued at the start of the Great Depression, the records did not sell, locally, House remained popular, and in the 1930s, together with Pattons associate Willie Brown, he was the leading musician of Coahoma County. There he was an influence on Robert Johnson and Muddy Waters. In 1941 and 1942, House and the members of his band were recorded by Alan Lomax, work for the Library of Congress and Fisk University. The following year, he left the Delta for Rochester, New York, in 1964, a group of young record collectors discovered House, whom they knew of from his records issued by Paramount and by the Library of Congress. He recorded several albums, and some informally taped concerts have also issued as albums. In addition to his influence on Robert Johnson and Muddy Waters, he was an inspiration to John Hammond, Alan Wilson, Bonnie Raitt. His father, Eddie House, Sr. was a musician, playing the tuba in a band with his brothers and sometimes playing the guitar. He was a member but also a drinker, he left the church for a time, on account of his drinking. Young Eddie House adopted the family commitment to religion and churchgoing and he also absorbed the family love of music but confined himself to singing, showing no interest in the family instrumental band, and hostile to the blues on religious grounds. When Houses parents separated, his mother took him to Tallulah, Louisiana, across the Mississippi River from Vicksburg, when he was in his early teens, they moved to Algiers, New Orleans. Recalling these years, he would speak of his hatred of blues. At fifteen, probably living in Algiers, he began preaching sermons. At the age of nineteen, while living in the Delta, he married Carrie Martin and this was a significant step for House, he married in church and against family opposition. The couple moved to her hometown of Centerville, Louisiana, to run her fathers farm. After a couple of years, feeling used and disillusioned, House recalled, I left her hanging on the gatepost, around the same time, probably 1922, Houses mother died. In later years, he was angry about his marriage and said of Carrie, She wasnt nothin
31.
Skip James
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Nehemiah Curtis Skip James was an American Delta blues singer, guitarist, pianist and songwriter. His guitar playing is noted for its dark, minor-key sound, James first recorded for Paramount Records in 1931, but these recordings sold poorly, having been released during the Great Depression, and he drifted into obscurity. After a long absence from the eye, James was rediscovered in 1964 by three blues enthusiasts, helping further the blues and folk music revival of the 1950s and early 1960s. During this period, James appeared at folk and blues festivals, gave concerts around the country and he has been hailed as one of the seminal figures of the blues. James was born near Bentonia, Mississippi and his father was a converted bootlegger turned preacher. As a youth, James heard local musicians, such as Henry Stuckey, from whom he learned to play the guitar, James began playing the organ in his teens. He worked on construction and levee-building crews in Mississippi in the early 1920s and wrote what is perhaps his earliest song, Illinois Blues. He began playing the guitar in open D-minor tuning, in early 1931, James auditioned for the record shop owner and talent scout H. C. Speir placed blues performers with various labels, including Paramount Records. On the strength of this audition, James traveled to Grafton, Wisconsin and his 1931 records are considered idiosyncratic among prewar blues recordings and formed the basis of his reputation as a musician. As was typical of his era, James recorded various styles of music – blues, spirituals, cover versions and original compositions – frequently blurring the lines between genres and sources. For example, Im So Glad was derived from a 1927 song, So Tired, by Art Sizemore and George A. Little, recorded in 1928 by Gene Austin and by Lonnie Johnson. Several other recordings from the Grafton session, such as Hard Time Killing Floor Blues, Devil Got My Woman, Jesus Is a Mighty Good Leader, very few original copies of Jamess Paramount 78-RPM records have survived. The Great Depression struck just as Jamess recordings were hitting the market, sales were poor as a result, and he gave up performing the blues to become the choir director in his fathers church. James was later a minister in Baptist and Methodist churches. For the next thirty years, James recorded nothing and performed sporadically and he was virtually unknown to listeners until about 1960. In 1964 three blues enthusiasts, John Fahey, Bill Barth, and Henry Vestine, found him in a hospital in Tunica, Mississippi. According to Calt, the rediscovery of both James and Son House at virtually the same time was the start of the revival in the United States
32.
African-American music
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African-American music is an umbrella term covering a diverse range of musics and musical genres largely developed by African Americans. Their origins are in forms that arose out of the historical condition of slavery that characterized the lives of African Americans prior to the American Civil War. The exceptions are hip hop, house and techno, which were formed in the late 20th century from earlier forms of African-American music such as funk and soul. Following the Civil War, black Americans, through employment as musicians playing European music in military bands and these musical forms had a wide-ranging influence on the development of music within the United States and around the world during the 20th century. The earliest jazz and blues recordings were made in the 1920s, African-American musicians developed related styles such as Rhythm and Blues in the 1940s. In the 1960s, soul performers had a influence on white US. In the mid-1960s, black musicians developed funk and they were many of the figures in late 1960s and 1970s genre of jazz-rock fusion. In the 1970s and 1980s, black artists developed hip hop, in the 2000s, hip hop attained significant mainstream popularity. Modern day music is influenced by previous and present African-American music genres. Many of the musical forms that define African-American music have historical precedents. Conversion, however, did not result in slaves adopting the traditions associated with the practice of Christianity, instead they reinterpreted them in a way that had meaning to them as Africans in America. They often sang the spirituals in groups as they worked the plantation fields, Folk spirituals, unlike much white gospel, were often spirited, slaves added dancing and other forms of bodily movements to the singing. Folk spirituals were spontaneously created and performed in a repetitive, improvised style, the most common song structures are the call-and-response and repetitive choruses. The call-and-response is an exchange between the soloist and the other singers. The soloist usually improvises a line to which the other singers respond, song interpretation incorporates the interjections of moans, cries, hollers etc. and changing vocal timbres. Singing is also accompanied by clapping and foot-stomping. Suggested listening, Spirituals The influence of African Americans on mainstream American music began in the 19th century, the banjo, of African origin, became a popular instrument, and its African-derived rhythms were incorporated into popular songs by Stephen Foster and other songwriters. In the 1830s, the Second Great Awakening led to a rise in Christian revivals and pietism, drawing on traditional work songs, enslaved African Americans originated and began performing a wide variety of Spirituals and other Christian music
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Vocalion Records
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The name was derived from one of their corporate divisions, the Vocalion Organ Co. The fledgling label first issued single-sided, vertical-cut disc records but soon switched to double-sided and then, in 1920, aeolian pressed Vocalion discs in a good-quality reddish brown shellac, which set the product apart from the usual black shellac used by other record companies. Advertisements stated that Vocalion Red Records are best or Red Records last longer, however, Vocalions shellac was no more durable than good-quality black shellac. In 1925 the label was acquired by Brunswick Records, during the 1920s Vocalion also began the celebrated 1000 race series. The 15000 series continued, but after the Brunswick takeover, it seems that Vocalion took a seat to the Brunswick label. By 1928–1929, many of the records issued on the Vocalion 15000 series were hot jazz exclusive to Vocalion and are extremely rare, in retrospect, it seems that Brunswick never really had a plan for the Vocalion 15000 series. From 1925 to 1930, Brunswick appeared to use this series as a specialty label for other than general sale. This seems to also be an explanation as to why the early 1930s Vocalions are rarer than Brunswick records. In April 1930, Warner Bros. bought Brunswick Records and, for a time, in December 1931 Warner Bros. licensed the entire Brunswick and Vocalion operation to the American Record Corporation. ARC used Brunswick as their flagship 75-cent label and Vocalion as one of their 35-cent labels, the Vocalion race/blues series continued and continued to be popular. Starting in 1933, a number of Brunswick artists were assigned to Vocalions then-new 2500 series, new signings contributed to the growing popularity of the label. Coupled with other short-term signings, including Fletcher Henderson, Phil Harris, Earl Hines, and Isham Jones, also, starting in 1935, Vocalion started reissuing titles that were still selling from the recently discontinued OKeh label. In 1936 and 1937 Vocalion produced the recordings of the influential blues artist Robert Johnson. From 1935 through 1940, Vocalion was one of the most popular labels for small-group swing, blues, after the short-lived Variety label was discontinued, many titles were reissued on Vocalion, and the label continued to release new recordings made by Master/Variety artists through 1940. This added Cab Calloway and the Duke Ellington small groups-within-his-band to the label, ARC was purchased by CBS and Vocalion became a subsidiary of Columbia Records in 1938. The popular Vocalion label was discontinued in 1940, and the current Vocalions were reissued on the recently revived OKeh label with the catalog numbers. The name Vocalion was resurrected in the late 1950s by Decca as a label for back-catalog reissues. In 1975, MCA issued five albums on the Vocalion label
34.
How Long, How Long Blues
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How Long, How Long Blues is a blues song recorded by the American blues duo Leroy Carr and Scrapper Blackwell in 1928. The song became an instant best-seller and one of the first blues standards and it has been recorded by many artists, not only in blues but also country and western, pop, and jazz. How Long, How Long Blues is based on How Long Daddy, Leroy Carr and Scrapper Blackwell recorded the song in Indianapolis, Indiana, on June 19,1928, for Vocalion Records, shortly after they began performing together. It is a moderately slow-tempo blues with a structure, notated in 44 or common time in the key of C. Carrs blues were expressive and evocative, although his vocals have also described as emotionally detached, high-pitched. Blackwells single-string jazz guitar lines provided the role of a voice as well as rhythmic chording. How Long, How Long Blues was Carr and Scrapwells biggest hit. They subsequently recorded six more versions of the song, as How Long, How Long Blues, Part 2, Part 3, How Long Has That Evening Train Been Gone, New How Long, How Long Blues, etc. There are considerable variations in the lyrics, many of which have fallen out of use in modern performances. Most versions begin with the lyric How long, how long, has that evening train been gone, although his later style would not suggest it, Muddy Waters recalled that it was the first song he learned to play off the Leroy Carr record. In 1988, Carrs How Long, How Long Blues was inducted into the Blues Hall of Fame in the category Classics of Blues Recordings – Singles or Album Tracks. In 2012, the received a Grammy Hall of Fame Award. Carrs partnership with guitarist Blackwell combined his light bluesy piano with a melodic jazzy guitar that was a progenitor of urban blues. His vocal style moved blues singing toward a sophistication and influenced such singers as T-Bone Walker, Charles Brown, Amos Milburn, Jimmy Witherspoon, Ray Charles. Blackwells jazz single-string guitar lines helped pave the way for electric guitarists such as Eddie Durham and Charlie Christian
35.
The Duck's Yas-Yas-Yas
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The Ducks Yas-Yas-Yas or The Ducks Yas Yas Yas is a hokum jazz-blues song, originally recorded by James Stump Johnson, but the most well known version was recorded by Oliver Cobb and his Rhythm Kings. The song is perhaps best known for the lyrics, The song is a whorehouse tune, the songs title is explained by quoting the lyrics more fully, Shake your shoulders, shake em fast, if you cant shake your shoulders, shake your yas-yas-yas. The Ducks Yas Yas Yas was originally recorded in the origin of St. Louis by pianist James Stump Johnson in late 1928 or January 1929 and he recorded the tune at least three times in his career. Blues singer Tampa Red and Thomas A. Dorsey also recorded a version on May 13,1929, Oliver Cobb recorded the song on August 16,1929, before he died suddenly the next year. Eddie Johnson and The Crackerjacks recorded a cover of the song in 1932, in 1939, Tommy McClennan used some of the lyrics in his song Bottle It Up and Go. It has been covered by The Three Peppers and by King Perry & His Pied Pipers in a hardly recognizable clean version, john Lee Hooker used the first lines of the song in several of his interpretations of Bottle Up and Go. The cartoonist Robert Crumb quoted the song in his comic strip album Zap Comix and it is quoted in the first panel of a story called Ducks Yas Yas. He also recorded the tune in 1972 with his band, the Good Tone Banjo Boys, christian recording artist Larry Norman recorded a version of the song on his 1981 album Something New Under the Son. Normans version changes the tone of the song to that of a somewhat humorous cautionary tale and is renamed as Watch What Youre Doing, Norman took full writing credit for the song in the albums accompanying liner notes. Jon Spencer Blues Explosion quoted the first three lines of the song in Chicken Dog, on the album Now I Got Worry, sung by Rufus Thomas
36.
Bluebird Records
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Bluebird Records is a blues and jazz record label known for its low-cost releases in the 1930s and 1940s. Founded by RCA Victor during the Great Depression, Bluebird concentrated on producing and selling music inexpensively and it created what came to be known as the Bluebird sound, which influenced rhythm and blues and early rock and roll. The label was begun in 1932 as a division of RCA Victor by Eli Oberstein, Bluebird competed with other budget labels at the time. Records were made quickly and cheaply, the Bluebird sound came from the session band that was used on many recordings to save money. The band included such as Big Bill Broonzy, Roosevelt Sykes, Washboard Sam. Many blues musicians were brought to Bluebird by Lester Melrose, a talent scout, in these years, Bluebird became the home of Chicago blues. Bluebird also recorded and reissued jazz and big band music and its roster included Ted Weems, Rudy Vallée, Joe Haymes, Artie Shaw, Glenn Miller, Shep Fields, and Earl Hines. During the World War II years, Victor reissued albums by Duke Ellington, Jelly Roll Morton, bluebirds roster for country music included the Monroe Brothers, the Delmore Brothers, Bradley Kincaid. It reissued many titles by Jimmie Rodgers and the Carter Family, after World War II, Bluebird was retired and its previously released titles were reissued on the standard RCA Victor label. In the 1950s RCA Victor revived Bluebird for certain jazz releases and reissues, childrens records, in the mid-1970s it was again reactivated by RCA for a series of 2-LP sets of big band and jazz reissues produced by Frank Driggs. RCA Victors entry into the market was the 35c Timely Tunes. 40 issues appeared from April to July 1931 before the label was deleted, the first Bluebird records appeared in July 1932 along with identically numbered Electradisk records, test-marketed at selected Woolworths stores in New York City. These 8 discs may have sold for as little as 10c, Bluebird records bore a black-on-medium blue label, Electradisks a blue-on-orange label. Electradisks in the 2500 block were dance-band sides recorded on two days in June 1932, the few records in that block that have been seen resemble Crowns, leading to speculation that all were recorded at Crown. The 2500 series may also have been for only in New York City. In May 1933 RCA Victor restarted Bluebird as a 35c general-interest budget record, numbered B-5000 and up, most 1800-series material was immediately reissued on the Buff label, afterwards it ran concurrently with the Electradisk series. Another short-lived concurrent label was Sunrise, which may have made for a store chain. Few discs, and essentially no information, survive, Sunrise and Electradisk were discontinued early in 1934, leaving Bluebird as RCAs only budget priced label
37.
Don't You Lie to Me
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Dont You Lie to Me is a blues song recorded by Tampa Red in 1940. It became a standard of the blues, with recordings by various artists, the song was also interpreted by rock and roll pioneers Fats Domino and Chuck Berry. The song is a mid-tempo twelve-bar blues that features Tampa Red playing jazz-inflected single-note guitar fills behind his vocals, blind John Davis provided the piano accompaniment with an unidentified bass player and, as a throwback to his earlier days, Red added a twelve-bar kazoo solo. Although many later versions are credited to artists, they usually use some, if not most, of Tampa Reds lyrics. He used most of Tampa Reds lyrics and, although there is a backing band. Domino received sole credit for the song, as did Chuck Berry when he recorded a roll and roll version for his 1961 album New Juke-Box Hits. The Rolling Stones recorded Berrys version in 1964, which was not released until their Metamorphosis album in 1975, the Pretty Things also recorded Berrys version for their 1965 self-titled debut album. In 1962, Albert King recorded Dont You Lie to Me as I Get Evil, Kings version uses an Afro-Cuban style rhythm, which he would later use for his 1967 hit Crosscut Saw. Later, King with Stevie Ray Vaughan recorded it live for television in 1983, in 1977, B. B. King recorded the song for his King Size album. Gary Moore recorded it using both titles Dont You Lie to Me, which follows Albert Kings version, for his 1992 After Hours album, the Flamin Groovies also recorded a version of the song, which was released as a single in the UK in 1976. Supertramp also recorded it for their Live 88 album, lyrics of this song at MetroLyrics
38.
RCA Records
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RCA Records is an American record label owned by Sony Music Entertainment, a subsidiary of Sony Corporation of America, Inc. It is one of SMEs three flagship labels, alongside Columbia Records and Epic Records. The label has released multiple genres of music, including pop, rock, hip hop, R&B, blues, jazz, the companys name is derived from the initials of the labels former parent company, the Radio Corporation of America. It is the second oldest recording company in US history, after sister label Columbia Records, RCAs Canadian unit is Sonys oldest label in Canada. It was one of only two Canadian record companies to survive the Great Depression, kelly, Enrique Iglesias, Foo Fighters, Kings of Leon, Kesha, Miley Cyrus, Giorgio Moroder, Jennifer Hudson, DAngelo, Pink, Tinashe, G-Eazy, Pitbull, Zayn and Wizkid. In 1929, the Radio Corporation of America purchased the Victor Talking Machine Company, then the worlds largest manufacturer of phonographs and phonograph records. The company then became RCA Victor but retained use of the Victor Records name on their labels until the beginning of 1946 when the labels were finally switched over to RCA Victor. With Victor, RCA acquired New World rights to the famous Nipper His Masters Voice trademark, in Shanghai, China, in 1931, RCA Victors British affiliate the Gramophone Company merged with the Columbia Graphophone Company to form EMI. This gave RCA head David Sarnoff a seat on the EMI board, in September 1931, RCA Victor introduced the first 33⅓ rpm records sold to the public, calling them Program Transcriptions. In the depths of the Great Depression, the format was a commercial failure, during the early part of the depression, RCA made a number of attempts to produce a successful cheap label to compete with the dime store labels. The first was the short-lived Timely Tunes label in 1931 sold at Montgomery Ward, in 1932, Bluebird Records was created as a sub-label of RCA Victor. It was originally an 8-inch record with a blue label. In 1933, RCA reintroduced Bluebird and Electradisk as a standard 10-inch label, another cheap label, Sunrise, was produced. The same musical couplings were issued on all three labels and Bluebird Records still survives eight decades after Electradisk and Sunrise were discontinued, RCA also produced records for Montgomery Ward label during the 1930s. Besides manufacturing records for themselves, RCA Victor operated RCA Custom which was the leading record manufacturer for independent record labels, RCA Custom also pressed record compilations for The Readers Digest Association. RCA sold its interest in EMI in 1935, but EMI continued to distribute RCA recordings in the UK, RCA also manufactured and distributed HMV classical recordings on the RCA and HMV labels in North America. During World War II, ties between RCA and its Japanese affiliate JVC were severed, the Japanese record company is today called Victor Entertainment and is still a JVC subsidiary. From 1942 to 1944, RCA Victor was seriously impacted by the American Federation of Musicians recording ban, virtually all union musicians could not make recordings during that period
