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You Shook Me
"You Shook Me" is a 1962 blues song recorded by Chicago blues artist Muddy Waters. Willie Dixon wrote the lyrics and Earl Hooker provided the instrumental backing; the song features Waters' vocal in unison with Hooker's slide-guitar melody. "You Shook Me" became one of Muddy Waters' most successful early-1960s singles and has been interpreted by several blues and rock artists. Background "You Shook Me" is unique among Muddy Waters' songs – it is the first time he overdubbed vocals onto an existing commercially released record. The backing track for Waters started as an impromptu slide guitar instrumental by blues guitarist Earl Hooker during a May 3, 1961, recording session for Chief Records. To start the session, Hooker and his backup band played a "warm-up" number, loosely fashioned on earlier Hooker songs and a rhythmic element from the blues standard " Rock Me Baby". One take was recorded, apparently unknown to Hooker. A.C. Reed, who played tenor saxophone on the recor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Muddy Waters
McKinley Morganfield (April 4, 1913 April 30, 1983), known professionally as Muddy Waters, was an American blues singer and musician who was an important figure in the post-war blues scene, and is often cited as the "father of modern Chicago blues". His style of playing has been described as "raining down Delta beatitude". Muddy Waters grew up on Stovall Plantation near Clarksdale, Mississippi, and by age 17 was playing the guitar and the harmonica, emulating the local blues artists Son House and Robert Johnson."His thick heavy voice, the dark colouration of his tone, and his firm, almost solid, personality were all clearly derived from House," wrote the music historian Peter Guralnick in ''Feel Like Going Home'', "but the embellishments, which he added, the imaginative slide technique and more agile rhythms, were closer to Johnson." 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 professi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lafayette Leake
Lafayette Leake (June 1, 1919 – August 14, 1990) was an American blues and jazz pianist, organist, vocalist and composer who played for Chess Records as a session musician, and as a member of the Big Three Trio, during the formative years of Chicago blues. He played piano on many of Chuck Berry's recordings. Biography Leake was born in Winona, Missouri, United States, in 1919. Information about his early years is sparse, but in the early 1950s he joined the Big Three Trio (replacing Leonard Caston) and began his association with Chess Records, where he worked closely with bassist, producer, and songwriter Willie Dixon. Leake played piano on '' One Dozen Berrys'', Chuck Berry's second album, released in 1958 by Chess. He was then on ''Chuck Berry Is on Top;'' Leake (not Berry's longtime bandmate Johnnie Johnson) played the prominent piano on the classic original rendition of " Johnny B. Goode", as well as "Rock and Roll Music". Leake played on numerous other Chess sessions from ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mississippi Delta
The Mississippi Delta, also known as the Yazoo–Mississippi Delta, or simply the Delta, is the distinctive northwest section of the U.S. state of Mississippi (and portions of Arkansas and Louisiana) that lies between the Mississippi and Yazoo Rivers. The region has been called "The Most Southern Place on Earth" ("Southern" in the sense of "characteristic of its region, the American South"), because of its unique racial, cultural, and economic history. It is long and across at its widest point, encompassing about , or, almost 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 (1861–1865). The region attracted many speculators who developed land along the riverfronts for cotton plantations; they became wealthy planters dependent on the labor of enslaved African Americans, who composed the vast majority of the populatio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hook (music)
A hook is a musical idea, often a short riff, passage, or phrase, that is used in popular music to make a song appealing and to "catch the ear of the listener". The term generally applies to popular music, especially rock, R&B, hip hop, dance, and pop. In these genres, the hook is often found in, or consists of, the chorus. A hook can be either melodic or rhythmic, and often incorporates the main motif for a piece of music.Davidson, Miriam; Heartwood, Kiya (1996). ''Songwriting for Beginners'', p.7. Alfred Music Publishing. . Definitions One definition of a hook is "a musical or lyrical phrase that stands out and is easily remembered." Definitions typically include some of the following: that a hook is repetitive, attention-grabbing, memorable, easy to dance to, and has commercial potential and lyrics. A hook has been defined as a "part of a song, sometimes the title or key lyric line, that keeps recurring." Alternatively, the term has been defined as and can be something as ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Twelve-bar Blues
The 12-bar blues (or blues changes) is one of the most prominent chord progressions in popular music. The blues progression has a distinctive form in lyrics, phrase, chord structure, and duration. In its basic form, it is predominantly based on the I, IV, and V chords of a key. Mastery of the blues and rhythm changes are "critical elements for building a jazz repertoire". Background The blues originated from a combination of work songs, spirituals, and early southern country music. The music was passed down through oral tradition. It was first written down by W. C. Handy, an African American composer and band leader. Its popularity led to the creation of "race records" and the popularity of blues singers like Bessie Smith and Ma Rainy. The style of music heard on race records was later called "rhythm and blues" (R & B). As the music became more popular, more people wanted to perform it. General patterns that existed in the blues were formalized, one of these being the 12-bar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Otis Rush
Otis Rush Jr. (April 29, 1934 – September 29, 2018) was an American blues guitarist and singer-songwriter. His distinctive guitar style featured a slow-burning sound and long bent notes. With qualities similar to the styles of other 1950s artists Magic Sam and Buddy Guy, his sound became known as West Side Chicago blues and was an influence on many musicians, including Michael Bloomfield, Peter Green and Eric Clapton. Rush was left-handed and played as such; however, his guitars were strung with the low E string at the bottom, upside-down from typical guitarists. He often played with the little finger of his pick hand curled under the low E for positioning. It is widely believed that this contributed to his distinctive sound. He had a wide-ranging, powerful tenor voice. Early life The son of farmers Julia Campbell Boyd and Otis C. Rush, Rush was born near Philadelphia, Mississippi in 1934. Rush was one of seven children and worked on a farm throughout his childhood. At th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
I Can't Quit You Baby
"I Can't Quit You Baby" is blues song written by Willie Dixon and first recorded by Chicago blues artist Otis Rush in 1956. It is a slow twelve-bar blues ensemble piece, with lyrics about the consequences of an adulterous relationship which is difficult to end. "I Can't Quit You Baby" was Rush's first recording and Cobra Records's debut single. It became a record chart hit as well as a blues standard. Rush updated the song in 1966 with a modified arrangement, which was adapted by Led Zeppelin for their 1969 debut album. Original song According to biographer Mitsutoshi Inaba "the song subject is the consequences of adultery and the feeling that a man cannot give up a relationship": In his autobiography, Willie Dixon explained that "I Can't Quit You Baby" was written about a relationship Rush was preoccupied with at the time; Dixon used this to draw out an impassioned performance by Rush. Despite being solely credited to Dixon, Rush felt that the song's identity is very muc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
You Shook Me By Muddy Waters US Vinyl
In Modern English, ''you'' is the second-person pronoun. It is grammatically plural, and was historically used only for the dative case, but in most modern dialects is used for all cases and numbers. History ''You'' comes from the Proto-Germanic demonstrative base *''juz''-, *''iwwiz'' from PIE *''yu''- (second person plural pronoun). Old English had singular, dual, and plural second-person pronouns. The dual form was lost by the twelfth century, and the singular form was lost by the early 1600s. The development is shown in the following table. Early Modern English distinguished between the plural '' ye'' and the singular ''thou''. As in many other European languages, English at the time had a T–V distinction, which made the plural forms more respectful and deferential; they were used to address strangers and social superiors. This distinction ultimately led to familiar ''thou'' becoming obsolete in modern English, although it persists in some English dialects. ''Your ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hide Away (instrumental)
"Hide Away" or "Hideaway" is a blues guitar instrumental that has become "a standard for countless blues and rock musicians performing today". First recorded in 1960 by Freddie King, the song became a hit on the record charts. It has been interpreted and recorded by numerous blues and other musicians and has been recognized by the Rock and Roll Hall of Fame and the Grammy Hall of Fame. Origins "Hide Away" is credited to Freddie King and Sonny Thompson (pianist and A&R man at Federal Records). However, in an interview, Freddie King stated that "Hide Away" came from a Hound Dog Taylor song called "Taylor's Boogie". Shakey Jake Harris, a harmonica player who played with Magic Sam, recalled: Magic Sam recorded a variation of the song, "Do the Camel Walk", in 1961. In his autobiography, Willie Dixon suggests that he named the song "Hideaway". He went on to say that "the guy who really wrote 'Hideaway' was this guy called Irving Spencer, the one I used to play with back on Madi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Freddie King
Freddie King (September 3, 1934December 28, 1976) was an American blues guitarist, singer and songwriter. He is considered one of the "Three Kings of the Blues Guitar" (along with Albert King and B.B. King, none of whom were blood related). Mostly known for his soulful and powerful voice and distinctive guitar playing, King had a major influence on electric blues music and on many later blues guitarists. Born in Gilmer, Texas, King became acquainted with the guitar at the age of six. He started learning the guitar from his mother and his uncle. King moved to Chicago when he was a teenager; there he formed his first band the Every Hour Blues Boys with guitarist Jimmie Lee Robinson and drummer Frank "Sonny" Scott. As he was repeatedly being rejected by Chess Records, he got signed to Federal Records, and got his break with single "Have You Ever Loved a Woman" and instrumental " Hide Away", which reached number five on the ''Billboard'' magazine's rhythm and blues chart in 1961. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Honky Tonk (instrumental)
"Honky Tonk" is an instrumental written by Billy Butler, Bill Doggett, Clifford Scott, and Shep Shepherd. Doggett recorded it as a two-part single in 1956. It became Doggett's signature piece and a standard recorded by many other performers. The instrumental peaked at number two for three weeks on the ''Billboard'' Hot 100, and was the biggest R&B hit of the year, spending thirteen non-consecutive weeks at the top of the charts. It was included in Robert Christgau's "Basic Record Library" of 1950s and 1960s recordings, published in '' Christgau's Record Guide: Rock Albums of the Seventies'' (1981). James Brown version In 1972, James Brown James Joseph Brown (May 3, 1933 – December 25, 2006) was an American singer, dancer, musician, record producer and bandleader. The central progenitor of funk music and a major figure of 20th century music, he is often referred to by the honor ... recorded "Honky Tonk" with his band The J.B.'s, who were credited as "The James Brown So ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bill Doggett
William Ballard Doggett (February 16, 1916 – November 13, 1996) was an American pianist and organist. He began his career playing swing music before transitioning into rhythm and blues. Best known for his instrumental compositions "Honky Tonk" and "Hippy Dippy", Doggett was a pioneer of rock and roll. He worked with the Ink Spots, Johnny Otis, Wynonie Harris, Ella Fitzgerald, and Louis Jordan. Biography Doggett was born in Philadelphia. During the 1930s and early 1940s he worked for Lucky Millinder, Frank Fairfax and arranger Jimmy Mundy. In 1942 he was hired as the Ink Spots' pianist and arranger. In 1951, Doggett organized his own trio and began recording for King Records. His best known recording is "Honky Tonk", a rhythm and blues hit of 1956, which sold four million copies (reaching No. 1 R&B and No. 2 Pop), and which he co-wrote with Billy Butler. The track topped the US ''Billboard'' R&B chart for over two months. He also arranged for many bandleaders and pe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
