muddy waters is associated with which subgenre of the blues
Chicago blues
737385
a Man") was used in the films "Goodfellas", "Better Off Dead", "Risky Business", and the rockumentary "The Last Waltz". The Rock and Roll Hall of Fame listed four songs of Muddy Waters among the 500 Songs That Shaped Rock and Roll. U.S. Postage Stamp Muddy Waters McKinley Morganfield (April 4, 1913 April 30, 1983), known professionally as Muddy Waters, was an American blues singer-songwriter and musician who is often cited as the "father of modern Chicago blues", and an important figure on the post-war blues scene. Muddy Waters grew up on Stovall Plantation near Clarksdale, Mississippi, and by age 17
Muddy Waters
4816179
You Shook Me "You Shook Me" is a 1962 blues song recorded by Chicago blues artist Muddy Waters. It features his vocal in unison with a slide-guitar melody by Earl Hooker. "You Shook Me" became one of Muddy Waters' most successful early-1960s singles and has been interpreted by several blues and rock artists. "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
You Shook Me
737385
a Man") was used in the films "Goodfellas", "Better Off Dead", "Risky Business", and the rockumentary "The Last Waltz". The Rock and Roll Hall of Fame listed four songs of Muddy Waters among the 500 Songs That Shaped Rock and Roll. U.S. Postage Stamp Muddy Waters McKinley Morganfield (April 4, 1913 April 30, 1983), known professionally as Muddy Waters, was an American blues singer-songwriter and musician who is often cited as the "father of modern Chicago blues", and an important figure on the post-war blues scene. Muddy Waters grew up on Stovall Plantation near Clarksdale, Mississippi, and by age 17
Muddy Waters
737352
Muddy Waters McKinley Morganfield (April 4, 1913 April 30, 1983), known professionally as Muddy Waters, was an American blues singer-songwriter and musician who is often cited as the "father of modern Chicago blues", and an important figure on the post-war blues scene. 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. 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 professional musician.
Muddy Waters
737368
Muddy's 1950 hit "Rollin' Stone"), Cream, and the original Fleetwood Mac. In the 1960s, Muddy Waters' performances continued to introduce a new generation to Chicago blues. At the Newport Jazz Festival, he recorded one of the first live blues albums, "At Newport 1960", and his performance of "Got My Mojo Working" was nominated for a Grammy award. In September 1963, in Chess' attempt to connect with folk music audiences, Muddy Waters recorded "Folk Singer", which replaced his trademark electric guitar sound with an acoustic band, including a then-unknown Buddy Guy on acoustic guitar. "Folk Singer" was not a commercial success,
Muddy Waters
4180666
Junior Wells Junior Wells (born Amos Wells Blakemore Jr., December 9, 1934January 15, 1998) was an American Chicago blues vocalist, harmonica player, and recording artist. He was one of the pioneers of the amplified blues harp-style associated with Chicago. Wells is best known for his signature song "Messin' with the Kid" and his 1965 album "Hoodoo Man Blues", described by the critic Bill Dahl as "one of the truly classic blues albums of the 1960s". Wells performed and recorded with Various notable blues musicians, including Muddy Waters, Earl Hooker, and Buddy Guy. He remained a fixture on the blues scene
Junior Wells
4180673
albums with Buddy Guy. Junior Wells Junior Wells (born Amos Wells Blakemore Jr., December 9, 1934January 15, 1998) was an American Chicago blues vocalist, harmonica player, and recording artist. He was one of the pioneers of the amplified blues harp-style associated with Chicago. Wells is best known for his signature song "Messin' with the Kid" and his 1965 album "Hoodoo Man Blues", described by the critic Bill Dahl as "one of the truly classic blues albums of the 1960s". Wells performed and recorded with Various notable blues musicians, including Muddy Waters, Earl Hooker, and Buddy Guy. He remained a fixture
Junior Wells
737608
Muddy Waters discography Muddy Waters was an American blues artist widely considered to be one of the most important figures in post–World War II Chicago blues. As with most postwar blues musicians, his recordings were released as two-song singles until the 1960s, when his record company began focusing on long-playing albums. As a result, his most celebrated recordings from early in his career are issued on various collections and anthologies, often with significant overlap and duplication. Included here are the singles and albums released during Muddy's lifetime and the more notable and current live and compilation albums. Footnotes Citations References
Muddy Waters discography
737607
Muddy Waters discography Muddy Waters was an American blues artist widely considered to be one of the most important figures in post–World War II Chicago blues. As with most postwar blues musicians, his recordings were released as two-song singles until the 1960s, when his record company began focusing on long-playing albums. As a result, his most celebrated recordings from early in his career are issued on various collections and anthologies, often with significant overlap and duplication. Included here are the singles and albums released during Muddy's lifetime and the more notable and current live and compilation albums. Footnotes Citations References
Muddy Waters discography
9024664
Chicago blues workout." "Parallel Forces" wrote, "Released in the wake of [the Muddy Waters album] "Hard Again", "Nothin' but the Blues" has the distinction of being recorded with the same musicians. These two albums mark the return to grace of [Johnny Winter] in the world of blues that he had somewhat neglected in previous years, devoted more to rock." All songs written by Johnny Winter, except "Walkin' thru the Park" by Muddy Waters. Nothin' but the Blues (Johnny Winter album) Nothin' but the Blues is a 1977 album by Johnny Winter. The album has the following dedication: "I'd like to
Nothin' but the Blues (Johnny Winter album)
9867881
Crane from the band Atomic Rooster (Rory's brother Donal had been acting as tour manager for them). Gallagher plays saxophone in the next song, a jazz number called "Can't Believe It's True". Also recorded at the time were two blues classics, Muddy Waters' "Gypsy Woman" and "It Takes Time" by Chicago blues legend Otis Rush. Muddy Waters was a teenage hero for Gallagher; they ultimately collaborated on Muddy Waters' album "The London Muddy Waters Sessions". Although these songs were left off the original album they were included in the CD release. The album was recorded in Advision Studios in London.
Rory Gallagher (album)
9705465
recorded by numerous artists. "Muddy Waters calls his "Trouble No More" and Big Maceo titled his "Worried Life Blues." Be that as it may... they all derive from Sleepy John Estes' 1935 classic "Someday Baby Blues." As he did with "Rollin' Stone," "Rollin' and Tumblin'," "Walkin' Blues," and "Baby Please Don't Go," Muddy Waters took an older country blues and made it into a Chicago blues. Waters also modified the lyrics, using "Someday baby, you ain't gonna trouble, poor me anymore" instead of Estes' "Someday baby, you ain't gonna worry, my mind anymore" (Estes' 1938 version "New Someday Baby" uses
Trouble No More (song)
737364
(also known as Elgin Evans) on drums, and Otis Spann on piano. The band recorded a series of blues classics during the early 1950s, some with the help of the bassist and songwriter Willie Dixon, including "Hoochie Coochie Man", "I Just Want to Make Love to You", and "I'm Ready". Along with his former harmonica player Little Walter Jacobs and recent southern transplant Howlin' Wolf, Muddy Waters reigned over the early 1950s Chicago blues scene, his band becoming a proving ground for some of the city's best blues talent. Little Walter continued a collaborative relationship long after he left Muddy
Muddy Waters
737380
commissioned as a part of the Chicago Blues Festival and designed by Brazilian artist Eduardo Kobra. Two years after his death, Chicago honored him by designating the one-block section between 900 and 1000 East 43rd Street near his former home on the south side "Honorary Muddy Waters Drive". The Chicago suburb of Westmont, where Muddy lived the last decade of his life, named a section of Cass Avenue near his home "Honorary Muddy Waters Way". Following his death, fellow blues musician B.B. King told "Guitar World" magazine, "It's going to be years and years before most people realize how greatly
Muddy Waters
11397541
1980. All of Muddy's Grammy Award winning albums ("Hard Again," "I'm Ready," "They Call Me Muddy Waters," "Muddy "Mississippi" Waters Live," "The London Muddy Waters Session," and "The Muddy Waters Woodstock Album") were released between 1971 and 1979 during Smith's tenure with the band. Though he did not play on all of these albums, Smith is estimated to have participated in twelve sessions yielding eighty-four tracks. In June 1980, Smith and other members of Muddy's band Pinetop Perkins (piano), Calvin Jones (bass) and Jerry Portnoy (harmonica) struck out on their own, also recruiting veteran Chicago blues man Louis Myers (harmonica/guitar)
Willie "Big Eyes" Smith
34016
became a center for electric blues from 1948 on, when Muddy Waters recorded his first success, "I Can't Be Satisfied". Chicago blues is influenced to a large extent by Delta blues, because many performers had migrated from the Mississippi region. Howlin' Wolf, Muddy Waters, Willie Dixon and Jimmy Reed were all born in Mississippi and moved to Chicago during the Great Migration. Their style is characterized by the use of electric guitar, sometimes slide guitar, harmonica, and a rhythm section of bass and drums. The saxophonist J. T. Brown played in bands led by Elmore James and by J. B.
Blues
14251626
Talks," between 1981 and 1993 and toured with Bob Dylan, The Rolling Stones and Eric Clapton. Later recordings included Billy Flynn, Little Smokey Smothers, Tony O. Melio, Nick Moss and Madison Slim although the rhythm section of Jones and Smith remained through to their final release in 1993. The Legendary Blues Band The Legendary Blues Band was a Chicago blues band formed in 1980 after the breakup of Muddy Waters' band. In June 1980, Muddy Waters' backing musicians Willie "Big Eyes" Smith (drums), Pinetop Perkins (piano), Calvin "Fuzz" Jones (bass guitar), Luther Johnson (Guitar Junior) (guitar), Bob Margolin (guitar) and
The Legendary Blues Band
17149724
of 72, in November 1999. With Lightnin' Hopkins With Curtis Jones Johnny "Big Moose" Walker Johnny "Big Moose" Walker (June 27, 1927 November 27, 1999) was an American Chicago blues and electric blues pianist and organist. He worked with many blues musicians, including Ike Turner, Sonny Boy Williamson II, Lowell Fulson, Choker Campbell, Elmore James, Earl Hooker, Muddy Waters, Otis Spann, Sunnyland Slim, Jimmy Dawkins and Son Seals. Walker was primarily a piano player but was also proficient on the electronic organ and the bass guitar (he played the bass guitar when backing Muddy Waters). He recorded solo albums and
Johnny "Big Moose" Walker
1472531
Shines. Early recordings in the new style were made in 1947 and 1948 by musicians such as Johnny Young, Floyd Jones, and Snooky Pryor. The format was perfected by Muddy Waters, who utilized various small groups that provided a strong rhythm section and powerful harmonica. His "I Can't Be Satisfied" (1948) was followed by a series of ground-breaking recordings. Chicago blues is influenced to a large extent by the Mississippi blues style, because many performers had migrated from the Mississippi region. Howlin' Wolf, Muddy Waters, Willie Dixon and Jimmy Reed were all born in Mississippi and moved to Chicago during
Electric blues
9705467
album "Coryells". Trouble No More (song) "Trouble No More" is an upbeat blues song first recorded by Muddy Waters in 1955. The song was a hit the following year, reaching number seven in the Billboard R&B chart. Backing Muddy Waters were Jimmy Rogers (electric guitar), Little Walter (amplified harmonica), Otis Spann (piano), Willie Dixon (bass), Francis Clay (drums), a loose group of fellow Chess recording artists, sometimes known as the "Headhunters," who were instrumental in defining Chicago blues. "Trouble No More" is a variation of "Someday Baby Blues," recorded by Sleepy John Estes in 1935, a song that has been
Trouble No More (song)
9705464
Trouble No More (song) "Trouble No More" is an upbeat blues song first recorded by Muddy Waters in 1955. The song was a hit the following year, reaching number seven in the Billboard R&B chart. Backing Muddy Waters were Jimmy Rogers (electric guitar), Little Walter (amplified harmonica), Otis Spann (piano), Willie Dixon (bass), Francis Clay (drums), a loose group of fellow Chess recording artists, sometimes known as the "Headhunters," who were instrumental in defining Chicago blues. "Trouble No More" is a variation of "Someday Baby Blues," recorded by Sleepy John Estes in 1935, a song that has been interpreted and
Trouble No More (song)
12137014
R&B chart. Memphis one-man-band Joe Hill Louis recorded an electric version titled "Good Morning Little Angel" in February or March 1953. In the late 1950s and early 1960s, several versions of "Good Morning Little Schoolgirl" were recorded as acoustic country-style blues, including versions by John Lee Hooker, Lightnin' Hopkins, Mississippi Fred McDowell, Muddy Waters, and Doctor Ross. In 1965, Junior Wells with Buddy Guy recorded it as a Chicago blues, with a distinctive guitar and bass line, for their influential "Hoodoo Man Blues" album. McDowell included a 1971 performance on "Live in New York" and in 1978, Muddy Waters recorded
Good Morning, School Girl
1472533
of slide electric guitar. Howlin' Wolf and Muddy Waters were for their deep, "gravelly" voices. Bassist and composer Willie Dixon played a major role on the Chicago blues scene. He composed and wrote many standard blues songs of the period, such as "Hoochie Coochie Man", "I Just Want to Make Love to You" (both penned for Muddy Waters) and, "Wang Dang Doodle", "Spoonful" and "Back Door Man" for Howlin' Wolf. Most artists of the Chicago blues style recorded for the Chicago-based Chess Records and Checker Records labels, there were also smaller blues labels in this era including Vee-Jay Records and
Electric blues
14251624
The Legendary Blues Band The Legendary Blues Band was a Chicago blues band formed in 1980 after the breakup of Muddy Waters' band. In June 1980, Muddy Waters' backing musicians Willie "Big Eyes" Smith (drums), Pinetop Perkins (piano), Calvin "Fuzz" Jones (bass guitar), Luther Johnson (Guitar Junior) (guitar), Bob Margolin (guitar) and Jerry Portnoy (harmonica) quit over a salary dispute. The year before, Smith, Jones, Johnson and Perkins backed John Lee Hooker and Big Walter Horton in the film "The Blues Brothers", playing a live version of "Boom Boom" in the Maxwell Street Market. Smith was the only band member
The Legendary Blues Band
3267498
storied history with blues that goes back generations stemming from the Great Migration from the South and particularly the Mississippi Delta region in pursuit of advancement and better career possibilities for musicians. Created by Commissioner of Cultural Affairs Lois Weisberg, the festival began in 1984, a year after the death of McKinley Morganfield, better known as Muddy Waters, who is generally considered "the father of Chicago blues". Each year the organizers choose a theme, generally to honor a recently departed blues musician. Obviously, Chicago blues acts are common. In 2015, the festival celebrated the centenary of the births of Muddy
Chicago Blues Festival
34017
Lenoir, but the saxophone was used as a backing instrument for rhythmic support more than as a lead instrument. Little Walter, Sonny Boy Williamson (Rice Miller) and Sonny Terry are well known harmonica (called "harp" by blues musicians) players of the early Chicago blues scene. Other harp players such as Big Walter Horton were also influential. Muddy Waters and Elmore James were known for their innovative use of slide electric guitar. Howlin' Wolf and Muddy Waters were known for their deep, "gravelly" voices. The bassist and prolific songwriter and composer Willie Dixon played a major role on the Chicago blues
Blues
17149719
Johnny "Big Moose" Walker Johnny "Big Moose" Walker (June 27, 1927 November 27, 1999) was an American Chicago blues and electric blues pianist and organist. He worked with many blues musicians, including Ike Turner, Sonny Boy Williamson II, Lowell Fulson, Choker Campbell, Elmore James, Earl Hooker, Muddy Waters, Otis Spann, Sunnyland Slim, Jimmy Dawkins and Son Seals. Walker was primarily a piano player but was also proficient on the electronic organ and the bass guitar (he played the bass guitar when backing Muddy Waters). He recorded solo albums and accompanied other musicians in concert and on recordings. John Mayon Walker
Johnny "Big Moose" Walker
737372
1971 album of old, but previously unreleased recordings. Later in 1972, he flew to England to record the album "The London Muddy Waters Sessions". The album was a follow-up to the previous year's "The London Howlin' Wolf Sessions". Both albums were the brainchild of Chess Records producer Norman Dayron, and were intended to showcase Chicago blues musicians playing with the younger British rock musicians whom they had inspired. Muddy Waters brought with him two American musicians, harmonica player Carey Bell and guitarist Sammy Lawhorn. The British and Irish musicians who played on the album included Rory Gallagher, Steve Winwood, Rick
Muddy Waters
737371
Chicago blues sound. "Fathers and Sons" had an all-star backing band that included Michael Bloomfield and Paul Butterfield, longtime fans whose desire to play with him was the impetus for the album. It was the most successful album of Muddy Waters' career, reaching number 70 on the "Billboard" 200. In 1971, a show at Mister Kelly's, an upmarket Chicago nightclub, was recorded and released, signalling both Muddy's return to form and the completion of his transfer to white audiences. In 1972, he won his first Grammy Award, for Best Ethnic or Traditional Recording for "They Call Me Muddy Waters", a
Muddy Waters
1477473
Chicago blues The Chicago blues is a form of blues music indigenous to Chicago, Illinois. Chicago blues is an electric blues style of urban blues. Urban blues evolved from classic blues following the Great Migration, or the Great Northern Drive, which was both forced and voluntary at times, of African Americans from the southern United States to the industrial cities of the north, such as Chicago. Muddy Waters directly joined that migration, like many others, avoiding the more harsh southern Jim Crow laws. Bruce Iglauer, founder of Alligator Records stated that, "Chicago blues is the music of the industrial city,
Chicago blues
4496932
Soul blues Soul blues is a style of blues music developed in the late 1960s and early 1970s that combines elements of soul music and urban contemporary music. Singers and musicians who grew up listening to the traditional electric blues of artists such as Muddy Waters, Bo Diddley, Jimmy Reed and Elmore James; soul singers such as Sam Cooke, Ray Charles and Otis Redding; and gospel music wanted to bridge their favorite music together. Bobby Bland was one of the pioneers of this style. This is a subgenre of blues that is very popular with African American audiences but less
Soul blues
1472588
Barrelhouse Club. To this point British blues was acoustically played emulating Delta blues and Country blues styles and often part of the emerging second British folk revival. Critical in changing this was the visit of Muddy Waters in 1958, who initially shocked British audiences by playing amplified electric blues, but who was soon playing to ecstatic crowds and rave reviews. Davies and Korner, having already split with Barber, now plugged in and began to play high powered electric blues that became the model for the subgenre, forming the band Blues Incorporated. Blues Incorporated became something of a clearing house for
British blues
19153671
The London Muddy Waters Sessions The London Muddy Waters Sessions is a studio album by Muddy Waters, released in 1972 on Chess Records. A follow-up to 1971's "The London Howlin' Wolf Sessions," the concept was to combine American bluesmen with British blues/rock stars. The album was an attempt to capitalize on the British rediscovering of traditional blues music and blues artists. "The London Muddy Waters Sessions" won the 1972 Grammy Award for Best Ethnic or Traditional Folk Recording; it marked the second of six times that Muddy Waters would win that award. The album features Waters on acoustic guitar, backed
The London Muddy Waters Sessions
9270781
in blues were also created by black rock artists. Other elements of rock such as many rock guitar sounds were developed my black rock artists such as Chuck Berry, Jimi Hendrix, and others. The rock guitar sounds and rhythms that define rock music were developed by artists like Chuck Berry, Muddy Water, and Sister Rosetta Tharpe. For example, Muddy Waters was one of the first musicians to amplify a guitar, which is one of the defining features of Rock music: “Muddy Waters caused a storm by playing through an amplifier, the sort of thing associated with rock n’ roll.” Often
Black Rock Coalition
14898557
Baker. Muddy Waters started out recording for Aristocrat Records in 1947, somehow a predecessor of Chess Records. Those early recording only features Ernest "Big" Crawford backing Muddy. Later when Leonard and Phil Chess took over the record label, Muddy used a more electric backing band featuring members such as Little Walter. In 2017, the album was inducted in to the Blues Hall of Fame in the category of 'Classics of Blues Recordings – Album'. All tracks written by Muddy Waters, except when indicated. The following people contributed to "The Real Folk Blues" The Real Folk Blues (Muddy Waters album) The
The Real Folk Blues (Muddy Waters album)
18514770
preaching at the song's climax". David Dicaire, in "Blues Singers: Biographies of 50 Legendary Artists of the Early 20th Century", calls the song "a definitive modern blues classic". David Hatch and Stephen Millward, in an analysis of blue notes, single out the song because, in their opinion, it displays Muddy Waters's mastery of blues singing, particularly his "sliding effortlessly between the major and the 'blue' tones, with just the right mixture of hope and bitterness in his voice". Long Distance Call (Muddy Waters song) "Long Distance Call" is a song by American blues musician Muddy Waters. It was first released
Long Distance Call (Muddy Waters song)
737383
You" (a big radio hit for Etta James, as well as the 1970s rock band Foghat), "Hoochie Coochie Man", which the Allman Brothers Band covered (the song was also covered by Humble Pie, Steppenwolf, and Fear), "Trouble No More" and "I'm Ready". In 1993, Paul Rodgers released the album "Muddy Water Blues: A Tribute to Muddy Waters", on which he covered a number of Muddy Waters songs, including "Louisiana Blues", "Rollin' Stone", "Hoochie Coochie Man" and "I'm Ready" in collaboration with a number of guitarists, including Gary Moore, Brian May and Jeff Beck. Angus Young, of the rock group AC/DC,
Muddy Waters
17160067
switching to the electric bass guitar, which became his instrument of choice. He joined the backing band of Muddy Waters in 1970 and played with the group until 1980. He played on the albums "They Call Me Muddy Waters" (1971), "Muddy "Mississippi" Waters – Live" (1979), and "King Bee" (1981). He became known for his "strong electric bass playing, rocking stage presence, deep blues singing, and the friendly laugh and smile he had for all". In the 1980 film "The Blues Brothers", Jones appeared as the bassist in the blues band on Maxwell Street, Chicago, outside the Soul Food Cafe.
Calvin "Fuzz" Jones
19153674
Wolf Sessions.) But at this juncture, Grech had become a member of Traffic, another band led by Winwood. Blues harp man Carey Bell was essential. Like Muddy, Bell was born in Mississippi and came of age in Chicago; Like Lawhorn, he was a long-time member of Waters band, having previously worked with John Lee Hooker, Eddie Taylor and Earl Hooker, among others. Bell alternated between a standard Marine Band harp and the big double-key chromatic harp which was his specialty. The London Muddy Waters Sessions The London Muddy Waters Sessions is a studio album by Muddy Waters, released in 1972
The London Muddy Waters Sessions
14898556
The Real Folk Blues (Muddy Waters album) The Real Folk Blues is a 1966 compilation album of Muddy Waters recordings, released on the Chess record label in January 1966. The album was the first release of "The Real Folk Blues" series and has since been re-released on multiple formats. The album features some of Waters' first recordings. The cover art photography and design on "The Real Folk Blues" was done by Don S. Bronstein and the sleeve notes for the original album were done by Willie Dixon. On a reissue of the album, new liner notes were authored by Cary
The Real Folk Blues (Muddy Waters album)
18514767
Long Distance Call (Muddy Waters song) "Long Distance Call" is a song by American blues musician Muddy Waters. It was first released as a single in 1951 by Chess Records (#1452), with "Too Young To Know" on the B-side. The single reached #8 on the US R&B chart. It was later released on the greatest hits album "The Best of Muddy Waters" (1958), and is hailed as a classic modern blues song; Waters's singing is cited as an excellent example of blue notes. "Long Distance Call" originates in the song "Long Distance Moan", recorded in September 1929 by Blind Lemon
Long Distance Call (Muddy Waters song)
17440844
sing his songs just like I love and will always be proud of him. I'm not Muddy Waters and I'm certainly not trying to be Muddy Waters. I'm Mud Morganfield but when I'm up on stage I always feel pops is there with me and it means so much that I can get on stage and keep his music alive around the world." In May 2015, his album, "For Pops: A Tribute To Muddy Waters", won a Blues Music Award in the 'Traditional Blues Album' category. Mud Morganfield Larry "Mud" Morganfield (born September 27, 1954) is an American blues singer
Mud Morganfield
737381
he contributed to American music". A Mississippi Blues Trail marker has been placed in Clarksdale, Mississippi, by the Mississippi Blues Commission designating the site of Muddy Waters' cabin. In June 2017, a massive mural in downtown Chicago was dedicated to him. The Rolling Stones named themselves after his 1950 song "Rollin' Stone" (also known as "Catfish Blues", which was covered by Jimi Hendrix). "Rolling Stone" magazine took its name from the same song. Hendrix recalled that "the first guitar player I was aware of was Muddy Waters. I first heard him as a little boy and it scared me to
Muddy Waters
737373
Grech, and Mitch Mitchell. Muddy Waters was dissatisfied by the results, due to the British musicians' more rock-oriented sound. "These boys are top musicians, they can play with me, put the book before 'em and play it, you know," he told Guralnick. "But that ain't what I need to sell my people, it ain't the Muddy Waters sound. An' if you change my sound, then you gonna change the whole man." He stated, "My blues look so simple, so easy to do, but it's not. They say my blues is the hardest blues in the world to play." Nevertheless, the
Muddy Waters
2458514
Music of Mississippi Mississippi is best known as the home of the blues, which developed among the freed African Americans in the latter half of the 19th century. The Delta blues is the style most closely associated with the state, and includes performers like Charley Patton, Robert Johnson (buried in Greenwood, MS), David "Honeyboy" Edwards, Willie Brown, Tommy Johnson, Ishmon Bracey, Bo Carter, Sam Chatmon, Mississippi John Hurt, Furry Lewis, Son House, Skip James, Muddy Waters, Howlin' Wolf, John Lee Hooker, Pinetop Perkins, and B.B. King ("The King of the Blues", buried in Indianola, MS). The fiddle and banjo are
Music of Mississippi
737354
in the blues there. His performance at the Newport Jazz Festival in 1960 was recorded and released as his first live album, "At Newport 1960". 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 are not conclusively known. He stated that he was born in Rolling Fork, Mississippi, in 1915, but evidence also suggests that he was born in Jug's Corner,
Muddy Waters
12592451
of Muddy Waters" (1958). Muddy Waters later re-recorded the song for his albums "Fathers and Sons" (1969) and "The London Muddy Waters Sessions" (1971). In 1978, he re-recorded it for the title track to his album "I'm Ready". The album, which was produced by Johnny Winter, earned Waters a Grammy in 1978. Over the years, "I'm Ready" has been recorded by a variety of blues and other artists, including: Humble Pie from the "Humble Pie" album (1970), Long John Baldry on his album "It Ain't Easy" (1971), Buddy Guy from the album "Hold That Plane" (1972), Stars, from their album,
I'm Ready (blues song)
737369
but it was lauded by critics, and in 2003 "Rolling Stone" magazine placed it at number 280 on its list of the 500 greatest albums of all time. In October 1963, Muddy Waters participated in the first of several annual European tours, organized as the American Folk Blues Festival, during which he also performed more acoustic-oriented numbers. In 1967, he re-recorded several blues standards with Bo Diddley, Little Walter, and Howlin' Wolf, which were marketed as "Super Blues" and "The Super Super Blues Band" albums in Chess' attempt to reach a rock audience. In 1968, at the instigation of Marshall
Muddy Waters
3606277
Electric Mud Electric Mud is the fifth studio album by Muddy Waters, with members of Rotary Connection serving as his backing band. Released in 1968, it imagines Muddy Waters as a psychedelic musician. Producer Marshall Chess suggested that Muddy Waters recorded it in an attempt to appeal to a rock audience. The album peaked at number 127 on "Billboard" 200 album chart. It was controversial for its fusion of electric blues with psychedelic elements. The 1960s saw Marshall Chess seeking to introduce Muddy Waters' music to a younger audience; Chess Records, Waters' record label, founded by Marshall's father, Leonard Chess,
Electric Mud
1471587
effective guitar work and is heavily influenced by the boogie patterns used on Jimmy Reed records and the work of Lightnin' Hopkins and Muddy Waters. The sound of swamp blues was characterized by "eerie echo, shuffle beats, tremolo guitars, searing harmonica and sparse percussion". Swamp blues originated in Baton Rouge, and was particularly associated with record producer J. D. "Jay" Miller. In the 1950s, Miller recorded many blues artists around the city, distributing their recordings through Excello Records in Nashville, Tennessee. The most successful and influential artist with whom he worked was guitarist and harmonica player Slim Harpo. Other major
Swamp blues
12854621
and Soul music. Blues & Rhythm is run by an editorial board, since its inception it has carried on the long tradition of research into Blues, R&B and Gospel music including artists, musicians, record companies and associated subjects. "Blues & Rhythm"′s roots go back to magazines such as the pioneering "Blues Unlimited", first published in England in the early 1960s as well as other specialist magazines including "Pickin' The Blues", "Sailors Delight" and "Old Time Music". "Blues & Rhythm" has published major and ground-breaking research on some of the giants of the blues including Muddy Waters, Robert Johnson, Big Bill
Blues & Rhythm
2110819
produce an album for Thunderhead, a Southern rock band which included Pat Rush and Bobby "T" Torello, who would later play with Winter. A second live Winter album, "Captured Live!", was released in 1976 and features an extended performance of "Highway 61 Revisited". In live performances, Winter often told the story about how, as a child, he dreamed of playing with the blues guitarist Muddy Waters. He got his chance in 1974, when renowned blues artists and their younger brethren came together to honor the musician (Muddy Waters) responsible for bringing blues to Chicago, and the resulting concert presented many
Johnny Winter
2015136
was notable "because very few female blues singers at that time had ever enjoyed success across the Atlantic." While in England that year, she recorded her first album for Arhoolie, "Big Mama Thornton – In Europe". It featured backing by blues veterans Buddy Guy (guitar), Fred Below (drums), Eddie Boyd (keyboards), Jimmy Lee Robinson (bass), and Walter "Shakey" Horton (harmonica), except for three songs on which Fred McDowell provided acoustic slide guitar. In 1966, Thornton recorded her second album for Arhoolie, "Big Mama Thornton with the Muddy Waters Blues Band – 1966", with Muddy Waters (guitar), Sammy Lawhorn (guitar), James
Big Mama Thornton
20603959
– and should – flock to this disc. It's not Waters at his best yet it reinforces just what a towering figure he is in the history of the blues and popular music." Musicians Production Breakin' It Up, Breakin' It Down Breakin' It Up, Breakin' It Down is a blues album by Muddy Waters, Johnny Winter, and James Cotton. It was recorded live in 1977, and released in 2007. It reached number 3 on the "Billboard" Blues Albums chart. In January 1977, blues guitarist and singer Muddy Waters released the studio album "Hard Again". It was very well-received, and helped
Breakin' It Up, Breakin' It Down
8526682
Rollin' Stone "Rollin' Stone" is a blues song recorded by Muddy Waters in 1950. It is his interpretation of "Catfish Blues", a Delta blues that dates back to 1920s Mississippi. Although the single (with "Walkin' Blues" as the B-side) did not appear in the national record charts, it sold about 70,000 copies. "Still a Fool", recorded by Muddy Waters a year later using the same arrangement and melody, reached number nine on the Billboard R&B chart. "Rollin' Stone" has been recorded by a variety of artists, and both "Rolling Stone" magazine and the rock group the Rolling Stones are named
Rollin' Stone
737378
age of 70. The funeral service was held on May 4, 1983. Throngs of blues musicians and fans attended his funeral at Restvale Cemetery in Alsip, Illinois. John P. Hammond told "Guitar World" magazine, "Muddy was a master of just the right notes. It was profound guitar playing, deep and simple... more country blues transposed to the electric guitar, the kind of playing that enhanced the lyrics, gave profundity to the words themselves.". After his death, a lengthy legal battle ensued between Muddy Waters' heirs and Scott Cameron, his former manager. In 2010, Muddy Waters' heir was petitioning for the
Muddy Waters
12161866
Walkin' Blues "Walkin' Blues" or "Walking Blues" is a blues standard written and recorded by American Delta blues musician Son House in 1930. Although unissued at the time, it was part of House's repertoire and other musicians, including Robert Johnson and Muddy Waters, adapted the song and recorded their own versions. Besides "Walking Blues", Johnson's 1936 rendition incorporates melodic and rhythmic elements from House's "My Black Mama" (which House also used for his "Death Letter") and slide guitar techniques Johnson learned from House. In 1941, Waters recorded the song with some different lyrics as "Country Blues" in his first field
Walkin' Blues
15996446
studio demo versions along with other live recordings. "Hear My Train A Comin'" is one of several blues-oriented songs that were in Hendrix's repertoire throughout his career. One of his earliest recordings with the Experience was his composition "Red House", a blues song inspired by Albert King, which is included on the 1967 UK "Are You Experienced" debut album. In their early years, the Experience adapted and frequently performed other blues songs, including Howlin' Wolf's "Killing Floor", B.B. King's "Rock Me Baby", Elmore James' "Bleeding Heart", and "Catfish Blues", a medley of songs by Muddy Waters. They also played Muddy
Hear My Train A Comin'
9024663
Nothin' but the Blues (Johnny Winter album) Nothin' but the Blues is a 1977 album by Johnny Winter. The album has the following dedication: "I'd like to dedicate this album to all the people who enjoy my kind of blues and especially to Muddy Waters for giving me the inspiration to do it and for giving the world a lifetime of great blues." - Johnny Winter On "AllMusic", William Ruhlmann said, "After a long period making rock records, Winter fronts the Muddy Waters band on the aptly titled "Nothin' but the Blues"... Winter sounds happier than ever before on this
Nothin' but the Blues (Johnny Winter album)
14911156
several of the musicians most famous songs includes Bo Diddley's "I'm a Man", Muddy Waters' "I Just Want to Make Love to You", and Little Walter's "My Babe". "Per liner notes Super Blues Super Blues is a 1967 studio album by a blues supergroup consisting of Bo Diddley, Muddy Waters, and Little Walter. The album was released in both mono and stereo formats by Checker Records in June 1967. A follow-up album "The Super Super Blues Band" was released later that year and featured Howlin' Wolf replacing Little Walter. The album was produced by Ralph Bass for Chess Records, although
Super Blues
17440843
and timber of his voice to that of his father’s voice as a double edged sword. The similarity is evident in "For Pops: A Tribute To Muddy Waters", an album on which Morganfield performs several Muddy Waters songs. Morganfield launched his music career in blues clubs on the south side of Chicago, where he performed a mix of his father’s material and his own original works. Regarding his performances of Muddy Waters songs in addition to his own material, Morganfield says, "I started to sing to show the world that dad left me here. I love and am proud to
Mud Morganfield
737365
Waters's band in 1952, appearing on most of the band's classic recordings in the 1950s. Muddy Waters developed a long-running, generally good-natured rivalry with Wolf. The success of his ensemble paved the way for others in his group to make their own solo careers. In 1952, Little Walter left when his single "Juke" became a hit, and in 1955, Rogers quit to work exclusively with his own band, which had been a sideline until that time. During the mid-1950s, Muddy Waters' singles were frequently on "Billboard" magazine's various Rhythm & Blues charts including "Sugar Sweet" in 1955 and "Trouble No
Muddy Waters
16267782
Mustang. James Madison (musician) James "Pee Wee" Madison (May 4, 1935 – January 7, 2008) was an American blues guitar player. Born in Osceola, Arkansas, he moved to Chicago in the late 1950s, molding his musicianship on that of Little Walter. His big chance came when he joined the band of Muddy Waters in 1963, replacing guitarist Pat Hare who was incarcerated for killing his girlfriend. Starting in 1964, Madison played on most of Muddy Waters' recordings. He played with Muddy Waters' band until the ending of Muddy Waters' world tour in 1973, mostly playing rhythm guitar on an upside-down
James Madison (musician)
16267781
James Madison (musician) James "Pee Wee" Madison (May 4, 1935 – January 7, 2008) was an American blues guitar player. Born in Osceola, Arkansas, he moved to Chicago in the late 1950s, molding his musicianship on that of Little Walter. His big chance came when he joined the band of Muddy Waters in 1963, replacing guitarist Pat Hare who was incarcerated for killing his girlfriend. Starting in 1964, Madison played on most of Muddy Waters' recordings. He played with Muddy Waters' band until the ending of Muddy Waters' world tour in 1973, mostly playing rhythm guitar on an upside-down Fender
James Madison (musician)
737374
album won another Grammy, again for Best Ethnic or Traditional Recording. He won another Grammy for his last LP on Chess Records: "The Muddy Waters Woodstock Album", recorded in 1975 with his new guitarist Bob Margolin, Pinetop Perkins, Paul Butterfield, and Levon Helm and Garth Hudson of the Band. From 1977 to 1981, blues musician Johnny Winter, who had idolized Muddy Waters since childhood, produced four albums of his, all on the Blue Sky Records label: the studio albums "Hard Again" (1977), "I'm Ready" (1978) and "King Bee" (1981), and the live album "Muddy "Mississippi" Waters – Live" (1979). The
Muddy Waters
20603954
Breakin' It Up, Breakin' It Down Breakin' It Up, Breakin' It Down is a blues album by Muddy Waters, Johnny Winter, and James Cotton. It was recorded live in 1977, and released in 2007. It reached number 3 on the "Billboard" Blues Albums chart. In January 1977, blues guitarist and singer Muddy Waters released the studio album "Hard Again". It was very well-received, and helped revive Waters' career. It won a Grammy Award for Best Ethnic or Traditional Folk Recording. "Hard Again" was produced by Johnny Winter. Winter and James Cotton both played on the album, on guitar and harmonica
Breakin' It Up, Breakin' It Down
10412661
"Billboard" 200 album chart. It also appears on several Cooke compilation albums, including "", which was released in 2003. Chess Records Chicago artists, including Howlin' Wolf and Muddy Waters, influenced the Rolling Stones, with the band taking their name from a Muddy Waters tune and playing from a repertoire of blues songs at the beginning of their career. In 1962, before they had recorded as a group, Mick Jagger, Brian Jones, and Keith Richards, attended the first American Folk Blues Festival, whose performers included Howlin' Wolf. Willie Dixon, another Festival player, later recalled "When the Rolling Stones came to Chess
Little Red Rooster
737377
he nicknamed "Sunshine". Eric Clapton served as best man at their wedding in 1979. His sons, Larry "Mud" Morganfield and Big Bill Morganfield, are also blues singers and musicians. In 2017, another son, Joseph "Mojo" Morganfield, began publicly performing the blues, often with his brothers. Muddy Waters died in his sleep from heart failure, at his home in Westmont, Illinois, on April 30, 1983, from cancer-related complications. He was transported from his Westmont home, which he lived in for the last decade of his life, to Good Samaritan Hospital in Downers Grove, Illinois. There he was pronounced dead at the
Muddy Waters
8774312
album Malpractise from 1975. The Grateful Dead covered the song live in concert many times under many different names, including "Minglewood Blues," "The New Minglewood Blues," "The All-New Minglewood Blues," and "The New New Minglewood Blues." Despite the similarity in title "New Minglewood Blues" was a different song, originally recorded on November 26, 1930 by Noah Lewis (who had played on Cannon's original "Minglewood Blues"). The Yardbirds recorded the song for their 1967 album "Little Games" with different lyrics under the name "Drinking Muddy Water," which may be a reference either to Muddy Waters or to the lyrics of the
Rollin' and Tumblin'
4961995
Mannish Boy "Mannish Boy" (or "Manish Boy" as it was originally titled) is a blues standard by Muddy Waters. First recorded in 1955, the song is both an arrangement of and an "answer song" to Bo Diddley's "I'm a Man", which was in turn inspired by Waters' and Willie Dixon's "Hoochie Coochie Man". "Mannish Boy" features a repeating stop-time figure on one chord throughout the song and is credited to Waters, Mel London, and Bo Diddley. As "Manish Boy", the song was recorded in Chicago on May 24, 1955. It is the only recording by Muddy Waters between January 1953
Mannish Boy
3606289
thing that struck me right away was the "Electric Mud" thing." The documentary series "The Blues", produced by Martin Scorsese, depicts the recording band for "Electric Mud" performing with Chuck D and members of The Roots. The original LP record cover listed the track times in seconds only. Electric Mud Electric Mud is the fifth studio album by Muddy Waters, with members of Rotary Connection serving as his backing band. Released in 1968, it imagines Muddy Waters as a psychedelic musician. Producer Marshall Chess suggested that Muddy Waters recorded it in an attempt to appeal to a rock audience. The
Electric Mud
12592449
I'm Ready (blues song) "I'm Ready" is a blues song written by Willie Dixon and first recorded by Muddy Waters in 1954. It was a hit, spending nine weeks on the Billboard R&B chart where it reached number four. Since then, "I'm Ready" has been recorded by numerous blues and other artists. "I'm Ready" was inspired by a comment by Muddy Waters prior to a gig, when harmonica player Willie Foster visited him at home. As Foster recalled, Dixon proceeded to write a song and "I'm Ready" was completed within about three days. The lyrics continue the use of swagger
I'm Ready (blues song)
9765407
Forty Days and Forty Nights "Forty Days and Forty Nights" is a blues song recorded by Muddy Waters in 1956. Called "a big, bold record", it was a hit, spending six weeks in the "Billboard" R&B chart, where it reached number seven. "Forty Days and Forty Nights" has been interpreted and recorded by a variety of artists. "Forty Days and Forty Nights" is a midtempo blues song with an irregular number of bars written by Bernard Roth (who also wrote Muddy Waters' "Just to Be with You"). An early review called it "a dramatic piece of material with effective lyrics".
Forty Days and Forty Nights
9706042
Got My Mojo Working "Got My Mojo Working" is a blues song written by Preston "Red" Foster and first recorded by Ann Cole in 1956. Muddy Waters popularized it in 1957 and the song was a feature of his performances throughout his career. A mojo is an amulet or talisman associated with hoodoo, an early African-American folk-magic belief system. "Rolling Stone" magazine included Waters' rendition of the song on its list of 500 Greatest Songs of All Time at number 359. In 1999, the National Academy of Recording Arts and Sciences gave it a Grammy Hall of Fame Award and
Got My Mojo Working
9706052
175 in "The Judge Who Hated Red Nail Polish & Other Crazy But True Stories of Law & Lawyers". Got My Mojo Working "Got My Mojo Working" is a blues song written by Preston "Red" Foster and first recorded by Ann Cole in 1956. Muddy Waters popularized it in 1957 and the song was a feature of his performances throughout his career. A mojo is an amulet or talisman associated with hoodoo, an early African-American folk-magic belief system. "Rolling Stone" magazine included Waters' rendition of the song on its list of 500 Greatest Songs of All Time at number 359.
Got My Mojo Working
3606288
of the album, "to me it's a brilliant record. I've played it about a thousand times. The voice and character of Muddy Waters stand above the new music. Muddy's vocals "project". That's what created a hook for me to get into it: these vocals are actually pulling the music." Chuck D stated that he had been introduced to "Electric Mud" by a member of Public Enemy, which sparked an interest in Muddy Waters' earlier work, and in roots-oriented blues. Chuck D explained, "It took me a while to warm up to traditional blues. A whole new world. But the automatic
Electric Mud
10001990
the Berry-styled “Hill Billy Blues”, was recorded in 1958 for his uncle’s Atomic H label, under the moniker Clear Waters, a name given to him by his manager, drummer Jump Jackson, as a play on the name of the famous Muddy Waters. He recorded a few more singles, which had some local radio airplay. Eventually the name Clear Waters evolved into Eddy Clearwater. He worked steadily throughout the 1960s and 1970s and was among the first blues musicians to find success with Chicago’s North Side college audiences. He was a regular Saturday act on the north stage of the blues
Eddy Clearwater
737367
musicians, including members of Chris Barber's band. At the time, English audiences had only been exposed to acoustic folk blues, as performed by artists such as Sonny Terry, Brownie McGhee, and Big Bill Broonzy. Both the musicians and audiences were unprepared for Muddy Waters' performance, which included his electric slide guitar playing. He recalled: Although his performances alienated the old guard, some younger musicians, including Alexis Korner and Cyril Davies from Barber's band, were inspired to go in the more modern, electric blues direction. Korner and Davies' own groups included musicians who would later form the Rolling Stones (named after
Muddy Waters
14108589
the age of 81, in Minneapolis, after a long hospitalization. George "Mojo" Buford George Carter Buford, Jr. (November 10, 1929 – October 11, 2011), known as Mojo Buford, was an American blues harmonica player best known for his work in Muddy Waters's band. Buford relocated from Hernando, Mississippi, to Memphis, Tennessee, in his youth, where he studied the blues. He relocated to Chicago in 1952, forming the Savage Boys, which eventually was known as the Muddy Waters, Jr. Band. They substituted for Waters at local nightclubs while he was touring. Buford first played in Waters's backing band in 1959, replacing
George "Mojo" Buford
12667734
chart. In 2009, the song was acknowledged with a Grammy Hall of Fame Award and was inducted into the Blues Foundation Hall of Fame in 2013 in the "Classic of Blues Recording — Singles or Album Tracks" category. Numerous artists have performed "Let the Good Times Roll" and many have recorded it, including: Ray Charles (1959, "The Genius of Ray Charles"), Sam Butera and the Silent Witnesses (from the 1960 album "The Wildest Clan"), Georgie Fame and the Blue Flames (1964 "Rhythm and Blues at the Flamingo"), Muddy Waters (1975, "Muddy Waters Woodstock Album"), Koko Taylor (1978, "The Earthshaker"), Clifton
Let the Good Times Roll (Louis Jordan song)
16173117
Arnold moved to Chicago in 1965, where he worked with A.C. Reed prior to joining Muddy Waters' band in 1966. Arnold appears on the November 1966 live recording released in 2009 as "Muddy Waters - Authorized Bootleg". He formed the Soul Invaders in 1967, finding work backing up B.B. King, The Temptations, Little Milton and many others. Mac's studio work in the 1960s includes playing bass on several notable blues albums, including Otis Spann's "The Blues Is Where It's At" and John Lee Hooker's "Live At Cafe Au Go Go". He performed in various session work after moving to California
Mac Arnold
14108587
George "Mojo" Buford George Carter Buford, Jr. (November 10, 1929 – October 11, 2011), known as Mojo Buford, was an American blues harmonica player best known for his work in Muddy Waters's band. Buford relocated from Hernando, Mississippi, to Memphis, Tennessee, in his youth, where he studied the blues. He relocated to Chicago in 1952, forming the Savage Boys, which eventually was known as the Muddy Waters, Jr. Band. They substituted for Waters at local nightclubs while he was touring. Buford first played in Waters's backing band in 1959, replacing Little Walter, but in 1962 moved to Minneapolis to front
George "Mojo" Buford
9660765
introductory music to Wolfman Jack's radio show in the 1970s. Bo Diddley, Muddy Waters, and Little Walter recorded the song for "Super Blues" in 1967. The song has also been recorded by: I Just Want to Make Love to You "I Just Want to Make Love to You" is a 1954 blues song written by Willie Dixon, first recorded by Muddy Waters, and released as "Just Make Love to Me" (Chess 1571). The song reached number four on "Billboard" magazine's R&B Best Sellers chart. Backing Waters on vocals are Little Walter on harmonica, Jimmy Rogers on guitar, Otis Spann on
I Just Want to Make Love to You
3162222
October 21 until November 5, 1977, blues legend Muddy Waters used Hartman's recording studio in Westport, Connecticut. Hartman ran the recording board for the sessions, produced by Johnny Winter, which created the album "I'm Ready". In late 1978, Hartman reached No. 1 on the Dance Charts with the disco single "Instant Replay", which crossed over to No. 29 on the "Billboard" Hot 100 in 1979 and also reached the Top 10 on the UK charts. Musicians Hartman worked with on the associated album included Vinnie Vincent and G. E. Smith. This was followed by his second chart topper, 1979's "Relight
Dan Hartman
974466
and I mean every blues star that you or I would ever have wanted to have seen through Ottawa in the late '50s, well I guess more late '60s sort of, in around the Newport jazz rediscovery. I was going to Le Hibou and hearing James Cotton, Otis Spann, Pinetop Perkins, and Muddy Waters. I actually jammed behind Muddy Waters. S. P. Leary left the drum kit one night, and Muddy said 'anybody out there play drums? I don't have a drummer.' And I walked on stage and we started, I don't know, “Little Red Rooster”, something. He said 'keep
The Blues Brothers
18841972
the harmonica while listening to records of Muddy Waters, Sonny Boy Williamson, Little Walter, Sonny Terry, Paul Butterfield, John Mayall among others. His greatest inspiration was, and still is, Muddy Waters, and in 1966 he initiated his first band 'Green Onions', playing blues and soul music. In 1968 Bernes was part of initiating the "Alfonso Band". Blues was now getting more accepted as dance and concert music. They gave many gigs with different line-ups. From 1970 Bernes lived in London for long periods. He worked as a street musician and was also in many festivals and clubs. He listend to
John Magnar Bernes
7904156
came during his teen years with a jazz ensemble he formed with other musically oriented friends from school. It was around this same time that Wilson developed a fascination with blues music after a friend played a Muddy Waters record for him. Wilson was considered by many of his musical peers to be an expert on the blues musicians who came before him; many considered him as possessing an exceptional ability for connecting musically with the elder bluesmen. His biggest influences included Skip James, Robert Johnson, Son House, Charley Patton, Tommy Johnson, John Lee Hooker, Muddy Waters, and Bukka White.
Alan Wilson (musician)
15198393
LP by James Montgomery titled "From Detroit to the Delta". Montgomery recalls the night he played with Muddy Waters at Paul's Mall in Boston, Massachusetts. "I couldn't believe it. Here I was on stage with Muddy Waters," Montgomery recalls with a smile. "It was such a great feeling.". James had his own syndicated radio show for five years called ""Backstage With the Blues"" on these stations: The show combined great Blues songs along with the stories behind the music, told by the musicians themselves, it provided a bridge between the listeners and the artists as they reminisced about the history
James Montgomery (singer)
18501887
popular long before he was born," according to his Kennedy Center profile. He has frequently played backup for musical legend Chuck Berry, widely regarded as a founder of rock n' roll. Davis has also played with Jerry Lee Lewis, another of the founders of rock n' roll. Davis was a friend of Muddy Waters and he played piano in The Legendary Muddy Waters Blues Band. Davis has also performed with blues icon B. B. King. Davis has played with such artists as Elvis Presley’s Jordanaires, The Platters, The Drifters, The Coasters, Bo Diddley, Percy Sledge, and Sam Moore (of Sam
Daryl Davis
4211125
felt that he could revive the career of bluesmen Muddy Waters and Howlin' Wolf by recording two albums of experimental, psychedelic blues with members of Rotary Connection as the backing band for the singers, producing the albums "Electric Mud" (1968) and "The Howlin' Wolf Album" (1969). Chess hoped the new albums would sell well among fans of psychedelic rock bands influenced by Muddy Waters and Howlin' Wolf. In place of Muddy Waters and Howlin' Wolf's regular musicians were Gene Barge, Pete Cosey, Roland Faulkner, Morris Jennings, Louis Satterfield, Charles Stepney and Phil Upchurch. Cosey, Upchurch and Jennings joked about calling
Rotary Connection
6774413
Carey Bell, among others. Juke (song) "Juke" is a harmonica instrumental recorded by the Chicago bluesman Little Walter Jacobs in 1952. Although Little Walter had been recording sporadically for small Chicago labels over the previous five years, and had appeared on Muddy Waters' records for Chess Records since 1950, "Juke" was Little Walter's first hit, and it was the most important of his career. Due to the influence of Little Walter on blues harmonica, "Juke" is now considered a blues harmonica standard. In May 1952, Little Walter had been a regular member of the Muddy Waters Band for at least
Juke (song)
6774402
Juke (song) "Juke" is a harmonica instrumental recorded by the Chicago bluesman Little Walter Jacobs in 1952. Although Little Walter had been recording sporadically for small Chicago labels over the previous five years, and had appeared on Muddy Waters' records for Chess Records since 1950, "Juke" was Little Walter's first hit, and it was the most important of his career. Due to the influence of Little Walter on blues harmonica, "Juke" is now considered a blues harmonica standard. In May 1952, Little Walter had been a regular member of the Muddy Waters Band for at least three years. "Juke" was
Juke (song)
8666379
artists. From the local New Orleans scene, The Radiators often featured works by, among others, The Meters, Dr. John, Allen Toussaint, Fats Domino, Earl King, Jelly Roll Morton, and, of course, Professor Longhair, several of whom played with The Radiators at one time or another. The Radiators also covered songs traditionally associated with New Orleans or Mardi Gras, such as "Iko Iko" and "St. James Infirmary Blues". From the world of the blues, The Radiators performed standards by Robert Johnson, Muddy Waters, Jimmy Reed, Lightnin' Hopkins, Howlin' Wolf and more. They also covered early rock and roll and R&B artists
The Radiators (American band)
8774308
Blues" and "The Girl I Love, She Got Long Curly Hair" by Sleepy John Estes, "Goin' Back to Memphis" by Sunnyland Slim, "Banty Blues" by Charley Patton, "Dough Roller Blues" by Garfield Akers and "Rollin' Blues" by John Lee Hooker. The best-known version is Muddy Waters' "Rollin' and Tumblin'", with Ernest "Big" Crawford on bass, for the Chess brothers' Aristocrat label in 1950. Leonard Chess insisted that Waters record the song less than a month after Waters had recorded a version for the rival Parkway label, featuring his bandmates Little Walter and Baby Face Leroy Foster. The Parkway label credits
Rollin' and Tumblin'
2110827
popular and fiery albums in the late Sixties and early Seventies, becoming an arena-level concert draw in the process ... [he] made an iconic life for himself by playing the blues. Winter produced three Grammy Award-winning albums by Muddy Waters – "Hard Again" (1977), "I'm Ready" (1978), and "Muddy "Mississippi" Waters – Live" (1979). Several of Winter's own albums were nominated for Grammy Awards – "Guitar Slinger" (1984) and "Serious Business" (1985) for Best Traditional Blues Album, and "Let Me In" (1991) and "I'm a Bluesman" (2004) for Best Contemporary Blues Album. In 2015 Winter posthumously won the Grammy Award
Johnny Winter
4961998
the Blues Hall of Fame "Classics of Blues Recordings" category. It was also included in the Rock and Roll Hall of Fame's list of the "500 Songs that Shaped Rock and Roll". "Mannish Boy" is ranked number 230 in "Rolling Stone" magazine's list of the "500 Greatest Songs of All Time". Mannish Boy "Mannish Boy" (or "Manish Boy" as it was originally titled) is a blues standard by Muddy Waters. First recorded in 1955, the song is both an arrangement of and an "answer song" to Bo Diddley's "I'm a Man", which was in turn inspired by Waters' and Willie
Mannish Boy
17440841
Mud Morganfield Larry "Mud" Morganfield (born September 27, 1954) is an American blues singer and the eldest son of Muddy Waters. Morganfield was born to Muddy Waters and Mildred Williams in Chicago. He was raised by his mother and seven uncles, with occasional visits from Muddy, and never really got to know his father. Regarding his childhood in Chicago, Morganfield says, "I didn’t have the pleasure of getting up and walking down the lakefront and watching the ocean and the lakes or something. I came up and there was gunshots and someone may have gotten hit down the street. I
Mud Morganfield
3606285
blues' most important innovators, and prostitutes the contemporary styles to which his pioneering efforts have led." Although American critics panned the album, it was better received in England. According to Marshall Chess, "It was the biggest Muddy Waters record we ever had at Chess, and it dropped instantly. The English accepted it; they are more eccentric." Muddy Waters recorded "After the Rain" the following year, incorporating elements of the sound of "Electric Mud". According to Cosey, "I'll never forget, as soon as I walked into the studio for the follow-up and Muddy saw me, he threw his arms around me,
Electric Mud
570754
along with a mix of country tunes and R&B tunes, sung in the style of Nat King Cole set to the music of Muddy Waters, brought in a wider audience, particularly affluent white people. In May 1955, Berry traveled to Chicago, where he met Muddy Waters, who suggested he contact Leonard Chess, of Chess Records. Berry thought his blues music would be of more interest to Chess, but to his surprise it was a traditional country fiddle tune, "Ida Red", as recorded by Bob Wills, that got Chess's attention. Chess had seen the rhythm and blues market shrink and was
Chuck Berry
18514769
in your stall". John Collis calls the song a "slow, meditative and soulful strut" that has Waters (a Mississippi native then working in Chicago) "exploit migration as a commercial theme". English trumpeter and broadcaster Humphrey Lyttelton reviewed the song (and "Hello Little Girl") in 1955 in "New Musical Express", saying Waters is "a genuine contemporary blues singer". In a 1969 interview, Muddy Waters himself said it was his favorite song out of all the songs he had recorded. Luther "Snake Boy" Johnson, a member of Waters's band in the 1960s, co-opted the song as his own, "complete with Muddy's gospel
Long Distance Call (Muddy Waters song)
5876090
in 1985. The concerts featured some of the leading blues artists of the 1960s, such as Muddy Waters, Howlin' Wolf, Willie Dixon, John Lee Hooker and Sonny Boy Williamson, some playing in unique combinations such as T-Bone Walker playing guitar for pianist Memphis Slim, Otis Rush with Junior Wells, Sonny Boy Williamson with Muddy Waters. The Festival DVDs include the only known footage of Little Walter, and rare recordings of John Lee Hooker playing harmonica. The audience at Manchester in 1962, the first venue for the festival in Britain, included Mick Jagger, Keith Richards, Brian Jones and Jimmy Page. Subsequent
American Folk Blues Festival