Every Day I Have the Blues . . . Hallelujah! Playing

Total Page:16

File Type:pdf, Size:1020Kb

Every Day I Have the Blues . . . Hallelujah! Playing Blues Guitar Blues Guitar by Jon Chappell Blues Guitar For Dummies® Published by: John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030-5774, www.wiley.com Copyright © 2020 by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of the Publisher. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, or online at http://www.wiley.com/go/permissions. Trademarks: Wiley, For Dummies, the Dummies Man logo, Dummies.com, Making Everything Easier, and related trade dress are trademarks or registered trademarks of John Wiley & Sons, Inc., and may not be used without written permission. All other trademarks are the property of their respective owners. John Wiley & Sons, Inc., is not associated with any product or vendor mentioned in this book. LIMIT OF LIABILITY/DISCLAIMER OF WARRANTY: THE PUBLISHER AND THE AUTHOR MAKE NO REPRESENTATIONS OR WARRANTIES WITH RESPECT TO THE ACCURACY OR COMPLETENESS OF THE CONTENTS OF THIS WORK AND SPECIFICALLY DISCLAIM ALL WARRANTIES, INCLUDING WITHOUT LIMITATION WARRANTIES OF FITNESS FOR A PARTICULAR PURPOSE. NO WARRANTY MAY BE CREATED OR EXTENDED BY SALES OR PROMOTIONAL MATERIALS. THE ADVICE AND STRATEGIES CONTAINED HEREIN MAY NOT BE SUITABLE FOR EVERY SITUATION. THIS WORK IS SOLD WITH THE UNDERSTANDING THAT THE PUBLISHER IS NOT ENGAGED IN RENDERING LEGAL, ACCOUNTING, OR OTHER PROFESSIONAL SERVICES. IF PROFESSIONAL ASSISTANCE IS REQUIRED, THE SERVICES OF A COMPETENT PROFESSIONAL PERSON SHOULD BE SOUGHT. NEITHER THE PUBLISHER NOR THE AUTHOR SHALL BE LIABLE FOR DAMAGES ARISING HEREFROM. THE FACT THAT AN ORGANIZATION OR WEBSITE IS REFERRED TO IN THIS WORK AS A CITATION AND/OR A POTENTIAL SOURCE OF FURTHER INFORMATION DOES NOT MEAN THAT THE AUTHOR OR THE PUBLISHER ENDORSES THE INFORMATION THE ORGANIZATION OR WEBSITE MAY PROVIDE OR RECOMMENDATIONS IT MAY MAKE. FURTHER, READERS SHOULD BE AWARE THAT INTERNET WEBSITES LISTED IN THIS WORK MAY HAVE CHANGED OR DISAPPEARED BETWEEN WHEN THIS WORK WAS WRITTEN AND WHEN IT IS READ. For general information on our other products and services, please contact our Customer Care Department within the U.S. at 877-762-2974, outside the U.S. at 317-572-3993, or fax 317-572-4002. For technical support, please visit www.wiley.com/techsupport. Library of Congress Control Number: 2020931515 ISBN 978-1-119-69563-9 (pbk); ISBN 978-1-119-74895-3 (ebk); ISBN 978-1-119-74896-0 (ebk) Manufactured in the United States of America 10 9 8 7 6 5 4 3 2 1 Contents at a Glance Contents at a Glance Introduction . 1 Part 1: You Got a Right to Play the Blues . 7 CHAPTER 1: Every Day I Have the Blues . Hallelujah! . 9 CHAPTER 2: Blues Meets Guitar: A Match Made in Musical Heaven . 23 CHAPTER 3: Grab Hold, Tune Up, Play On! . 39 Part 2: Setting Up to Play the Blues . 55 CHAPTER 4: Getting a Grip on Left-Hand Chords . 57 CHAPTER 5: Positioning the Right Hand for Rhythm and Lead . 71 CHAPTER 6: Blues Progressions, Song Forms, and Moves . 95 CHAPTER 7: Musical Riffs: Bedrock of the Blues . 119 Part 3: Beyond the Basics: Playing Like a Pro . 135 CHAPTER 8: Playing Lead: Soaring Melodies and Searing Solos . .. 137 CHAPTER 9: Playing Up the Neck . 153 CHAPTER 10: Express Yourself: Making the Guitar Sing, Cry, and Wail . 171 Part 4: Sounding Like the Masters: Blues Styles through the Ages . .. 191 CHAPTER 11: Acoustic Roots: Delta Blues and Its Country Cousins . 193 CHAPTER 12: The Birth and Growth of Classic Electric Blues . 213 CHAPTER 13: Blues Rock: The Infusion of Ol’ Rock ’n’ Roll . 233 Part 5: Gearing Up: Outfitting Your Arsenal . 253 CHAPTER 14: Shop Till You Drop: Buying the Right Guitar for You . 255 CHAPTER 15: Choosing Your Amp and Effects . .. 269 CHAPTER 16: Changing Strings . 303 Part 6: The Part of Tens . 319 CHAPTER 17: Ten Blues Guitar Giants . 321 CHAPTER 18: Ten Great Blues Guitars . 325 CHAPTER 19: Ten (Plus One) Must-Have Blues Guitar Albums . 329 Part 7: Appendixes . 333 APPENDIX A: How to Read Music . 335 APPENDIX B: How to Use the Website . 343 Index . 351 Table of Contents INTRODUCTION . 1 About This Book . 1 Conventions Used in This Book . 2 What You’re Not to Read . 3 Foolish Assumptions . .. 3 How This Book Is Organized . 4 Part 1: You Got a Right to Play the Blues . 4 Part 2: Setting Up to Play the Blues . 4 Part 3: Beyond the Basics: Playing Like a Pro . 4 Part 4: Sounding Like the Masters: Blues Styles through the Ages . 4 Part 5: Gearing Up: Outfitting Your Arsenal . 5 Part 6: The Part of Tens . 5 Part 7: Appendixes . 5 Icons Used in This Book . 5 Where to Go from Here . 6 PART 1: YOU GOT A RIGHT TO PLAY THE BLUES . 7 CHAPTER 1: Every Day I Have the Blues . Hallelujah! . 9 Capturing the Blues Train from Its Departure Then to Its Arrival Now . 10 The pieces of blues that made the genre . 10 The place of the blues’ conception . 11 Rejoicing over 100 years of blues: The shifting shape of the genre . 11 The qualities that made blues cats hit the big-time . 12 It’s Not All Pain and Suffering — The Lighter Side of Blues . 13 Surveying the Means to Make the Music: The Guitar in All Its Glory . 14 The low-fi acoustic guitar . 14 The semi-hollowbody electric guitar . 15 Solidbody electric guitars . 15 The Collision of Two Worlds: Acoustic versus Electric . 16 Getting a Grip on How Guitars Work . 17 You’ve gotta use your hands — both of them . 17 Producing the tones: String vibration and pitch . 18 Electric guitars only: Pickups and amplification . 18 Table of Contents vii Performing and Looking Like a Blues Player . 19 Expanding and filling your brain with know-how . 19 Looking the part . .20 Blues Trivia For Dummies . 21 The questions . 21 The answers . 22 CHAPTER 2: Blues Meets Guitar: A Match Made in Musical Heaven . 23 Beyond the Delta: Defining the Blues Guitar Sound . 24 The method to the music: Chord progressions . 25 The guitarist’s language of melody . 25 The expression that invokes your senses . 26 The groove that sets the pace . 27 Dissecting an Acoustic and an Electric . 27 Getting Down with the Blues: A Quick How-To . 31 The foundation for all guitar playing: Acoustic guitars . 31 Shifting acoustic to overdrive: Electric guitars . 32 What You Need to Get Your Groove On . 35 CHAPTER 3: Grab Hold, Tune Up, Play On! . 39 Holding Your Axe (That Is, Your Guitar) . 39 Grabbing your guitar’s neck . .. 40 Pushing down on the strings . 41 Getting sound to come out . 42 Holding the Pick, Attacking the Problem . 44 Getting Situated . 45 Sitting down . 46 . or standing up . 46 Tuning Up . 47 Helping your guitar get in tune with itself . 48 Holding your guitar to an electronic standard . 49 Playing a Chord . 50 Music Notation: Not Just for Geeks . 51 Guidance for your aimless fingers: A chord diagram . 52 Mapping out your short-term path: Rhythm notation . .. 53 Guiding you all the way through a song: Tablature . 54 PART 2: SETTING UP TO PLAY THE BLUES . 55 CHAPTER 4: Getting a Grip on Left-Hand Chords . 57 Starting Out Simple: Blues Chords Even Your Mom Could Play . 58 Going to the Next Level: Barre Chords . 59 Forming a barre chord . 61 Naming barre chords . 62 viii Blues Guitar For Dummies Playing E-based barre chords . 63 Playing A-form barre chords . 65 Combining forms . 67 Taking Advantage of Versatile Power Chords . 68 CHAPTER 5: Positioning the Right Hand for Rhythm and Lead . 71 Strumming Along . 71 Stroking down . 72 . And stroking up . 72 Combining down and up . 73 Striking to a beat . 73 Eighth-note striking, twice per beat . 74 Mixing Single Notes and Strumming . 75 Separating bass and treble: The pick-strum . 75 Playing common pick-strum patterns . 76 Shuffling the Beats with Syncopated Strumming . 78 A bit of notation: Dots that extend and ties that bind . 79 Syncopation: Playing with dots and ties . .. 80 Stopping the String Ringing (Just for a Sec) . 81 Muting the sound between two chords (left hand) . 81 Simulating syncopation with left-hand muting . 81 Muting the sound of a note (right hand) . 82 Copying the Classics: Plucking Fingerstyle Blues . 83 The Right Hand’s Bliss: Different Rhythm Styles to Play . 84 The shuffle groove . 85 The driving straight-four . 87 The slow 12/8, with groups of three . 89 The two-beat feel . 91 The slow and funky 16 feel . 92 CHAPTER 6: Blues Progressions, Song Forms, and Moves . 95 Blues by the Numbers . 95 Recognizing the Big Dogs: Primary Key Families and Their Chords . .. 96 The Structure of a Blues Song, Baby . 97 Playing.
Recommended publications
  • Golden Gate Grooves, January 2014
    Golden Gate Grooves, January 2014 CD REVIEWS Billy Boy Arnold, Charlie Musselwhite, The singers/harmonica players under whose names Remembering Little Walter was issued are an enviable Mark Hummel, Sugar Ray Norcia, James all-star assemblage: Hummel, Harman, Charlie Harman, Remembering Little Walter Musselwhite, Billy Boy Arnold, and Sugar Ray Norcia. Together they make up something like 50% of any by Tom Hyslop reasonable person’s list of the pre-eminent living Latter-day harp men talk harmonica players, and the environment, as one might about Big Walter’s tone, expect, makes for committed and spirited emulate the conversational performances. Sugar Ray’s intense “Mean Old World” is styles of both Sonny Boys, dynamite, as is Musselwhite’s take on the up-tempo admire the power and “One Of These Mornings,” a relative rarity, which also playfulness of Cotton, and features a daredevil guitar break. Tone and dynamics dig Junior Wells’s attitude. are at an impossibly high level throughout—Hummel Some may work on Jimmy and the band dial in a perfect late-night mood on “Blue Reed’s high-end approach, Light,” and the way Harman drives “Crazy Mixed Up or give lip service to Snooky World” hard before breaking it down to a whisper at Pryor or even Louis Myers. But Marion Walter Jacobs the end is masterly. Billy Boy’s “Can’t Hold Out Much was The Man, the player whose stylistic innovations Longer” is splendid on every level. revolutionized the way the instrument was played, and whose technique, taste, and tones continue to baffle That recaps only about half of the program, but the rest and inspire musicians more than 60 years after his of the songs (each performer sings two) are excellent as debut, and nearly 45 years after his untimely death.
    [Show full text]
  • Eric Clapton
    ERIC CLAPTON BIOGRAFIA Eric Patrick Clapton nasceu em 30/03/1945 em Ripley, Inglaterra. Ganhou a sua primeira guitarra aos 13 anos e se interessou pelo Blues americano de artistas como Robert Johnson e Muddy Waters. Apelidado de Slowhand, é considerado um dos melhores guitarristas do mundo. O reconhecimento de Clapton só começou quando entrou no “Yardbirds”, banda inglesa de grande influência que teve o mérito de reunir três dos maiores guitarristas de todos os tempos em sua formação: Eric Clapton, Jeff Beck e Jimmy Page. Apesar do sucesso que o grupo fazia, Clapton não admitia abandonar o Blues e, em sua opinião, o Yardbirds estava seguindo uma direção muito pop. Sai do grupo em 1965, quando John Mayall o convida a juntar-se à sua banda, os “Blues Breakers”. Gravam o álbum “Blues Breakers with Eric Clapton”, mas o relacionamento com Mayall não era dos melhores e Clapton deixa o grupo pouco tempo depois. Em 1966, forma os “Cream” com o baixista Jack Bruce e o baterista Ginger Baker. Com a gravação de 4 álbuns (“Fresh Cream”, “Disraeli Gears”, “Wheels Of Fire” e “Goodbye”) e muitos shows em terras norte americanas, os Cream atingiram enorme sucesso e Eric Clapton já era tido como um dos melhores guitarristas da história. A banda separa-se no fim de 1968 devido ao distanciamento entre os membros. Neste mesmo ano, Clapton a convite de seu amigo George Harisson, toca na faixa “While My Guitar Gently Weeps” do White Album dos Beatles. Forma os “Blind Faith” em 1969 com Steve Winwood, Ginger Baker e Rick Grech, que durou por pouco tempo, lançando apenas um album.
    [Show full text]
  • Contents at a Glance
    02_049204 ftoc.qxp 10/25/06 10:06 AM Page v Contents at a Glance Introduction .................................................................1 Part I: You Got a Right to Play the Blues .......................7 Chapter 1: Every Day I Have the Blues . Hallelujah!...................................................9 Chapter 2: Blues Meets Guitar: A Match Made in Musical Heaven............................23 Chapter 3: Grab Hold, Tune Up, Play On! ......................................................................39 Part II: Setting Up to Play the Blues............................55 Chapter 4: Getting a Grip on Left-Hand Chords............................................................57 Chapter 5: Positioning the Right Hand for Rhythm and Lead ....................................71 Chapter 6: Blues Progressions, Song Forms, and Moves ............................................97 Chapter 7: Musical Riffs: Bedrock of the Blues...........................................................121 Part III: Beyond the Basics: Playing Like a Pro ..........137 Chapter 8: Playing Lead: Soaring Melodies and Searing Solos.................................139 Chapter 9: Playing Up the Neck....................................................................................155 Chapter 10: Express Yourself: Making the Guitar Sing, Cry, and Wail......................171 Part IV: Sounding Like the Masters: Blues Styles through the Ages ...................................191 Chapter 11: Acoustic Roots: Delta Blues and Its Country Cousins..........................193
    [Show full text]
  • Robert Johnson, Folk Revivalism, and Disremembering the American Past
    The Green Fields of the Mind: Robert Johnson, Folk Revivalism, and Disremembering the American Past Blaine Quincy Waide A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Folklore Program, Department of American Studies Chapel Hill 2009 Approved by: William Ferris Robert Cantwell Timothy Marr ©2009 Blaine Quincy Waide ALL RIGHTS RESERVED ii Abstract Blaine Quincy Waide: The Green Fields of the Mind: Robert Johnson, Folk Revivalism, and Disremembering the American Past (Under the direction of William Ferris) This thesis seeks to understand the phenomenon of folk revivalism as it occurred in America during several moments in the twentieth and twenty-first centuries. More specifically, I examine how and why often marginalized southern vernacular musicians, especially Mississippi blues singer Robert Johnson, were celebrated during the folk revivals of the 1930s and 1960s as possessing something inherently American, and differentiate these periods of intense interest in the traditional music of the American South from the most recent example of revivalism early in the new millennium. In the process, I suggest the term “disremembering” to elucidate the ways in which the intent of some vernacular traditions, such as blues music, has often been redirected towards a different social or political purpose when communities with divergent needs in a stratified society have convened around a common interest in cultural practice. iii Table of Contents Chapter Introduction: Imagining America in an Iowa Cornfield and at a Mississippi Crossroads…………………………………………………………………………1 I. Discovering America in the Mouth of Jim Crow: Alan Lomax, Robert Johnson, and the Mississippi Paradox…………………………………...23 II.
    [Show full text]
  • The Devil in Robert Johnson: the Progression of the Delta Blues to Rock and Roll by Adam Compagna
    The Devil in Robert Johnson: The Progression of the Delta Blues to Rock and Roll by Adam Compagna “I went down to the crossroads, fell down on my knees, I went down to the crossroads, fell down on my knees, Saw the Devil and begged for mercy, help me if you please --- Crearn, “Crossroads” With the emergence of rock and roll in the late nineteen fifties and early nineteen sixties, many different sounds and styles of music were being heard by the popular audience. These early rock musicians blended the current pop style with the non-mainstream rhythm and blues sound that was prevalent mainly in the African-American culture. Later on in the late sixties, especially during the British “invasion,” such bands as the Beatles, Cream, Led Zeppelin, Fleetwood Mac, and the Yardbirds used this blues style and sound in their music and marketed it to a different generation. This blues music was very important to the evolution of rock and roll, but more importantly, where did this blues influence come from and why was it so important? The answer lies in the Mississippi Delta at the beginning of the twentieth century, down at the crossroads. From this southern section of America many important blues men, including Robert Johnson, got their start in the late nineteen twenties. A man who supposedly sold his soul to the Devil for the ability to play the guitar, Robert Johnson was a main influence on early rock musicians not only for his stylistic guitar playing but also for his poetic lyrics. 1 An important factor in the creation of the genre of the Delta blues is the era that these blues men came from.
    [Show full text]
  • Guitar Songbook Series
    837 GUITARGUITAR SONGBOOKSONGBOOK SERIESSERIES DECADE SERIES GUITAR PLAY- ALONG SERIES Play the songs that defined an era with these great note-for-note transcription collections. The Guitar Play-Along Series will assist players in learn- ing to play their favorite songs quickly and easily. Just follow the tab, listen to the CD to hear how the guitar should sound, and then play along using the separate backing tracks. Mac or PC users can also slow down the tempo by using the CD in their computer. The melody and lyrics are also included in the book in case you want to sing, or to simply help you follow along. INCLUDES TAB VOLUME 1 – ROCK 8 songs, including: Day Tripper • Message in a Bottle • Refugee • Shattered • Sunshine of Your Love • GUITAR Takin’ Care of Business • Tush • Walk This Way. _____00699570 Book/CD Pack...................$12.95 VOLUME 2 – ACOUSTIC THE 1950s INCLUDES THE 1980s INCLUDES 8 songs, including: Angie • Behind Blue Eyes • Best 30 pivotal songs from the early rock years, TAB 30 songs that shaped a decade, including: TAB of My Love • Blackbird • Dust in the Wind • Layla • including: All Shook Up • Be-Bop-A-Lula • Bo Diddley Every Breath You Take • Fight for Your Right (To Night Moves • Yesterday. • Donna • Hound Dog • Rebel ’Rouser • Rockin’ Party) • Hit Me with Your Best Shot • I Love Rock ’N _____00699569 Book/CD Pack...................$12.95 Robin • Tequila • Wake up Little Susie • more. Roll • Love Struck Baby • Money for Nothing • Mony, VOLUME 3 – HARD ROCK _____00690543 Guitar Recorded Versions...$14.95 Mony • R.O.C.K.
    [Show full text]
  • CHAMPION JACK DUPREE on STORYVILLE RECORDS (The Original Recordings, Incl
    ‘You Can make it if you try’ Photo: © K. Klüter CHAMPION JACK DUPREE on STORYVILLE RECORDS (The original recordings, incl. various re-issues). William Thomas Dupree, born, c. July 10, 1910 in New Orleans and passed away, January 21, 1992 in Hannover. Compiled by Allan Stephensen. Updated, March 17, 2010. Note: On the last pages you will find the late, Arne Svensson’s story about his first meeting with Dupree. * CHAMPION JACK DUPREE (p,vo). Copenhagen, Tuesday, December 29, 1959. 2:09 Gravier Street Rag Storyville SLP 213, 6.28443 (dbl), STCD 8030 2:31 Old Woman Blues Storyville STCD 8044 3:18 Roll Me Over And Roll Me Slow Storyville SLP 107, Atlantic 8056, 1022, CD 7567925302, Collectables CD 6818 2:52 Daybreak Stomp Storyville SLP 107, Atlantic 8056, 1022, CD 7567925302, Collectables CD 6818, WEA (UK) 954836956-2 2:47 That’s All Right Storyville SLP 107, Atlantic 8056, 1022, CD 7567925302, Collectables CD 6818 3:34 Reminiscin’ With Champion Jack Dupree Same issues 2:45 I Had A Dream Storyville SLP 107, Atlantic 8056, 1022, CD 7567925302, Collectables CD 6818, WEA (UK) 954836956-2 2:57 House Rent Party Storyville SLP 107, Atlantic 8056, 1022, CD 7567925302, Collectables CD 6818 2:39 Snaps Drinking Woman Same issues 3:23 One Sweet Letter From You Storyville SLP 107, Atlantic 7-8640 (7”), 8056, 1022, CD 7567925302, Collectables CD 6818 2:27 Johnson Street Boogie Woogie Storyville SLP 107, Atlantic 8056, 1022, CD 7567925302, Collectables CD 6818 3:01 Misery Blues Storyville SLP 107, Atlantic 7-8640 (7”), 8056, 1022, CD 7567925302, Collectables CD 6818 6:15 Misery Blues (alternate take) Unissued 2:56 New Vicksburg Blues Storyville SLP 107, Atlantic 8056, 1022, CD 7567925302, Collectables CD 6818 3:03 New Vicksburg Blues (alternate take) Storyville STCD 8045 2:34 When Things Go Wrong Storyville SLP 107, Atlantic 8056, 1022, CD 7567925302, Collectables CD 6818, Blues Encore CD 52029 Notes: Echo added to vocals.
    [Show full text]
  • Robert Johnson from Wikipedia, the Free Encyclopedia
    Robert Johnson From Wikipedia, the free encyclopedia Background information Birth name Robert Leroy Johnson Born May 8, 1911 Hazlehurst, Mississippi Died August 16, 1938 (aged 27) Greenwood, Mississippi Genres Delta blues Occupation(s) Musician, songwriter Instruments Guitar, vocals, harmonica Years active 1929 – 1938 Notable instruments Gibson L-1 Robert Leroy Johnson (May 8, 1911 – August 16, 1938) was an American singer-songwriter and musician. His landmark recordings in 1936 and 1937, display a combination of singing, guitar skills, and songwriting talent that has influenced later generations of musicians. Johnson's shadowy, poorly documented life and death at age 27 have given rise to much legend, including the Faustian myth that he sold his soul at a crossroads to achieve success. As an itinerant performer who played mostly on street corners, in juke joints, and at Saturday night dances, Johnson had little commercial success or public recognition in his lifetime. It was only after the reissue of his recordings in 1961, on the LP King of the Delta Blues Singers that his work reached a wider audience. Johnson is now recognized as a master of the blues, particularly of the Mississippi Delta blues style. He is credited by many rock musicians as an important influence; Eric Clapton has called Johnson "the most important blues singer that ever lived." Johnson was inducted into the Rock and Roll Hall of Fame as an early Influence in their first induction ceremony in 1986. In 2010, David Fricke ranked Johnson fifth in Rolling Stone′s list of the 100 Greatest Guitarists of All Time. Life and career Early life Robert Johnson was born in Hazlehurst, Mississippi possibly on May 8, 1911, to Julia Major Dodds (born October 1874) and Noah Johnson (born December 1884).
    [Show full text]
  • Notes (31St May 1987) by Guido Van Rijn, Cor Van Sliedregt and Hans
    ALICE MOORE ‘LONESOME WOMAN BLUES’ ‘St. Louis lies west of the Mississippi River, its main thoroughfare running East-West from the waterfront. The principal In Have Mercy Blues (B-flat) the trombonist plays driving triplets in the intro and the turnaround. Especially in the third Negro areas lie in the older pans of the City close to Downtown St. Louis and from Washington north, Lucas, Delmar, Frank­ verse Rodgers answers with a skipping rhythm. The tantalizing solo gives a lot of tension to the stomping piano. lin, Cole, Carr, Biddle, O’Fallon and Cass run parallel to each other - streets whose names are familiar from the words and Cold Iron Walls (B-flat) is about a prison experience again. Alice is prepared to do anything for her honey. In Loving Heart titles of many blues that have been recorded by the innumerable blues singers and musicians who lived and worked in the Blues (E-flat) she will even steal or walk the streets for him. The piano intro shows light ragtime influences. Serving Time densely populated area’ (7). Blues (E-flat) is the third prison blues. Alice is so desperate that she cut her man. The creepy turnkey with his rolling eyes Alice Moore was probably born there in 1903. Of her pre-recording days nothing is known. seems to enjoy her sentence. In Lonesome Dream Blues Alice has a dream about her man who is sleeping with another On 16th August 1929 she turned up in Richmond, Indiana to make her first recordings for Paramount. woman. This song is in F and the final song of the session, Kid Man Blues is in E-flat.
    [Show full text]
  • LISTENING: ADVANCED LESSONS Lesson 2. Slow Blues 1: Low And
    LISTENING: ADVANCED LESSONS Lesson 2. Slow blues 1: Low and Midrange Rhythm Patterns T-Bone Walker “Call It Stormy Monday” BB King “Sweet Little Angel” (Live at the Regal) Albert King “The Sky is Crying,” “Personal Manager” Jimi Hendrix “Red House” Guitar Slim “The Things That I Used to Do” Bobby Bland (Wayne Bennett, gtr) “Stormy Monday Blues” Allman Bros. (Duane Allman, Dickie Betts gtrs) “Stormy Monday” (Live at Fillmore East) 3. Slow blues 2: High-end Rhythm Patterns Same as slow blues 1 4. Slow blues 3: Soloing over Standard Changes BB King “Sweet Little Angel” (Live at the Regal) 5. Slow Blues 4: Chord Variations T-Bone Walker “Call It Stormy Monday” Bobby Bland (Wayne Bennett, gtr) “Stormy Monday Blues” 6. Slow Blues 5: Soloing over Chord Variations Bobby Bland (Wayne Bennett, gtr) “Stormy Monday Blues” Allman Bros. (Duane Allman, Dickie Betts gtrs) “Stormy Monday” (Live at Fillmore East) 7. Super Shuffle 1: Open E T-Bone Walker “T-Bone Shuffle” Jimmy Reed (Eddie Taylor gtr) “High and Lonesome” “Baby What You Want Me to Do” Snooks Eaglin “Sophisticated Blues” Stevie Ray Vaughan “Pride and Joy” 8. Super Shuffle 2: Other Keys Same as Super Shuffle 1 9. Super Shuffle 3: Chicago style Little Walter (Muddy Waters, Jimmy Rogers gtr) “Juke” 10. Chicago-style Melodic Rhythm Jimmy Rogers “That’s All Right,” “Ludella” Little Walter (Louis Myers, Dave Myers gtrs) “Mean Old World” 11. Double-stops 1: Third Intervals Lonnie Johnson “Away Down in the Alley Blues” Robert Johnson “Sweet Home Chicago” Chuck Berry “Thirty Days” Freddie King “The Stumble” Stevie Ray Vaughan “Love Struck Baby,” “Pride & Joy” 12.
    [Show full text]
  • B. B. King (1925-2015) Homenatge Al Rei Del Blues Maig 2015
    B. B. King (1925-2015) Homenatge al Rei del Blues Maig 2015 ■ INTRODUCCIÓN Riley B. King o Riley Ben King (Itta Bena, Misisipi, 16 de septiembre de 1925-Las Vegas, Nevada, 14 de mayo de 2015), más conocido como B.B. King, fue un músico, cantante y compositor estadounidense. Es ampliamente considerado uno de los músicos de blues más influyentes de todos los tiempos, ganando el apodo de «el Rey del Blues» y el renombre de «uno de los tres reyes (kings) de la guitarra blues» junto a Albert King y Freddie King. Según Edward M. Komara, King «introdujo un sofisticado estilo de solos basados en fluidas cuerdas [de guitarra] dobladas y brillantes vibratos que influirían prácticamente a todos los guitarristas de blues eléctrico que le siguieron». Los Beatles le mencionaron en la canción «Dig It» (1970). Además, la revista Rolling Stone lo situó en el puesto seis de la lista de los 100 mejores guitarristas de todos los tiempos y figura en el puesto 17 de la lista «Top 50 Guitarists of All Time» elaborada por Gibson. King fue introducido en el Salón de la Fama del Rock and Roll en 1987. Con los años, King desarrolló un estilo de guitarra identificable de su obra musical, con elementos prestados de Blind Lemon Jefferson, T-Bone Walker y otros y la fusión de géneros musicales como el blues, el jazz, el swing y el pop. Su guitarra eléctrica Gibson ES-335, apodada «Lucille», también da nombre a una línea de guitarras creada por la compañía en 1980. King es también reconocido por su prolífico directo, con un promedio de 250 ó 300 conciertos anuales durante la década de 1970.
    [Show full text]
  • ELECTRIC BLUES the DEFINITIVE COLLECTION Ebenfalls Erhältlich Mit Englischen Begleittexten: BCD 16921 CP • BCD 16922 CP • BCD 16923 CP • BCD 16924 CP
    BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected] PLUG IT IN! TURN IT UP! ELECTRICELECTRIC BBLUESLUES DAS STANDARDWERK G Die bislang umfassendste Geschichte des elektrischen Blues auf insgesamt 12 CDs. G Annähernd fünfzehneinhalb Stunden elektrisch verstärkte Bluessounds aus annähernd siebzig Jahren von den Anfängen bis in die Gegenwart. G Zusammengestellt und kommentiert vom anerkannten Bluesexeperten Bill Dahl. G Jede 3-CD-Ausgabe kommt mit einem ca. 160-seitigen Booklet mit Musikerbiografien, Illustrationen und seltenen Fotos. G Die Aufnahmen stammen aus den Archiven der bedeutendsten Plattenfirmen und sind nicht auf den Katalog eines bestimmten Label beschränkt. G VonT-Bone Walker, Muddy Waters, Howlin' Wolf, Ray Charles und Freddie, B.B. und Albert King bis zu Jeff Beck, Fleetwood Mac, Charlie Musselwhite, Ronnie Earl und Stevie Ray Vaughan. INFORMATIONEN Mit insgesamt annähernd dreihundert Einzeltiteln beschreibt der Blueshistoriker und Musikwissenschaftler Bill Dahl aus Chicago die bislang umfassendste Geschichte des elektrischen Blues von seinen Anfängen in den späten 1930er Jahren bis in das aktuelle Jahrtausend. Bevor in den Dreißigerjahren Tonabnehmersysteme, erste primitive Verstärker und Beschallungssysteme und schließ- lich mit Gibsons ES-150 ein elektrisches Gitarren-Serienmodell entwickelt wurde, spielte die erste Generation der Gitarrenpioniere im Blues in den beiden Jahrzehnten vor Ausbruch des Zweiten Weltkriegs auf akustischen Instrumenten. Doch erst mit Hilfe der elektrischen Verstärkung konnten sich Gitarristen und Mundharmonikaspielern gegenüber den Pianisten, Schlagzeugern und Bläsern in ihrer Band behaupten, wenn sie für ihre musikalischen Höhenflüge bei einem Solo abheben wollten. Auf zwölf randvollen CDs, jeweils in einem Dreier-Set in geschmackvollen und vielfach aufklappbaren Digipacks, hat Bill Dahl die wichtigsten und etliche nahezu in Vergessenheit geratene Beispiele für die bedeutendste Epoche in der Geschichte des Blues zusammengestellt.
    [Show full text]