DOCSLIB.ORG

Muddy Waters in London- Part II

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Muddy Waters in London- Part II TONY STANDISH MUDDY WATERS IN LONDON (PART II CONCLUSION) One afternoon I carted a tape recorder southern states, y'know. and we only of Chess Records. At that time I was still up to Muddy’s hotel room. I wanted his would work Friday nights. Sat'day nights, playin’ acoustic. noooo. I guess story to be told but I didn't want it com- "bout two nights out of the week. I before I started recording I had an mited to unreliable memory and scribbled wouldn’t call that professional. Alan electric guitar. The one you’ve heard on elusive scraps of paper. Lomax, that was the man that put it on without electric is the one by Alan Muddy poured drinks. Otis and I lit my mind to turn professional, he opened Lomax. Yeah, that electric got a whole cigarettes, and I started the recorder. my eyes, an' I still think he’s a wonderful lotta sharp stuff. those controls. “Start talkin'? " asked Muddy. guy. I was so sorry I missed him over My style? Well I call it country style. I nodded and. with the murmur of the here. For gettin' into the professional I think that’s the correct name for it. tape as his only accompaniment. Muddy world I would think Alan Lomax was Big Bill was the daddy of country style began. responsible for me—he came down an’ blues singers, don't you think? An’ there’s recorded me the first time and suggested John Lee Hooker, you’d like him. He’s I was born in Rollin’ Fork. Mississippi. I should try the cities. Until then I didn't right out of the country, out of Mississi­ That’s a little place, so small you could know my voice was so good until I. ppi. Of the blues singers around today spit across it. I moved from there when y'know. heard the playback an’ I thought, B. B. King—I think he’s gonna be the I was quite young, 'bout two years old. “man. I can sing”. Of course, he sent me next man you gotta look out for. An’ I guess, an’ I was raised up outside a couple of copies after he went back. there’s Bobby Blue Bland., he’s makin’ a Clarksdale, Mississippi, in Stovall. That After he'd gone I didn’t stay down there name for himself. Washboard Sam's still was farming country, they raised cattle, longer'n two years. I'm sure. I was around Chicago, but I don’t think he's and horses, hogs n' sheeps an’ goats an’ workin' on a farm when he came down singin’ much, and Lightnin’ Hopkins all that stuff, chickens. My folks were two years straight to see me an’ the next won’t leave his little farm down in Texas farmers. My daddy was a guitar player, year I lef'. The next time he saw me I . but he’s very big. Little Walter an’ he played guitar (like all southerners. was in Chicago. Wolf, that's Howlin Wolf, arc around Muddy pronounced this ’git-tar’). He’s I went straight to Chicago, didn’t Chicago an’ Elmo’ James is workin’ the still livin’ but he don’t play any more travel 'round at all. .. went by same place as me. Doc Clayton? He’s —too old. My mother, she's dead. But train from Clarksdale to Memphis. dead. Chuck Berry? That man’s a show he’s got all my records. That’s the... what is it?... ah stopper! Lowell Fulson? He’s out on the I started blowin’ on a harp when I was . R.C., yeah, the R.C. Railroad. You West Coast. sort’ve cooled off lately. about fifteen years old—I played with change at Memphis, an’ from Memphis Cousin Joe? Nooo. don’t know him: if several fellas. I had one fella with me to Chicago. I don’t know the name he's in New Orleans he prob’ly plays the name of Scott Bohound an’ another fella of that railroad. I came up on the fay joints. Ray Charles? Yeah, he’s by the name of Son Sims. He played train they call "Chicago 9’’. When I got great. We toured the South with him. lead vi'lin. Had a guy play mandolin by there at that time Bill was the top man— him an’ that little band. met up with name of Lewis Fuller (or Fowler). Big Bill. Memphis Slim. Sonny Boy him in Texas. I think it was. He sings we had a good little string band. Then Williamson. Yeah. I played with them. I ’til tears come out of those eyes. yeah, ’bout a year, couple years, after I got did some gigs with Memphis Slim—this he’s blind, but tears come out of his eyes. close to twenty — musta been about was about 1942/43. When I got there I He’s real country. Got that gospel. twenty, twenty-one years old, and then started playin’ house parties, y'know, get- y’know. right out of the country. we just sittin' 'round the house and togethers. jus’ kept on until someone says But Bill was the daddy of blues singers he showed me different little things on —“this cat in town he got a good voice, . those old timers really had it. the guitar and then I got to play pretty man. he can sing"—an' so on an’ so on Doc Clayton, Robert Johnson. Sonny good on the guitar so we just put down ’til a few years later Chess discovered Boy. the harmonica and we had two guitars. me. He grabbed me. an' I'd like you to I think that Chicago’s the best city in I don’t play harp now—can’t blow put in there that he has been good to me the States for blues singers. Oh. we got 'em no more. Well. I was mostly playin’ —we came up together an’ I know that blues singers scattered everywhere. for kicks in those days—I had made my­ if ever I struck hard times he would in New York, but in New York City self a good name all around through the look after me: Leonard and Field Chess. they really don’t have blues singers but 3 all out in New Jersey. people is blues -but a lot of guys loose money like blues singers than any one club in the crazy ’right round twenty miles of New that, sellin' their songs outright. whole city of Chicago. He features blues, York. We was lucky enough to get into (Muddy and I were looking through a period. That’s what he likes and that's the Apollo theatre. but they had Chess catalogue I had brought with me. what he’s gonna have in there. Somethin’ diff'rent groups there. They had couple and I asked him if Eddie Boyd's "The else come, he say. “ 'gotta get this crap good blues singers on an' they also had Story Of Bill" was about Big Bill outa here, ’cause my people don’t like those group singers. what them teen- Broonzy. He laughed . " That’s what that”. I 'member at Silvio’s they had. age kids like an' all that stuff. I mean, a blues singer always sings from at once. Howlin’ Wolfs band, Elmore The rock ’n roll craze helped us a lot experience. No. that's not about Bill James' band. Jimmy Rogers' band, and back in the Slates, but these kids. Broonzy. You see, this cat's goin' with my band—four great bands in one night Elvis Presley, he's just a Johnny-come- Eddie's girl, so he makes a song about —and the peoples. you need a big lately. he's over-night man, but he's gon’ i t .) hall when you have that sort’ve show. get rich off it. he's just pinchin' We had ’em linin’ up tryin’ to pay coloured people's stuff an' takin' it an' Otis—he's my half-brother—and I been together ’bout ten or twelve years now. dollar head and couldn’t even get to sellin’ it to the white. He was raised the door. We had lots of fun. Man, I around Memphis. Elvis is a nice bay, Oh yes, I’ve had the same group for a long time; I think I’ve only had two like to get all them pretty little girls in but he's copy-cattin', that’s all. I used to there. No, I’m not there any more. do some that stuff, y’know, but I cut it. fall out, maybe three. That was Little Walter when he got strong enough to I’m at Smithy's Comer, a very wonder­ Didn't want people thinkin' I was tryin' ful little club. kinda small but it's to be Elvis. But that clownin’. you go for himself an’ the boy that played the second guitar for me was Jimmie wonderful and they’re nice people. South- know, if you clownin' you're doin’ side. 35th and Indiana, and that corner nothing else. You ain't playin’. Back in Rogers. Otis is the oldest fella with me now. been with me longer'n anybody is well known now. It always was ’cause the old days I used to clown all the time the old man been on it so long, but now - my group on the stand an' I'm way out else.
Load more

Recommended publications
  • Who Reveled in the Blues-Rock of Such Groups As the Stones and Cream Were Often Unaware of the Man Responsible for the Songs and Th E Sound
    Rock audiences who reveled in the blues-rock of such groups as the Stones and Cream were often unaware of the man responsible for the songs and th e sound. The Poet Laureate of the Blues, he championed the blues and took the first live blues music to Europe. here never was anybody quite like musicians listened to the Chess recordings, adapted the Willie Dixon. The first thing you saw songs to their own high-powered sensibilities, and so when you met him was that huge grin began the blues revival. atop the larger-than-life body; his enor­ A short list of Willie Dixon’s compositions, and a few mous personal warmth, combined with of the artists who covered them, demonstrates the depth Tan inexhaustible fund of street-smart music business wis­ and breadth of his musical influence. As a rule the chain dom and a tireless devotion to promoting awareness of the of discovery was: first the song would be recorded by an blues, won him friends and admirers everywhere he went. American blues artist; then, perhaps, an English rock Born in 1915 in Vicksburg, Mississippi, his early ca­ group would cover that, and then other American blues or reer included a stint with a gospel group; he was already pop artists, hearing the English cover version, would jump writing songs by age sixteen, and would continue to do so behind it T’m Your Hoochie Coochie Man” was written in until at the end of his life he had over 500 compositions 1953 for Muddy Waters, whose version remains the to his credit.
    [Show full text]
  • The Blues Scale
    Blues Ukulele Workshop Four part workshop with songbook 1. Structure and feel of blues songs 2. Turnarounds and dominant 7ths 3. The blues scale 4. Putting it all together A web-based listening guide is also provided Accompanying songs for parts: 1. How Long Blues, Baby What You Want Me to Do 2. Red River Blues in G & E, 3. You Got to Move, Sitting On Top Of The World 4. See See Rider Trouble in Mind Review quizzes for, Big parts Boss 1 -3Man, Backwater Blues Recommended from ukeeducation.org Fingerpicking for uke Scales and Chords Fretboard learning tool Material compiled and arranged by Spencer Gay 2018 The Copyrighted songs provided free herein are for education and thus fall under FAIR USE This book is not for sale Blues The blues is a feelin’… a good man feelin’ bad – a woman waitin’ for her man – losin’ your lover. Singing the blues is a good way to lose them Also, it is the name of a common song format – whether 12 or 8 bar blues Lyrics often are in an AAB format; the first line is then repeated - the third explains or ties the thought together. Try creating some new lyrics of your own to see how this works. A If I feel tomorrow the way I feel to day From St. Louis Blues - W.C. Handy A If I feel tomorrow the way I feel today B ‘Gonna pack my grip and make my getaway Relative Chord Naming - Roman Numerals Chords can be identified relative to the root (the key in which the song is composed.) This is the one chord, shown in roman numerals, I.
    [Show full text]
  • Has There Ever, in the History of 20Th Century Music, Ever Been a More Influential Organisation Than That of the American Folk Blues Festivals (AFBF)?
    Muddy Waters John Lee Hooker Sonny Boy Williamson Willie Dixon, Buddy Guy Otis Spann a.m.m. ACT 6000-2 Release Date: 24. May 2004 Has there ever, in the history of 20th century music, ever been a more influential organisation than that of the American Folk Blues Festivals (AFBF)? Founded in 1962, this series has surely had a lasting effect on the European, American, and indeed interational, music scenes. Where would hip hop, jazz, funk, rock, heavy metal or world music be without the blues? Blues is the foundation of the popular music of the 20th century. Its intensity, rhythms and harmonies have affected many peoples and culture, up to and including the music of Africa, the alkand and Spanish flamenco. The blues captures the sentiments of the people in a nutshell. Of course, in the beginning it was just a feeling. But not just of the blues, but also of emptiness. The idea of tracking down and bringing surviving blues legends to Europe was that of jazz publicist Joachim Ernst Berendt at the end of the 1950s. The new style of rock 'n' roll was beginning to take a foothold, jazz was in the mean time beginning to be celebrated in Europe, but all too little was heard of the blues, despite itself being the musical foundation of jazz and rock 'n' roll. It was up to Horst Lippmann and his partner Fritz Rau to realise the idea of the AFBF and bring the best Afro- american blues performers to concert halls (!) for a European audience. First they contacted Willie Dixon.
    [Show full text]
  • Why Am I Doing This?
    LISTEN TO ME, BABY BOB DYLAN 2008 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES, NEW RELEASES, RECORDINGS & BOOKS. © 2011 by Olof Björner All Rights Reserved. This text may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. Listen To Me, Baby — Bob Dylan 2008 page 2 of 133 1 INTRODUCTION .................................................................................................................................................................. 4 2 2008 AT A GLANCE ............................................................................................................................................................. 4 3 THE 2008 CALENDAR ......................................................................................................................................................... 5 4 NEW RELEASES AND RECORDINGS ............................................................................................................................. 7 4.1 BOB DYLAN TRANSMISSIONS ............................................................................................................................................... 7 4.2 BOB DYLAN RE-TRANSMISSIONS ......................................................................................................................................... 7 4.3 BOB DYLAN LIVE TRANSMISSIONS .....................................................................................................................................
    [Show full text]
  • The John Ulrich Piano Series Presents
    The John Ulrich Piano Series Presents Sunday, November 1, at 2:00 PM Advanced reservations required $25.00 per person “Applying his strong left hand to jazz standards and boogie woogie alike, for a most appreciative audience” Jazz Times French pianist Philippe LeJeune is a perfect example of the mixture of jazz and blues that was especially an important strain in the jazz tradition. In 1968 the young pianist attended a concert in Reims, France, by master boogie-woogie and blues pianist Memphis Slim, and immediately put an end to his classical efforts and began teaching himself the blues, scouring local record shops for LP’s by boogie woogie greats. In 1980 he was invited by Memphis Slim who had been a Parisian citizen since 1962 to cut an album titled Dialog In Boogie as a piano duet. Philippe is one of those rare European pianists who is able to take part in the grand tradition of American jazz mixing swing, a sense of melody and the blues. His playing is always a brilliant assortment of sobriety and expressiveness. He plays blues and boogie-woogie with a light, almost delicate touch, and weaves subtle, varied right-hand figures around the solid left- hand boogie-woogie beat. His repertoire ranges from classic barrelhouse boogie woogie piano to Duke Ellington and Horace Silver tunes as well those of Milt Jackson and George Gershwin. Philippe explores an impressive variety of blues styles and grooves, leaving listeners with a happy feeling. Philippe LeJeune has released six CD’s in the United States, among them a live recording in trio at the Blue Moon in Houston, Texas.
    [Show full text]
  • In the Studio: the Role of Recording Techniques in Rock Music (2006)
    21 In the Studio: The Role of Recording Techniques in Rock Music (2006) John Covach I want this record to be perfect. Meticulously perfect. Steely Dan-perfect. -Dave Grohl, commencing work on the Foo Fighters 2002 record One by One When we speak of popular music, we should speak not of songs but rather; of recordings, which are created in the studio by musicians, engineers and producers who aim not only to capture good performances, but more, to create aesthetic objects. (Zak 200 I, xvi-xvii) In this "interlude" Jon Covach, Professor of Music at the Eastman School of Music, provides a clear introduction to the basic elements of recorded sound: ambience, which includes reverb and echo; equalization; and stereo placement He also describes a particularly useful means of visualizing and analyzing recordings. The student might begin by becoming sensitive to the three dimensions of height (frequency range), width (stereo placement) and depth (ambience), and from there go on to con­ sider other special effects. One way to analyze the music, then, is to work backward from the final product, to listen carefully and imagine how it was created by the engineer and producer. To illustrate this process, Covach provides analyses .of two songs created by famous producers in different eras: Steely Dan's "Josie" and Phil Spector's "Da Doo Ron Ron:' Records, tapes, and CDs are central to the history of rock music, and since the mid 1990s, digital downloading and file sharing have also become significant factors in how music gets from the artists to listeners. Live performance is also important, and some groups-such as the Grateful Dead, the Allman Brothers Band, and more recently Phish and Widespread Panic-have been more oriented toward performances that change from night to night than with authoritative versions of tunes that are produced in a recording studio.
    [Show full text]
  • The Music of Rhythm Willie Can Be at Once a Blues Harmonica Fan's Most Exciting and Most Frustrating Discovery
    Copyright Scott Dirks, for Blues & Rhythm magazine The music of Rhythm Willie can be at once a blues harmonica fan's most exciting and most frustrating discovery. His recordings reveal a technically accomplished and musically innovative player, with few peers on the standard 10-hole Marine Band harmonica in his day. A strong case can be made for his position as the first truly urban blues harp player; at a time when the harmonica was still used in black music essentially for 'country' adornment, Rhythm Willie was utilizing it with the urbanity of a jazz trumpeter or clarinetist. Yet until recently almost nothing was known of him other than the sound of his harmonica in the grooves of a handful of rare 78s recorded in Chicago between 1939 and 1950. Overlooked by blues researchers and historians for over 40 years, mention of his name draws only blank expressions or resigned shrugs from most blues authorities. Listening for biographical clues in his music reveals virtually nothing about the artist--his only recordings as a leader were all instrumentals. Further compounding the mystery, most of Willie's appearances as an accompanist on the recordings of other blues artists are attributed to "unknown harmonica" or "possibly Lee McCoy" in published discographies (a situation which this article will examine and attempt to rectify.) In fact, given his extraordinary range and talent, referring to Rhythm Willie as simply a "blues" harmonica player might be slightly unfair, and in retrospect it's easy to imagine that Willie himself may have gone to some lengths to avoid being classified with the blues harp players he probably considered to be his musically less sophisticated country cousins.
    [Show full text]
  • Guitar Blues Book
    Guitar Blues Book Ur-Vogel Jeholopterus spielt den Ur-Blues 13. November 2019 Vorwort Dies ist das persönliche Guitar Blues Buch von Hans Ulrich Stalder, CH 5425 Schneisingen. Die zur Webseite www.quantophon.com verlinkten Videos und Musikdateien sind persönliche Arbeitskopien. Ausser wenn speziell erwähnt sind alles MP3- oder MP4-Files. Hier vorkommende Blues-Musiker sind: Big Bill Broonzy geboren als Lee Conley Bradley am 26. Juni 1903 in Jefferson County (Arkansas), †15. August 1958 in Chicago, Illinois, war ein US-amerikanischer Blues-Musiker und Blues-Komponist. Lightnin’ Hopkins geboren als Sam Hopkinsan am 15. März 1912 in Centerville, Texas, † 30. Januar 1982 in Houston, Texas, war ein US- amerikanischer Blues-Sänger und Blues-Gitarrist. Er gilt als einflussreicher Vertreter des Texas Blues. Hans Ulrich Stalder © Seite 2 / 67 Champion Jack Dupree William Thomas "Champion Jack" Dupree, geboren am 23. Oktober 1909 in New Orleans, † 21. Januar 1992 in Hannover, war ein amerikanischer Blues-Sänger und Blues-Pianist. Sam Chatmon geboren am 10. Januar 1897 in Bolton, Mississippi, † 2. Februar 1983 in Hollandale, Mississippi, war ein US-amerikanischer Blues- Musiker. Er stammte aus der musikalischen Chatmon-Familie und begann – wie auch seine Brüder Bo und Lonnie – bereits als Kind, Musik zu machen. Leroy Carr geboren am 27. März 1905 in Nashville, Tennessee, † 29. April 1935 in Indianapolis, war ein US-amerikanischer Blues-Pianist und Sänger. Bekannt war er vor allem zusammen mit seinem langjährigen Partner, dem Gitarristen Francis "Scrapper" Blackwell, mit dem er als Duo auftrat und Aufnahmen machte. Elmore James geboren am 27. Januar 1918 in Mississippi, † 24. Mai 1963 in Chicago, Illinois, war ein US-amerikanischer Bluesmusiker.
    [Show full text]
  • “Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr
    GREENE, KEVIN D., Ph.D. “Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr. Benjamin Filene. 332 pgs This dissertation investigates the development of African American identity and blues culture in the United States and Europe from the 1920s to the 1950s through an examination of the life of one of the blues’ greatest artists. Across his career, Big Bill Broonzy negotiated identities and formed communities through exchanges with and among his African American, white American, and European audiences. Each respective group held its own ideas about what the blues, its performers, and the communities they built meant to American and European culture. This study argues that Broonzy negotiated a successful and lengthy career by navigating each groups’ cultural expectations through a process that continually transformed his musical and professional identity. Chapter 1 traces Broonzy’s negotiation of black Chicago. It explores how he created his new identity and contributed to the flowering of Chicago’s blues community by navigating the emerging racial, social, and economic terrain of the city. Chapter 2 considers Broonzy’s music career from the early twentieth century to the early 1950s and argues that his evolution as a musician—his lifelong transition from country fiddler to solo male blues artist to black pop artist to American folk revivalist and European jazz hero—provides a fascinating lens through which to view how twentieth century African American artists faced opportunities—and pressures—to reshape their identities. Chapter 3 extends this examination of Broonzy’s career from 1951 until his death in 1957, a period in which he achieved newfound fame among folklorists in the United States and jazz and blues aficionados in Europe.
    [Show full text]
  • Caldonia”—Louis Jordan (1945) Added to the National Registry: 2013 Essay by Stephen Koch (Guest Post)*
    “Caldonia”—Louis Jordan (1945) Added to the National Registry: 2013 Essay by Stephen Koch (guest post)* Louis Jordan Original label “Caldonia” film poster, 1945 “Caldonia” (originally titled “Caldonia Boogie”) became one of Louis Jordan and his Tympany Five’s most enduring hits. The song, with its lyrical catchphrase “Caldon-YAH! Caldon-YAH! What makes your big head so hard!?” set America on its ear and spawned endless cover versions, two of which competed directly with Jordan’s version in 1945. The song had been in Jordan’s repertoire since at least the summer of 1944, when he recorded it for use on a December airing of “Jubilee!,” an Armed Forces Radio Service show for African- American servicemen. In January, 1945 he recorded it for Decca, but the label first released a pairing of Jordan’s “Mop! Mop!” and “You Can’t Get That No More” that became a major hit that winter, and perhaps delayed the release of “Caldonia.” In February, Jordan filmed a performance of it for a short film of the same name, which hit theaters in March. In late Feburary, white bandleader Woody Herman recorded a modern jazz-tinged arrangement by Ralph Burns, who’d heard Jordan perform it live. Herman’s version hit the stores at about the time that African-American bandleader Erskine Hawkins recorded a version for RCA-Victor at the end of March. Decca, perhaps feeling the pressure, released Jordan’s definitive small group version at almost the same time that Hawkins’ disc came out in mid-April. Surprisingly, all three versions of the tunes were hits.
    [Show full text]
  • Artist with Title Writer Label Cat Year Genre
    Artist With Title Writer Label Cat Year Genre Notes Album Synopsis_c Anonymous Uncle Tom’s Cabin No Label 0 Comedy Anonymous - Uncle Tom’s Cabin, No Label , 78, ???? Anonymous The Secretary No Label 0 Comedy Anonymous - The Secretary, No Label , 78, ???? Anonymous Mr. Speaker No Label 0 Comedy Anonymous - Mr. Speaker, No Label , 78, ???? Anonymous The Deacon No Label 0 Comedy Anonymous - The Deacon, No Label , 78, ???? Anonymous First Swimming Lesson Good-Humor 10 0 Comedy Anonymous - First Swimming Lesson, Good-Humor 10, 78, ???? Anonymous Auto Ride Good-Humor 4 0 Comedy Anonymous - Auto Ride, Good-Humor 4, 78, ???? Anonymous Pioneer XXX, Part 1 No Label 0 Comedy Anonymous - Pioneer XXX, Part 1, No Label , 78, ???? Anonymous Pioneer XXX, Part 2 No Label 0 Comedy Anonymous - Pioneer XXX, Part 2, No Label , 78, ???? Anonymous Instrumental w/ lots of reverb No Label 0 R&B Anonymous - Instrumental w/ lots of reverb, No Label , 78, ???? Coy and Helen Tolbert There’s A Light Guiding Me Chapel Tone 775 0 Gospel with Guitar Coy and Helen Tolbert - There’s A Light Guiding Me, Chapel Tone 775, 78, ???? Coy and Helen Tolbert Old Camp Meeting Days R. E. Winsett Chapel Tone 775 0 Gospel with Guitar Coy and Helen Tolbert - Old Camp Meeting Days (R. E. Winsett), Chapel Tone 775, 78, ???? Donna Lane and Jack Milton Henry Brandon And His Orchestra Love On A Greyhound Bus Blane - Thompson - Stoll Imperial 1001 0 Vocal Donna Lane and Jack Milton - Love On A Greyhound Bus (Blane - Thompson - Stoll), Imperial 1001, 78, ???? G. M. Farley The Works Of The Lord Rural Rhythm 45-EP-551 0 Country G.
    [Show full text]
  • The Blues SUPPLEMENTAL LESSON
    Words & Music • Country Music Hall of Fame® and Museum 55 The Blues SUPPLEMENTAL LESSON The Blues is a supplemental lesson that is intended to be taught between Lessons 7 and 8 in the Words & Music unit. OBJECTIVES STANDARDS Students will explore the history and elements of traditional English Language Arts blues songs. CCSS.ELA-Literacy.CCRA.R.2 Students will apply their knowledge of blues to writing their own Determine central ideas or themes of a text, analyze their traditional blues lyrics. development, summarize key points. CCSS.ELA-Literacy.CCRA.R.5 VOCABULARY Analyze the structure of texts including how portions relate Blues, holler, work song, verse (review), 12-bar blues to each other and the whole. PREPARATION CCSS.ELA-Literacy.CCRA.W.5 Strengthen writing by planning, revising, editing, rewriting, • Make copies of the Blues Styles Across the United States Worksheet, “Everyday I Have the Blues” Worksheet, or trying a new approach. and “Hound Dog” Worksheet. Tennessee Social Studies SSP.01, SSP.05, 3.04, 3.10, 5.14, 5.51 • Locate audio or video versions of “Everyday I Have the Blues” performed by Memphis Slim and “Hound Dog” performed by *See page 66 for standard descriptions. Big Mama Thornton. INTRODUCTION The Blues lesson is divided into two parts. In Part I: Blues History, students will explore the history of blues styles across the United States. In Part II: Blues Form, students will analyze blues lyrics and learn how to write their own traditional blues lyrics. Depending on class time and needs, Part I and Part II can be taught together in one day or over two separate days.
    [Show full text]