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Continue by default written by I'm Your Hoochie Cooche ManSingle by Muddy WatersB-sideShe's So PrettyReleasedJanuary 1954 (1954-01)[1]RecordedChicago, January 7, 1954GenreChicago bluesLength2:47LabelChessSongwriter(s)Willie Dixon[a]Producer(s) Hoochie Coochie Man (originally titled I'm Your Hoochie Cooche Man)[b] is a blues standard written by Willie Dixon and first recorded by in 1954. The song refers to folk magical elements and makes new use of a stop-time musical arrangement. It became one of Waters' most popular and identifiable songs and helped secure Dixon's role as ' chief . The song is a classic of and one of Waters' first recordings with a full backing band. Dixon's lyrics build on Waters' previous use of braggadocio and themes of happiness and sex appeal. The stop-time riff was soon included in the lingua franca of blues, R&B, jazz and rock and roll, according to musicologist Robert Palmer, and is used in several popular songs. [4] When adapted it for I'm a Man, it became one of the most recognizable musical expressions in blue. After the song's initial success in 1954, Waters recorded several live and new studio versions. The original appears on the 1958 album and many compilations. Numerous musicians have included Hoochie Coochie Man in a variety of styles, making it one of the most interpreted Waters and Dixon songs. The Blues Foundation and the Grammy Hall of Fame recognize the song for its influence in popular music and the U.S. Library of Congress' National Recording Registry selected for preservation in 2004. Background Between 1947 and 1954 Muddy Waters charted a number of hits for Chess Records and its Artistocrat predecessor. One of his first singles was Gypsy Woman, recorded in 1947. [6] The song shows guitar-style roots, but the lyrics place emphasis on supernatural elements-gypsies, divination, [and] happiness, according to musicologist Robert Palmer. [7] You know the gypsy woman told me that you are your mother's bad luck you havin' a good time now havin, but that will be trouble after a while[8] Waters expanded the theme in the Louisiana Blues, which was recorded in 1950 with accompanying on harmonica. [9] He sings from traveling to New Orleans, Louisiana, to acquire a mojo hand, a hoodoo amulet or talisman; [10] With his magical powers, he hopes to show all you good looking women just how to treat your man. [11] Similar lyrics appeared in Hoodoo Hoodoo, a 1946 recording by John Lee Sonny Boy Williamson: Well now I'm goin' to Louisiana, and buy me another mojo hand. [c] Although Waters was ambivalent about hoodoo,[d] he saw the music as having his own power:[11] When you write those songs that come from underneath that way Delta, don't leave you on that mojo thing. Because this is what black people really believed in at that time... even today [circa 1980], if you play the old blues like me, you can't get away from it. From 1946 to 1951 Willie Dixon sang and played bass with the Big Three Trio. [15] After the group disbanded, he worked for Chess Records as a recording arranger and bassist. [16] Dixon wrote several songs, but label co-owner Leonard Chess failed to show any interest at first. [17] Finally, in 1953, Chess used two of Dixon's songs: Too Late, recorded by Little Walter,[18] and Third Degree, recorded by . [19] Third Degree became Dixon's first composition in the charts. [20] In September, Waters recorded his Mad Love (I Want You From Me),[3], calling Dixon biographer Mitsutoshi Inaba a test piece for the upcoming 'Hoochie Coochie Man' because of his shared lyrical and musical elements. [21] The song became the first record chart success of waters in nearly two years. [5] The term hoochie coochie, with variations in spelling, is used in different contexts. Appearing in the late 19th century, the hoochie coochie was a sexually provocative dance. Don Wilmeth identifies it as a precursor to the striptease... of the belly dance, but punctuated with bumps and grinds and a combination of exposure, erotic movements, and teasing. [22] By one account, it first appeared at the Philadelphia Centennial Exhibition in 1876[23] and was a popular attraction at 1893 Chicago Market. [24] Dance is associated with entertainers Little Egypt[25] and Sophie Tucker,[26] but by the 1910s it declined in popularity. [e] Hoochie coochie is also used to refer to a sexually attractive person or a practitioner of hoodoo. [21] In his autobiography, I Am the Blues, Dixon included hoochie coochie man in his examples of a seer or a clairvoyant with a connection to folklore of the American South: This man is a hoodoo man, this lady is a witch, this other man is a hoochie coochie man, she is a kind of voodoo person. [28] Composition and recording Not long after the success of Mad Love in November 1953, Dixon approached Leonard Chess with Hoochie Coochie Man, a new song he felt was appropriate for Waters. [17] Chess replied, if Muddy likes it, give it to him. [17] At the time, Waters was performing at the Zanzibar Club in Chicago. [29] During a break, Dixon showed him the song. [f] According to Dixon, Waters took to the tune immediately because it had so many familiar elements and he was able to learn enough to perform it that night. [28] , who was waters' second guitarist, recalled that it was a little longer Dixon came to the club and he would hum it to Muddy and write out the lyrics. Muddy would work them around for a while until he got it down where he could understand it crazy to make around with it. He would be on stage and try it out, do a few licks of it. We were building the scheme, that's what we were really doing. [31] Willie Dixon at Monterey Jazz Festival, 1981 On January 7, 1954, Waters entered the recording studio with his band to record the song. [21] Considered the classic Chicago blues band,[32] music critic Bill Janovitz described Waters' group as a who's who of bluesmen. [33] Waters sings and plays electric guitar with Rogers, blues harmonica virtuoso Little Walter, and drummer Elgin Evans, all of whom have performed with Waters since 1951. [2] (, who replaced Evans in 1954, is sometimes listed as a drummer.) [3] [34] Pianist , who in 1953, and Dixon, in his debut on double bass for the recording session of De Waters, close the group. [2] Two takes of the song were recorded. [35] Although there are some moments in the alternating take when a player's timing perceptibly rushes or drags, because the band is so tight, the difference with the master is only six seconds (for a nearly three-minute song). [36] [g] Hoochie Coochie Man follows a sixteen-bar blues progression that is an extension of the well-known twelve-bar blues pattern. [34] The first four bars are doubled in length so harmony remains on tonic for eight bars or half of the sixteen bar progression. [37] Dixon explained that expanding twelve-bar blues was in response to amplification, which gave instruments more sustain. [38] Additional bars also increase the contrasting effect of the repeating end-time musical figure or riff. [39] For the second eight bars, the song returns to the last eight of the twelve-bar progression, which functions as a chorus or hook. [39] [21] Different textures provide the melody with a strong contrast,[34] which helps underline the lyrics. [40] The song is performed at a moderate blue pace (72 beats per minute) in A key.[41] It is notated in 128 time and contains three sixteen-bar sections. [42] An important feature of the song is the use of stop time, or pauses in music, during the first half of the progression. [32] This musical device is widely heard in New Orleans jazz,[32] when instrumentation stops briefly, allowing for a short instrumental solo before resuming. [43] However, waters and Dixon's use of end time serves to increase the stress through repetition,[44] followed by vocal rather than an instrument stuffing. [45] The accompanying riff, which Dixon described as a five-note figure,[28] is similar to that of Mad Love. [21] He attributed it to the band[32] and using such a phrase for eight bars was a new approach. [44] Although Palmer notes that the entire group in unison, [32] Boone describes it as a heavy, unhurried counterpoint by all instruments together. [37] Campbell identifies the opening as actually having two competing competitors or contrapuntal movement, with one played by Little Walter on a reinforced harmonica and another by Waters on electric guitar. [34] For the second eight-bars of the progression, the song follows the standard structure I-IV-V7, which maintains its connection to traditional blue. [45] The entire band plays it as a shuffling with a triplet rhythm, which Campbell describes as a free-for-all [with] harmonica trills, guitar riffs, piano chords, thumping bass, [and] shuffle pattern on the drums. [46] He adds that this kind of heavy sound was rarely heard in small music combos for rock. [46] However, unlike the polyphony of New Orleans jazz, instrumentation parallels the aggressive vocal approach of waters and strengthens the lyrics. [37] The players' use of reinforcement, pushed to the point of distortion, is a key feature of chicago blues and another rock precedent. [46] In particular, Little Walters' overdriven saxophone-like harmonica[47] playing weaves in and out of the vocal lines, which increases the drama. [48] The text and interpretation Hoochie Coochie Man is characterized as a self-mythologizing testament by Janovitz. [33] The narrator boasts about his happiness and his effect on women as aided by hoodoo. [21] Waters explored similar themes in earlier songs, but his approach was more subtle. [49] According to Palmer, Dixon upped the ante with more flamboyance, macho attitude, and extra-generous helping of hoodoo sensationalism. [49] Dixon claimed that the idea of a seer was inspired by history and the Bible. [4] Verses in the three sixteen-bar sections of the song proceed chronologically. [50] The opening verse begins before the narrator is born[51] and references Waters' 1947 gypsy woman song: Muddy Waters with , 1971 The Gypsy Woman told my mother, before I was born I [sic][h] got the comin of a boy's child, going to be a son of a gun He's going to make beautiful women, jump a cry and then the world wants to know , which this all about[52] As a boy in the South, Dixon reminded gypsies in covered wagons that besnong their trade from city to town. [28] Fortune tellers would emphasize favorable conditions to improve their incomes, especially when doing lectures for pregnant women. [53] In the second part, the story is in the present and several references are made to charms used by hoodoo magicians. [54] These include a black cat bone, a root, and a mojo,[55] the last of which was thought in Louisiana Blue. Their magical powers ensure that the prophecy of the gypsy will be confirmed: women and the rest of the world will take note of it. [56] song concludes with a final section projecting happiness into the future. [56] The number of seven is prominent: on the seventh hour, on the seventh day, etc.[57] The contraction of sevens is another good omen and is analogous to of a seventh son of folklore. [58] Dixon expanded the theme in his 1955 song The Seventh Son. [59] Each section is connected by a chorus or recurring chorus. [56] It functions as crochet and it differs from the usual free-associative aspect of traditional blue. [43] Writer Benjamin Filene sees this and Dixon's desire to tell complete stories, with the verses building on each other, as sharing elements of . [60] The choir, But you know I'm here, everyone knows I'm here, Well you know I'm the hoochie coochie man, everyone knows I'm here,[52] confirms the identity of the narrator as well as both the subject of the gypsy's prophecy and an almighty seer himself. [56] Dixon found that the lyrics expressed part of the audience's unfulfilled desire to boast,[31] while Waters later admitted that they assumed to have a comic effect. [61] Music historian Ted Gioia points to the underlying theme of sexuality and virility as sociologically significant. [62] He sees it as a challenge to the fear of in the dying days of racial segregation in the United States. [63] The producer of the record took a simpler view: It was sex. If you ever saw Muddy then, the effect he had on women was obvious. Because the blues has always been a women's market. [64] Releases and charts In early 1954, Chess Records issued I'm Your Hoochie Cooche Man supported with She's So Pretty on both the standard ten-inch 78 rpm and the newer seven-inch 45 rpm record single formats. It quickly became the biggest hit of Water's career. [34] The single entered the Charts on March 13, 1954 on Billboard magazine's Rhythm & Blues Records, and reached number three on the Juke Box chart and number eight on the Best Seller chart. [5] It remained on the charts for 13 weeks, making it Waters' longest charting record until then (two more Waters-Dixon songs, Just Make Love to Me (I Just Want to Make Love to You) and Close to You, both later also lasted 13 weeks). [5] Chess included the song on Waters' first album, the 1958 compilation The Best of Muddy Waters, but renamed it Hoochie Coochie. [65] Numerous later official compilations of waters contain it, such as Sail Up; McKinley Morganfield aka Muddy Waters; The chess box; His Best: 1947 to 1955; The best of muddy waters - The Millennium Collection; The Anthology (1947-1972); Hoochie Coochie Man: The Complete Chess Masters, Vol. 2: 1952-1958; and The Definitive Collection. [66] Marshall Chess arranged for Waters to remake the song using -style instrumentation for the 1968 album , which was an attempt to reach a new audience. [67] In 1972, Waters took a rendition of the song, with Louis Myers on acoustic guitar and George Mojo Buford on unamplified harmonica. [68] Chess released it in 1994 on the Waters rarities collection One More Mile. [68] He revisited the song with original guitarist Jimmy Rogers in They re-recorded it for I'm Ready, the Grammy Award-winning album produced by . [69] Waters featured the song in his performance and several live recordings have been edited. [66] His acclaimed , one of the first live blues albums, includes a rendition by his later band with Spann, Klopa hare, James Cotton, and . [70] Other live albums have versions that spanned his career with different backup bands. These include Live in 1958 (recorded in England in 1958 with Spann and 's joined jazz band, released in 1993 and re-released as Collaboration in 1995); Authorized Bootleg: Live at the Fillmore Auditorium – San Francisco 04–06 1966 (released in 2009); The Lost Tapes (recorded in 1971, released in 1999); Muddy Mississippi Waters – Live (1977, released in 1979); and Live at the Checkerboard Lounge, Chicago 1981 with members of (released in 2012). [66] Influence and recognition This classic blueszin would eventually work its way into the psyche of modern culture by being featured in musical genres from folk to rock and even children's songs as well as in television and radio commercials. -Bryan Grove, Encyclopedia of Blue (2005)[45] Hoochie Coochie Man represents the recording transition of the Waters from an electrified but more traditional Delta-based blues of the late 1940s-early 1950s to sound a newer Chicago blues ensemble. [71] The song was important to Dixon's career and signaled also a change - Chess was convinced of Dixon's value as a songwriter and secured its relationship as a duso with the label. [72] Waters soon followed with several variations on the sixteen-bar stop-time arrangement written by Dixon. [73] [33] These include I Just Want to Make Love to You, I'm Ready, and I'm a Natural Born Lover. [74] All these songs follow a similar lyrical theme and helped shape Muddy Waters' image as the testosterone king of the blues, according to Gioia. [74] Bo Diddley modified the song's signature riff for his March 1955 song I'm a Man. [75] He reworked it as a four-note figure, repeated for the entire song without a progress to other chords. [75] Music critic and writer calls it the most recognizable blue lick in the world. [75] Waters, not to be outdone, replied two months later with an to I'm a Man, titled . [76] Bo Diddley, he was tracking me down with my beat when he called 'I'm a Man'. That's from Hoochie Coochie Man. Then I got to work with Mannish Boy and just drove him out of the way, Waters recalled. [77] Emphasizing the origin of Bo Diddley's song, Waters adheres to the original first eight-bar pressure sentence Hoochie Coochie Man and includes some of the hoodooversions. [78] According to Palmer, adapted the phrase for other artists and it was soon absorbed in lingua franca franca blues, jazz and rock and roll. [32] In 1955, songwriters Jerry Leiber and Mike Stoller used riff for Riot in Cell Block Number 9[32] (later reworked by as Student Demonstration Time) and Framed for the R&B group the Robins. Trouble, another Leiber and Stoller composition that used the riff, was sung by in the 1958 musical drama film King Creole. American composer quoted the character in another film, The Man with the Golden Arm,[32] who received an Academy Award for Best Original Score in 1955. Dixon noted, we felt like this was a great achievement for one of these blues phrases to be used in a movie. [32] As numerous artists took it up in a variety of styles, Hoochie Coochie Man became a blues standard. [12] [45] Janovitz describes the song as an essential piece of Chicago-style that connects the Delta with rock & roll. [33] Rock musicians are among many who have interpreted it. [45] In 1984, Waters' original I'm Your Hoochie Coochie Man was inducted into the Blues Foundation Hall of Fame. The Foundation noted that in addition to countless versions by Chicago blues artists, the song has been recorded by artists as diverse as , Chuck Berry, and jazz organist Jimmy Smith[79] to which Grove adds B.B. King, , John P. Hammond, , and . [45] [i] A Grammy Hall of Fame Award followed in 1998, which honor[s] recordings of enduring qualitative or historical significance. [82] The Rock And Role Role List of the 500 Songs That Sang Rock and Roll recognizes the song's influence on rock. [83] Representatives of the music industry and the press voted number 226 for magazine's list of the 500 Greatest Songs of All Time. [84] In 2004, the National Recording Preservation Board, advisors to the U.S. Library of Congress, selected it for preservation in the National Recording Registry and recorded the contributions of the band members. [85] Notes Footnotes ^ Although the initial Chess songwriter single lists as Mr. Waters, rep reisse credit Willie Dixon. [2] BMI shows the Songwriter/Composer as Willie Dixon. I m Your Hoochie Cooche Man (Legal Title) - BMI Work #668840. Bmi. Archived from the original on September 9, 2014. Picked up on September 9, 2014. ^ Some some Chess pressings also appear as I Am Your Man Hoochie Kooche; [3] The original 1958 Chess Best of Muddy Waters mentions it as Hoochie Coochie. A January 30, 1954, ad in Billboard used The Hoochy Coochy Man. [1] ^ In June 1953, seven months before Hoochie Coochie Man, recorded Williamson's Hoodoo Hoodoo as a Chicago blues single with and again in 1965 for his Hoodoo Man Blues album. [12] ^ Waters worked out, If something like a mojo had been good, you'd have to go down Louisiana to find one. Where we were, in the Delta, they couldn't do anything, I guess. And I can't shake you to the side and make you bark like a dog, or make frogs and snakes jump out of you. Nonsense. No way. [13] ^ In The Language of the Blue: From Alcorub to Zuzu, Debra Devi offers an alternative definition of a hoochie coochiedanser as a stripper and a hoochie coochiemens as a pimp. [27] ^ According to Waters, Dixon followed him into the toilet to throw him the song. [29] In his autobiography, Dixon wrote that he had Waters get his guitar and they rehearsed the song in front of the toilet through the door while patrons came and went. [30] ^ Recording preded the use of metronomic devices, such as a click track, by recording studios. ^ I use is a fluff on the part of waters; Dixon's lyrics are You got a boy child's comin'. [35] ^ When english blues singer took over ' All Stars, he called them Long John Baldry and the Hoochie Coochie Men, as a deliberate parallel to the use of another Muddy Waters song. [80] The group lasted about a year and produced an album, Long John's Blues, which also included a version of the song. [81] Quotations ^ a b Billboard 1954, p. ^ a b c Palmer 1989, p. 28. ^ a b c Wight & Rothwell 1991, p. 40. ^ a b Palmer 1981, p. 166. sfn error: no purpose: CITEREFPalmer1981 (help) ^ a b c d Whitburn 1988, p. ^ Wight & Rothwell 1991, p. 37. ^ Palmer 1989, pp. 16–17. ^ Palmer 1981, p. 158. sfn error: no purpose: CITEREFPalmer1981 (help) ^ Palmer 1981, pp. 98–99. sfn error: no goal: CITEREFPalmer1981 (help) ^ Gioia 2008, pp. 218–219. ^ a b Palmer 1981, p. 99. sfn error: no purpose: CITEREFPalmer1981 (help) ^ a b c Herzhaft 1992, p. ^ Palmer 1981, p. 97. sfn error: no purpose: CITEREFPalmer1981 (help) ^ Palmer 1981, pp. 97–98. sfn error: no purpose: CITEREFPalmer1981 (help) ^ Dixon & Snowden 1989, pp. 58–59. ^ Dixon & Snowden 1989, p. 81. ^ a b c Dixon & Snowden 1989, p. 83. ^ Snowden 1993, p. ^ Dixon & Snowden 1989, p. 86. ^ Whitburn 1988, p. 52. ^ a b c d e f Inaba 2011, p. 81. ^ Wilmeth 1981, p. 63. ^ Cohen 1993, p. 126. sfn error: no purpose: CITEREFCohen1993 (help) ^ Stencell 1999, p. ^ Stencell 1999, p. 5–7. ^ Blecha 2004, p. 19. ^ Devi, p. 131. sfn error: no purpose: CITEREFDevi (help) ^ a b c d Dixon & Snowden 1989, p. 84. ^ a b Gordon 2002, p. 123. ^ Dixon & Snowden 1989, p. 123. ^ a b Dixon & Snowden 1989, p. 85. ^ a b c d e g g h i Palmer 1981, p. sfn error: no purpose: CITEREFPalmer1981 (help) ^ a b c d Janovitz, Bill. Muddy Waters: (I'm Your) Hoochie Coochie Man – Song Review. Allmusic. Picked up august 16, 2014. ^ a b c d e f Campbell 2011, p. 166. ^ a b Inaba 2011, p. 87. ^ Inaba 2011, pp. 87–88. ^ a b c Boone 2003, p. 72. ^ Inaba, pp. 79–90. sfn error: goal: CITEREFInaba (help) ^ a b Boone 2003, p. ^ Boone 2003, p. 74. ^ Hal Leonard 1995, p. 112. ^ Hal Leonard 1995, pp. 112-113. ^ a b Filene 2000, p. 100. ^ a b Inaba 2011, p. 82. ^ a b c d e f Grove 2005, p. 454. sfn error: no purpose: CITEREFGrove2005 (help) ^ a b c Campbell 2007, p. 80. sfn error: no goal: CITEREFCampbell2007 (help) ^ Gordon 2002, p. 124. ^ Gillett 1972, p. 160. ^ a b Palmer 1981, p. 168. sfn error: no target: CITEREFPalmer1981 (help) ^ Filene 2000, pp. 101–102. ^ Filene 2000, p. 101. ^ a b Dixon & Snowden 1989, p. 6. ^ Dixon & Snowden 1989, pp. 84-85. ^ Inaba 2011, pp. 85–86. ^ Dixon & Snowden, p. 6. sfn error: no purpose: CITEREFDixonSnowden (help) ^ a b c d Filene 2000, p. ^ Dixon & Snowden 1989, p. 7. ^ Filene 2000, pp. 102-103. ^ Dixon & Snowden 1989, p. 87. ^ Filene 2000, pp. 100-101. ^ Wald 2004, p. 177. ^ Gioia 2008, p. 219-220. ^ Gioia 2008, p. 220. ^ Inaba 2011, p. 80. ^ Palmer 1989, p. 26. ^ a b c Muddy Waters: Hoochie Coochie Man - appears on. Allmusic. Picked up september 3, 2014. ^ Gordon 2002, pp. 205-206. ^ a b Aldin 1994, p. 21. ^ a b Gordon, Rev. Keith A. Muddy Waters: I'm Ready – Album Review. Allmusic. Retrieved November 20, 2014.CS1 maint: ref=harv (link) ^ Dahl 1996, p. ^ Filene 2000, p. 99. ^ Eder 1996, p. ^ Inaba 2011, p. 89. ^ a b Gioia 2008, p. 222. ^ a b c Koda, Cub. Bo Diddley: I'm a man. Allmusic. Picked up on September 3, 2013. ^ Herzhaft 1992, p. 454. ^ Gordon 2002, p. 142. ^ Janovitz, Bill. Muddy Waters: Mannish Boy – Song Review. Allmusic. Picked up september 3, 2014. ^ Foundation of Blue (November 10, 2016). 1984 Hall of Fame Inductees: I'm Your Hoochie Coochie Man — Muddy Waters (Chess, 1954). The Blues Foundation. Retrieved February 9, 2017.CS1 maint: ref=harv (link) ^ Myers 2007, p. ^ Myers 2007, pp. 72-73. ^ Grammy Hall of Fame Awards - Past recipients. Grammy.org. Archived from the original on July 7, 2015. Picked up on January 10, 2011. ^ 500 Songs That Formed Rock and Roll. Rock and Roll Hall of Fame. 1995. Archived from the original on 2 May 2007. Picked up on January 10, 2011. ^ The 500 Greatest Songs of All Times. Rolling Stone (963). December 9, 2004. Picked up on January 10, 2011. ^ Complete National Recording Registry Listing. U.S. Library of Congress. Picked up june 11, 2014. References Aldin, Mary Katherine (1994). One More Mile (CD booklet). Muddy water. Universal City, California: MCA Records/Chess Records. OCLC 30331806. CHD2-9348. CS1 maint: ref=harv (link) Billboard (January 30, 1954). Rhythm and Blues Tattler. Billboard. Vol. 64 no. ISSN 0006-2510.CS1 maint: ref=harv (link) Blecha, Peter (2004). Taboo Tunes: A History of Banned Bands & Censored Songs. Hal Leonard. ISBN 978-0-87930-792-9.CS1 maint: ref=harv (link) Boone, Graeme M. (2003). Moore, Allan (ed.). The Metgezel van Blues en Gospel Music. Cambridge, Engeland: Cambridge University Press. ISBN 978-0-521-00107-6.CS1 maint: ref=harv (link) Campbell, Michael; Brody, James (2007). 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Girl Show: Into the Canvas Wereld van Bump en Grind. ECW Pers. ISBN 978-1-55022-371-2.CS1 maint: ref=harv (link) Wald, Elijah (2004). Ontsnappen aan de Delta: Robert Johnson and the Invention of the Blues (1e. red.). New York City: HarperCollins. ISBN 978-0060524272.CS1 maint: ref=harv (link) Whitburn, Joel (1988). Top R&B Singles 1942-1988. Menomonee Falls, Wisconsin: Record Research. ISBN 0-89820-068-7.CS1 maint: ref=harv (link) Wight, Phil; Rothwell, Fred (1991). The Complete Muddy Waters Discografie. Blues & Rhythm (200). CS1 maint: ref=harv (link) Wilmeth, Don B. (1981). De taal van American Popular Entertainment: Een woordenlijst van Argot, Slang, en terminologie. Greenwood Pers. ISBN 978-0-313-22497-3.CS1 maint: ref=harv (link) Opgehaald uit

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