Search results
Results from the WOW.Com Content Network
Urban blues [266] Big Maceo Merriweather: 1905 1953 Georgia Barrelhouse blues [267] Amos Milburn: 1927 1980 Texas Urban blues [268] Luke "Long Gone" Miles: 1925 1987 Louisiana Texas blues [269] Roy Milton: 1907 1983 Oklahoma Jump blues [270] Gatemouth Moore: 1913 2004 Kansas Urban blues [271] Johnny B. Moore: 1950 Mississippi Chicago blues [272 ...
Hokum is a particular song type of American blues music—a song which uses extended analogies or euphemistic terms to make humorous, [1] sexual innuendos. This trope goes back to early dirty blues recordings, enjoyed huge commercial success in the 1920s and 1930s, [ 1 ] and is used from time to time in modern American blues and blues rock .
This came in the 1920s, when classic female blues singers like Ma Rainey, Bessie Smith and Mamie Smith grew very popular; the first hit of this field was Mamie Smith's "Crazy Blues". These urban blues singers changed the idea of popular music from being simple songs that could be easily performed by anyone to works primarily associated with an ...
Blues is a music genre [3] and musical form that originated amongst African-Americans in the Deep South of the United States around the 1860s. [2] Blues has incorporated spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ballads from the African-American culture.
Vaudevillean Mamie Smith records "Crazy Blues" for Okeh Records, the first blues song commercially recorded by an African-American singer, [1] [2] [3] the first blues song recorded at all by an African-American woman, [4] and the first vocal blues recording of any kind, [5] a few months after making the first documented recording by an African-American female singer, [6] "You Can't Keep a Good ...
Many blues songs were developed in American folk music traditions and individual songwriters are sometimes unidentified. [1] Blues historian Gerard Herzhaft noted: In the case of very old blues songs, there is the constant recourse to oral tradition that conveyed the tune and even the song itself while at the same time evolving for several decades.
Modern Cajun music began developing in the 1920s, drawing on traditional fiddlers and more modern accordionists. Joe and Cléoma Falcon made the first recording, "Allons à Lafayette", in 1928. The song was a regional hit that paved the way for Cleoma's brother, Amédée Breaux's "Jolie Blonde", now often considered the Cajun national anthem.
Carr's and Blackwell's songs reflected a more urban and sophisticated blues, in contrast to the music of rural bluesmen of the time. [5] Carr's blues were "expressive and evocative", [6] although his vocals have also been described as emotionally detached, high-pitched and smooth, with clear diction. [7]