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It is an early influential Texas shuffle and features guitar playing that represents the transition from the 1940s blues style to the 1960s blues-rock style. The song became Bland's first record chart-topping success and one of his best-known tunes. As a blues standard, "Farther Up the Road" has been performed and recorded by numerous blues and ...
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.
"Stop Messin' Round" is a song first recorded by English blues rock group Fleetwood Mac in 1968. It was written by the group's principal guitarist and singer Peter Green, with an additional credit for manager C.G. Adams. The song is an upbeat 12-bar blues shuffle and is representative of the group's early repertoire of conventional electric ...
The song is one of the few Reed hits that was written by someone other than Reed and his wife Mama Reed. [2] Reed recorded the song in Chicago on March 29, 1960; backing Reed, who sang and played harmonica and guitar, are Mama Reed on vocal, Lee Baker and Lefty Bates on guitars, Willie Dixon on bass, and Earl Phillips on drums. [1]
Boogie is a repetitive, swung note or shuffle rhythm, [2] "groove" or pattern used in blues which was originally played on the piano in boogie-woogie music. The characteristic rhythm and feel of the boogie was then adapted to guitar, double bass, and other instruments. The earliest recorded boogie-woogie song was in 1916.
[14] Aaron regards it as Steely Dan's song that remains most faithful to the blues, but acknowledges that a few non-blues chords are incorporated into the refrain. [9] Scoppa particularly praised the electric guitar improvisations for their originality and for pedal steel guitar parts that don't sound like country music. [14]
In October 1954, Howlin' Wolf recorded his version, titled simply "Forty Four", as an electric Chicago blues ensemble piece. Unlike the early versions of the song, Wolf's recording featured prominent guitar lines and an insistent "martial shuffle on the snare drum plus a bass drum that slammed down like an industrial punch-press", according to biographers. [7]
His swing-influenced backing and lead guitar sound became an influential part of the electric blues. [1] It was T-Bone Walker, B.B. King once said, who “really started me to want to play the blues. I can still hear T-Bone in my mind today, from that first record I heard, ‘Stormy Monday.’ He was the first electric guitar player I heard on ...
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