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Emphasizing the origin of Bo Diddley's song, Waters sticks to the original first eight-bar phrase from "Hoochie Coochie Man" and includes some of the hoodoo references. [ 78 ] According to Palmer, songwriters adapted the phrase for other artists and it was "soon absorbed into the lingua franca of blues, jazz, and rock and roll". [ 33 ]
"Hoochie Coochie Man" Muddy Waters: 1954 Willie Dixon, Shadows of Knight, Eric Burdon, The Nashville Teens, Dion, The Allman Brothers Band, Alexis Korner, Steppenwolf, Chuck Berry, Motörhead, Eric Clapton, John P. Hammond, Jimi Hendrix, Jeff Healey, Manfred Mann, New York Dolls, Dave Van Ronk, Phish "Howlin' for My Baby" Howlin' Wolf: 1959
William James Dixon (July 1, 1915 – January 29, 1992) was an American blues musician, vocalist, songwriter, arranger and record producer. [1] He was proficient in playing both the upright bass and the guitar, and sang with a distinctive voice, but he is perhaps best known as one of the most prolific songwriters of his time.
In 1988 "Mannish Boy" was also used in a Levi's 501 commercial and re-released in Europe as a single with "Hoochie Coochie Man" on the flip side. Waters is a central character in the 2008 American biographical drama film Cadillac Records. The role of Muddy Waters is played by Jeffrey Wright.
The hoochie coochie (/ ˌ h uː tʃ i ˈ k uː tʃ i /) is a catch-all term to describe several sexually provocative belly dance-like dances from the mid-to late 1800s. Also spelled hootchy-kootchy and a number of other variations, it is often associated with " The Streets of Cairo, or the Poor Little Country Maid " song, also known as "the ...
Muddy Waters's original two-song singles recorded for Chess were later ... Hoochie Coochie Man: The Complete Chess Masters, Volume 2, 1952–1958 ... listed artist ...
"I'm Your Hoochie Coochie Man (Part I)" Billboard Hot 100: 94 [4] References This page was last edited on 17 January 2023, at 15:38 (UTC). Text is available ...
Hoochie Coochie Man" was the band's rearrangement of a Muddy Waters tune culled from bassist Berry Oakley and Betts' days performing the number in their earlier band the Second Coming. [20] Featuring Oakley in his only studio vocal, it is nearly twice as fast as Waters' original. [23] "