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12 Bar Blues is the debut solo album from Scott Weiland and produced by Blair Lamb. Scott was a founding member and singer for Stone Temple Pilots. 12 Bar Blues's sound and style differ greatly from STP's previous releases. The design concept of the cover is a homage to the cover design of John Coltrane's Blue Train album.
This page was last edited on 6 September 2013, at 18:56 (UTC).; Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply.
The twelve-bar blues (or blues changes) is one of the most prominent chord progressions in popular music. The blues progression has a distinctive form in lyrics, phrase, chord structure, and duration. In its basic form, it is predominantly based on the I, IV, and V chords of a key.
It is a slow twelve-bar blues performed in the West Coast blues-style that features Walker's smooth, plaintive vocal and distinctive guitar work. As well as becoming a record chart hit in 1948, it inspired B.B. King and others to take up the electric guitar. "Stormy Monday" became Walker's best-known and most-recorded song.
"Bleeding Heart" is a slow-tempo twelve-bar blues that features Elmore James' vocal and slide guitar.It was recorded during one of his last recording sessions and has session musicians providing accompaniment, instead of James' regular band the "Broomdusters".
"I Can't Quit You Baby" is blues song written by Willie Dixon and first recorded by Chicago blues artist Otis Rush in 1956. [1] It is a slow twelve-bar blues ensemble piece, with lyrics about the consequences of an adulterous relationship which is difficult to end. "I Can't Quit You Baby" was Rush's first recording and Cobra Records's debut single.
"You Shook Me" is unique among Muddy Waters' songs – it is the first time he overdubbed vocals onto an existing commercially released record. The backing track for Waters started as an impromptu slide guitar instrumental by blues guitarist Earl Hooker during a May 3, 1961, recording session for Chief Records. [1]
"All Blues" is a jazz composition by Miles Davis first appearing on the influential 1959 album Kind of Blue. It is a twelve-bar blues in 6 8; the chord sequence is that of a basic blues and made up entirely of seventh chords, with a ♭ VI in the turnaround instead of just the usual V chord.
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