Classical

Willie Mae Blues - Various - Mercury Blues n Rhythm Story 1945-1955-Midwest Blues (CD)

It often incorporates elements of gospel, ragtime, hillbilly and Dixieland jazz. The popularity and hit records of original country blues artists like Mississippi's Charley Patton or Texas' Blind Lemon Jefferson have influenced scores of musicians across the South. Each regional derivative of country blues has made an imprint on the unique acoustic blues sound. The Memphis acoustic blues sound developed out of the city's jug band and vaudeville traditions and was defined Willie Mae Blues - Various - Mercury Blues n Rhythm Story 1945-1955-Midwest Blues (CD) artists like Furry Lewis and Will Shade.

Chicago was originally a hotbed of country blues—first-generation artists like Tampa Red, Big Bill Broonzy, and Memphis Minnie brought their acoustic style to Chicago before the popularity of amplified instrumentation transformed the sound into what is now considered "classic" Chicago blues sound. The contents are presented in a chronological fashion, commencing appropriately enough with the boogie-woogie shouter "It's Just the Blues" by the Four Jumps of Jive, whose membership boasted bassist Willie Dixon.

The pair of disparate Dinah Washington selections includes an upscale big-band arrangement of "Joy Juice" circa and the markedly different bawdy double entendre of the rural and relaxed "Long John Blues" aka "Dentist Blues". Last but certainly not least are three distinct caches of Big Bill Broonzy -- one on electric guitar as a leader of the Fat Fouras well as another highly charged offering with Broonzy instrumentally augmented by bassist Ransom Knowling and a final batch backed by the Big Little Orchestrathe latter turning in a definitive take of "Southbound Train.

Lockwood titles, which have been previously difficult to locate on compact disc, are a major coup for inclined parties. The superior audio quality is further incentive for collectors and the curious alike to find not only Midwest Bluesbut the other three anthologies extracted from the Mercury Blues 'n' Willie Mae Blues - Various - Mercury Blues n Rhythm Story 1945-1955-Midwest Blues (CD) Story eight-volume box set.

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My Profile. Advanced Search. Track Listing - Disc 1. It's Just the Blues. Bedroom Blues. Buzz Me. My Baby Left Me. Come Back to Me Baby Blues. She Is Going to Ruin Me. Get promoted. In Lyrics. By Artist. By Album. Year: Please Send Me Someone to Love. Share your thoughts about the Mercury Blues 'n' Rhythm Story album with the community: 0 Comments.

Notify me of new comments via email. Cancel Report. His father, Bill, and mother, Annie, moved to Dockery with their 12 children when he was about ten years old. By the time he was a teen, he was taking lessons from Henry Sloan, another transplant to Dockery who had started playing a different kind of music some were calling the blues. ByPatton turned from student to teacher, schooling bluesmen Willie Mae Blues - Various - Mercury Blues n Rhythm Story 1945-1955-Midwest Blues (CD) Brown and Johnson.

Later, he would share his style with Howlin' Wolf and Staples, who lived Willie Mae Blues - Various - Mercury Blues n Rhythm Story 1945-1955-Midwest Blues (CD) 12 years on the plantation. Over a decade, the transformed the land into a cotton plantation. Eventually, the company town had an elementary school, churches, post and telegraph offices, a resident doctor, a ferry, a blacksmith shop, a cotton gin, cemeteries, picnic grounds for the workers, its own currency, and a commissary that sold dry goods, furniture, and groceries.

That concentration of people — a big consumer base — made Dockery an incubator for blues musicians. Howlin' Wolf moved there, Brown notes. Robert Johnson moved there. Patton was a flamboyant performer who played guitar with his teeth and behind his head and considered himself a professional musician, not a sharecropper. He and Willie Mae Blues - Various - Mercury Blues n Rhythm Story 1945-1955-Midwest Blues (CD) others were the rock stars of their day.

Inshortly before he died, Patton was in a New York studio cutting what would be his final recordings.

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