CoLors*…
This is a Voyage into Sound.
inst. of change [THE ELECTRIC GUITAR]
the players
INSTRUMENTS OF NOISE.
take it to the bridge
The Original Color of Sin [BLUE.]
playlists*
ROCK AROUND THE CLOCK (TIMELINE)
JAZZIZ (THE ART OF NOISE)
JAZZIZ (ARTISTS/PHOTOGRAPHERS)
MUSIC.COM (MAGAZINE)
B.LUE
“Chicago Bound Blues”
1930s — Bessie Smith
Empress of the Blues
((( Women Cry )))
Bo Diddley (“I’m A Man”)
Robert Johnson (Mississippi)
Son House
Charley (Charlie) Patton
Muddy Waters (Chicago)
Deep down in Florida with Johnny Winter
w/ The Rolling Stones
Willie Dixon — Dixon and Muddy Waters are considered the two who most influentially shaped the sound of Post-WWII Blues in Chicago.
Howlin’ Wolf (Chester Burnett)
John Lee Hooker (Detroit)
w/ The Rolling Stones
Hubert Sumlin — Sumlin playing guitar with Howlin’ Wolf was the first singer/guitarist partnership, of the kind that played such an important role in the growth of Rock N Roll.
Mick Jagger/Keith Richards
Roger Plant/Jimmy Page
Freddie Mercury/Brian May
Steven Tyler/Joe Perry
Corey Glover/Vernon Reid
Muddy Waters
When Muddy Waters was a young boy, he sat at the feet of Charley Patton and Son House, who were in their prime at the time.
Listening and learning from his elders, he was the player who electrified the blues, pounding his guitar like a drum, playing slide on the low strings, and bringing forth an identifiable, deep, guttural moan, that matched his vocals so well.
I was already a Muddy Waters fan — the Muddy of Chess Records – when I heard his Library of Congress recordings, captured by Alan Lomax in 1941 and 1942. They caught Muddy so young, when he was a complete unknown, maybe self-conscious and shy, listening back to his voice for the first time. There is something vulnerable about it, but also fully formed. For slide players in the Delta, it was a call-and-response thing with themselves. The slide would take the other voice, like a female voice in a choir. Muddy carried it right on through to Chicago.
There are riffs (“Muddy licks”) he would play over turnarounds that were unique to him. You can hear some Muddy licks in Hendrix‘s playing. Later on, as Muddy got older, he played guitar less and less. But when he did jump in, you knew it. He had Buddy Guy and Jimmy Rogers in his bands. But when you played with Muddy, you didn’t play what he did, because that shit was covered.
“Rollin’ Stone” / “Mannish Boy”
The 100 Greatest Artists of All Time: Muddy Waters
The 100 Greatest Singers of All Time: Muddy Waters
Muddy Waters: 1915-1983
yt.
Muddy Waters w/ Rolling Stones
@ The Checkerboard Lounge
November 22, 1981 — In the middle of their American Tour, The Rolling Stones arrived three days early and did a three-night stand at Chicago’s Rosemont Horizon Hotel, before the scheduled show that weekend.
Long influenced by the Chicago blues, the band paid a visit to Buddy Guy’s club the Checkerboard Lounge to see the legendary bluesman perform. It didn’t take long before Mick Jagger, Keith Richards, Ronnie Wood and Ian Stewart were joining in on stage and later Buddy Guy and Lefty Dizz also played their part.
It was a unique occasion that was fortunately captured on camera.
Now, restored from the original footage and with sound mixed and mastered by Bob Clearmountain, this amazing blues night is being made available in an official release for the first time.
“Who Do You Love?“
1956 — Bo Diddley
((( Gainesville, Fla. )))
—.!
Bo Diddley
“It’s the mother of all riffs,” says guitarist Johnny Marr, of the “Bo Diddley Beat,” introduced by the Chicago guitarist born Ellas Otha Bates, a.k.a. Diddley. Driven by his tremoloed guitar, songs such as “Mona” and “Bo Diddley” unleashed a super-powered version of a WEST AFRICAN GROOVE THAT WAS HANDED DOWN BY SLAVES. After Diddley, the riff would be hijacked by everyone from Buddy Holly to the Rolling Stones (who covered “Mona” in 1964), and, later, garage rockers and punks, who responded to its raw simplicity. (The Clash made the connection formal when they brought him on tour in 1979; the Smiths built “How Soon Is Now?” around the riff.) “Anybody who picked up the guitar could do it,” says Dan Auerbach of the Black Keys. “If you could keep a beat, you could play Bo Diddley.” “His style was outrageous,” Keith Richards said; it suggested “that the kind of music we loved didn’t just come from Mississippi. It was coming from somewhere else.”
“Bo Diddley” / “Road Runner” / “Who Do You Love?”
The 100 Greatest Artists of All Time: Bo Diddley
Bo Diddley: The Rolling Stone Interview
“Fuck Off”
1974 — Howlin’ Wolf to the holy reverent Lowell George
Little Feat Live
at the Santa Monica Civic Center
((( Apolitical Blues )))
—.!
Chester Arthur Burnett was a Chicago blues singer, guitarist, and harmonica player. Originally from Mississippi, he made his biggest musical strides after moving to Chicago in (?)It was there, at the north end of the Underground railroad, where his musical rivalry with Muddy Waters began.
With a booming voice and imposing physical presence, Howlin’ Wolf was, and remains one of the most dynamic and memorable of the Chicago blues artists.
The musician and critic Cub Koda noted, “no one could match Howlin’ Wolf for the singular ability to rock the house down to the foundation while simultaneously scaring its patrons out of its wits.” Producer Sam Phillips recalled, “When I heard Howlin’ Wolf, I said, ‘This is for me. This is where the soul of man never dies.'”[2] Several of his songs, including “Smokestack Lightnin’“, “Killing Floor” and “Spoonful“, have become blues and blues rock standards. In 2011, Rolling Stone magazine ranked him number 54 on its list of the “100 Greatest Artists of All Time.”
—yZ.
Buddy Guy
Buddy Guy got used to people calling his guitar style a bunch of noise – from his family back in rural Louisiana, who chased him out of the house for making a racket, to Chess Records heads Phil and Leonard Chess, who, he says, “wouldn’t let me get loose like I wanted” on sessions with Muddy Waters, Howlin’ Wolf and Little Walter. But as a new generation of rockers discovered the blues, Guy’s fretwork became a major influence on titans from Jimi Hendrix to Jimmy Page. Guy’s flamboyant playing – huge bends, prominent distortion, frenetic licks – on such classics as “Stone Crazy” and “First Time I Met the Blues,” and his collaborations with the late harp master Junior Wells, raised the standard for six-string fury. His showmanship, complete with mid-solo strolls through the audience, remains electrifying at age 75. “He was for me what Elvis was probably like for other people,” said Eric Clapton at Guy’s Rock and Roll Hall of Fame induction in 2005. “My course was set, and he was my pilot.”
w/ Vernon Reid (Lightning In A Bottle)
“Stone Crazy” / “First Time I Met the Blues”
Damn Right, He’s Buddy Guy
Rock and Roll Hall of Fame 2005: Buddy Guy
“Born In Chicago”
1965 — Paul Butterfield Blues Band
w/ Michael Bloomfield (GUITAR)
((( Jewish Hue )))
Alan Lomax
“Universe”
1965 — Ladell McLin
((( Chicago Disciple )))
dave.
Ladell McLin
Growing up on the South Side of Chicago, Ladell McLin spent a lot of time with his older brother, a drummer in a popular, local Blues band, and with his uncle, a singer in Chi-lites, of 1970s, pop-radio fame.
the bridge
BRINGING AMERICA TOGETHER AGAIN.
THE ORIGINAL COLOR OF SIN ( 1.)
THE DEVIL’S DISCIPLE ( 2.)
AT THE CROSSROADS ( 3.)
ROBERT JOHNSON GRAPHICALLY BLUE
THE DEVIL IS SINGING OUR SONG
SEARCHING FOR ROBERT JOHNSON (VANITY FAIR)
BLUES (MARY McCLAIN)
HOLY TRINITY OF ROCK
HOLY TRINITY OF JAZZ
MILES DAVIS (THE CREATOR)
JIMI HENDRIX (VOODOO’S CHILD)
PRINCE AMONG US (THE ARTIST)
UNDER A CRESCENT MOON
TEXAS SWING
THEY ONLY COME OUT AT NIGHT
A RENAISSANCE IN HARLEM
SUMMER IN THE CITY
ROLLIN’ ON THE RIVER
MOUNTAIN MUSIC (ROCK N ROLL TIMELINE)
CHICAGO BOUND
CROSSROADS
GUITAR LIST #1 (ELECTRIC EVOLUTION)
GUITAR LIST #2 (SYMPATHY FOR THE DEVIL)
ROCK N ROLL TIMELINE (NO ART)
ROCK N ROLL GUITAR HISTORY (YARDBIRDS)
A LIGHTER SHADE OF BLUE (THE YARDBIRDS)
ROCK N ROLL TIMELINE
DEVIL MUSIC
MUDDY WATERS (CHICAGO)
CHICAGO BOUND
ROLLING STONES (MUDDY WATERS)
GUITAR LIST #1 (ELECTRIC EVOLUTION)
GUITAR LIST #2 (SYMPATHY FOR THE DEVIL)
ROCK N ROLL TIMELINE (NO ART)
the color purple
POST APOCALYPTIC BLUES
Oblighetto
1991 — A Tribe Called Quest
The Low End Theory
((( Blue Jazz )))
1965 — “Born In Chicago”
Paul Butterfield Blues Band
((( >>> )))
Muddy Waters w/ Rolling Stones
@ The Checkerboard Lounge (Chicago)
November 22, 1981 — In the middle of their American Tour, The Rolling Stones arrived three days early and did a three-night stand at Chicago’s Rosemont Horizon Hotel, before the scheduled show that weekend.
Checkerboard Lounge
Long influenced by the Chicago blues, the band paid a visit to Buddy Guy’s club the Checkerboard Lounge to see the legendary bluesman perform. It didn’t take long before Mick Jagger, Keith Richards, Ronnie Wood and Ian Stewart were joining in on stage and later Buddy Guy and Lefty Dizz also played their part.
It was a unique occasion that was fortunately captured on camera.
Now, restored from the original footage and with sound mixed and mastered by Bob Clearmountain, this amazing blues night is being made available in an official release for the first time.
Otis Rush
In Chicago in the sixties, “the rules had been laid down” for young, white blues bands, Mike Bloomfield told Rolling Stone in 1968. “You had to be as good as Otis Rush.” That wasn’t easy. A Mississippi native who moved to the Windy City in the late Forties, Rush was a fearsome electric guitarist – with a grittytreble tone and lacerating attack, like a gunslinging cross of Muddy Waters and B.B. King – as well as a knockout songwriter. Along with guitarists like Magic Sam and Buddy Guy, Rush helped create the more modernized, R&B-influenced approach to Chicago blues that came to be known as the West Side Sound. Rush’s impact on later generations was enormous: His late-Fifties and early-Sixties singles were go-to covers for Led Zeppelin (“I Can’t Quit You Baby”), John Mayall (“All Your Love [I Miss Loving]”) and the J. Geils Band (“Homework”), while Stevie Ray Vaughan named his band after Rush’s lethal ’58 lament “Double Trouble.”
“I Can’t Quit You Baby” / “Double Trouble” / “Homework”
Little Feat
Lowell Thomas George — Singer, songwriter, multi-instrumentalist, and producer, who was the primary guitarist, vocalist, songwriter and founder/leader for the rock band Little Feat. (w/Frank Zappa) Bill Payne (piano/Hammond B3) Jon Lord (Deep Purple) Chuck Leavell.
