| "How Long, How Long Blues" | |
|---|---|
 | |
| Single by Leroy Carr | |
| B-side | "My Own Lonesome Blues" |
| Released | 1928 |
| Recorded | Indianapolis, Indiana, June 19, 1928 |
| Genre | Blues |
| Length | 3:03 |
| Label | Vocalion |
| Songwriter(s) | Leroy Carr |
"How Long, How Long Blues" (also known as "How Long Blues" or "How Long How Long") is a blues song recorded by the American blues duo Leroy Carr and Scrapper Blackwell in 1928. It became an early blues standard and its melody inspired many later songs. [1]
"How Long, How Long Blues" is based on "How Long Daddy", recorded in 1925 by Ida Cox with Papa Charlie Jackson. [2] On June 19, 1928, Leroy Carr, who sang and played piano, and guitarist Scrapper Blackwell recorded the song in Indianapolis, Indiana, for Vocalion Records, shortly after they began performing together. [3] It is a moderately slow-tempo blues with an eight-bar structure. [4] Carr is credited with the lyrics and music for the song, [4] which uses a departed train as a metaphor for a lover who has left:
Heard the whistle blowin', couldn't see no train
Way down in my heart, I had an achin' pain
How long, how long, baby how long
Carr's and Blackwell's songs reflected a more urban and sophisticated blues, in contrast to the music of rural bluesmen of the time. [5] Carr's blues were "expressive and evocative", [6] although his vocals have also been described as emotionally detached, high-pitched and smooth, with clear diction. [7]
"How Long, How Long Blues" was Carr and Blackwell's biggest hit. [5] They subsequently recorded six more versions of the song (two of them, unissued at the time), as "How Long, How Long Blues, Part 2", "Part 3", "How Long Has That Evening Train Been Gone", "The New How Long, How Long Blues", etc. There are considerable variations in the lyrics, but most versions begin with the lyric "How long, how long, has that evening train been gone?"
"How Long, How Long Blues" became an early blues standard and "its lilting melody inspired hundreds of later compositions", [1] including the Mississippi Sheiks' "Sitting on Top of the World" and Robert Johnson's "Come On in My Kitchen". [8] Although his later style would not suggest it, Muddy Waters recalled that it was the first song he learned to play "off the Leroy Carr record". [1]
In 1988, Carr's "How Long, How Long Blues" was inducted into the Blues Hall of Fame in the category "Classics of Blues Recordings – Singles or Album Tracks". [8] Blues historian Jim O'Neal commented in the induction statement, "'How Long, How Long Blues' was a massive hit in the prewar blues era, a song that every blues singer and piano player had to know, and one that has continued to inspire dozens of cover versions." [8] In 2012, the song received a Grammy Hall of Fame Award, which "honor[s] recordings of lasting qualitative or historical significance". [9]
Robert Leroy Johnson was an American blues musician and songwriter. His landmark recordings in 1936 and 1937 display a combination of singing, guitar skills, and songwriting talent that has influenced later generations of musicians. Although his recording career spanned only seven months, he is recognized as a master of the blues, particularly the Delta blues style, and one of the most influential musicians of the 20th century. The Rock and Roll Hall of Fame describes him as maybe "the first ever rock star".
"Love in Vain" is a blues song written by American musician Robert Johnson. Johnson's performance – vocal accompanied by his finger-style acoustic guitar playing – has been described as "devastatingly bleak". He recorded the song in 1937 during his last recording session and in 1939 it was issued as the last of his original 78 rpm records.
"Kind Hearted Woman Blues" is a blues song recorded on November 23, 1936, in San Antonio, Texas, by the American Delta bluesman Robert Johnson. The song was originally released on 78 rpm format as Vocalion 03416 and ARC 7-03-56. Johnson performed the song in the key of A, and recorded two takes, the first of which contains his only recorded guitar solo. Both takes were used for different pressings of both the Vocalion issue and the ARC issue. The first take (SA-2580-1) can be found on many compilation albums, including the first one, King of the Delta Blues Singers (1961). Take 2 (SA-2580-2) can be heard on the later compilation Robert Johnson, The Complete Recordings (1990).
"Boogie Chillen'" or "Boogie Chillun" is a blues song first recorded by John Lee Hooker in 1948. It is a solo performance featuring Hooker's vocal, electric guitar, and rhythmic foot stomps. The lyrics are partly autobiographical and alternate between spoken and sung verses. The song was his debut record release and in 1949, it became the first "down-home" electric blues song to reach number one in the R&B records chart.
Admirl Amos Easton, better known by the stage name Bumble Bee Slim, was an American Piedmont blues singer and guitarist.
Leroy Carr was an American blues singer, songwriter and pianist who developed a laid-back, crooning technique and whose popularity and style influenced such artists as Nat King Cole and Ray Charles. Music historian Elijah Wald has called him "the most influential male blues singer and songwriter of the first half of the 20th century". He first became famous for "How Long, How Long Blues", his debut recording released by Vocalion Records in 1928.
West Side Soul is the debut studio album by Chicago blues musician Magic Sam. Released by Delmark Records in 1968, it is often cited as one of the key modern electric blues albums. The album includes a re-recording of Magic Sam's first Cobra Records single, "All Your Love" (1957), and an updated "Sweet Home Chicago", which became a popular blues anthem.
Francis Hillman "Scrapper" Blackwell was an American blues guitarist and singer, best known as half of the guitar-piano duo he formed with Leroy Carr in the late 1920s and early 1930s. He was an acoustic single-note picker in the Piedmont blues style.
"Cross Road Blues" is a song written by the American blues artist Robert Johnson. He performed it as a solo piece with his vocal and acoustic slide guitar in the Delta blues-style. The song has become part of the Robert Johnson mythology as referring to the place where he supposedly sold his soul to the Devil in exchange for his musical talent. This is based largely on folklore of the American South that identifies a crossroads as the site where such pacts are made, although the lyrics do not contain any references to Satan or a Faustian bargain.
"Sweet Home Chicago" is a blues standard first recorded by Robert Johnson in 1936. Although he is often credited as the songwriter, several songs have been identified as precedents. The song has become a popular anthem for the city of Chicago despite ambiguity in Johnson's original lyrics. Numerous artists have interpreted the song in a variety of styles.
"Smokestack Lightning" is a blues song recorded by Howlin' Wolf in 1956. It became one of his most popular and influential songs. It is based on earlier blues songs, and numerous artists later interpreted it.
"Rollin' Stone" is a blues song recorded by Muddy Waters in 1950. It is his interpretation of "Catfish Blues", a Delta blues that dates back to 1920s Mississippi. "Still a Fool", recorded by Muddy Waters a year later using the same arrangement and melody, reached number nine on the Billboard R&B chart. "Rollin' Stone" has been recorded by a variety of artists.
"Rollin' and Tumblin'" is a blues standard first recorded by American singer-guitarist Hambone Willie Newbern in 1929. Called a "great Delta blues classic", it has been interpreted by hundreds of Delta and Chicago blues artists, including well-known recordings by Muddy Waters. Rock musicians usually follow Waters' versions, with the 1960s group Cream's rendition being perhaps the best known.
"Dust My Broom" is a blues song originally recorded as "I Believe I'll Dust My Broom" by American blues artist Robert Johnson in 1936. It is a solo performance in the Delta blues-style with Johnson's vocal accompanied by his acoustic guitar. As with many of his songs, it is based on earlier blues songs, the earliest of which has been identified as "I Believe I'll Make a Change", recorded by the Sparks brothers as "Pinetop and Lindberg" in 1932. Johnson's guitar work features an early use of a boogie rhythm pattern, which is seen as a major innovation, as well as a repeating triplets figure.
"Come On in My Kitchen" is a blues song by Robert Johnson. Music writer Elijah Wald has described it as "a hypnotic lament" and "his first unquestionable masterpiece". A sometime traveling companion and fellow musician, Johnny Shines, recalled that Johnson's performance of the song could be overpowering:
One time in St. Louis we were playing one of the songs that Robert would like to play with someone once in a great while, "Come On In My Kitchen". He was playing very slow and passionately, and when we had quit, I noticed no one was saying anything. Then I realised they were crying – both women and men.
"Hide Away" or "Hideaway" is a blues guitar instrumental that has become "a standard for countless blues and rock musicians performing today". First recorded in 1960 by Freddie King, the song became a hit on the record charts. It has been interpreted and recorded by numerous blues and other musicians and has been recognized by the Rock and Roll Hall of Fame and the Grammy Hall of Fame.
"Hellhound on My Trail" is a blues song recorded by Mississippi Delta bluesman Robert Johnson in 1937. It was inspired by earlier blues songs and blues historian Ted Gioia describes it as one of Johnson's "best known and most admired performances—many would say it is his greatest".
"Worried Life Blues" is a blues standard and one of the most recorded blues songs of all time. Originally recorded by Big Maceo Merriweather in 1941, "Worried Life Blues" was an early blues hit and Maceo's most recognized song. An earlier song inspired it and several artists have had record chart successes with their interpretations of the song.
"The Sky Is Crying" is a blues standard written and initially recorded by Elmore James in 1959. Called "one of his most durable compositions", "The Sky Is Crying" became a R&B record chart hit and has been interpreted and recorded by numerous artists.
"It Hurts Me Too" is a blues standard that is "one of the most interpreted blues [songs]". First recorded in 1940 by Tampa Red, the song is a mid-tempo eight-bar blues that features slide guitar. It borrows from earlier blues songs and has been recorded by many artists.
