Slide guitar is a technique for playing the guitar that is often used in blues music. It involves playing a guitar while holding a hard object against the strings, creating the opportunity for glissando effects and deep vibratos that reflect characteristics of the human singing voice. It typically involves playing the guitar in the traditional position with the use of a slide fitted on one of the guitarist's fingers. The slide may be a metal or glass tube, such as the neck of a bottle, giving rise to the term bottleneck guitar to describe this type of playing. The strings are typically plucked while the slide is moved over the strings to change the pitch. The guitar may be placed on the player's lap and played with a hand-held bar.
Electric blues is blues music distinguished by the use of electric amplification for musical instruments. The guitar was the first instrument to be popularly amplified and used by early pioneers T-Bone Walker in the late 1930s and John Lee Hooker and Muddy Waters in the 1940s. Their styles developed into West Coast blues, Detroit blues, and post-World War II Chicago blues, which differed from earlier, predominantly acoustic-style blues. By the early 1950s, Little Walter was a featured soloist on blues harmonica using a small hand-held microphone fed into a guitar amplifier. Although it took a little longer, the electric bass guitar gradually replaced the stand-up bass by the early 1960s. Electric organs and especially keyboards later became widely used in electric blues.
"Cross Road Blues" is a song written by the American blues artist Robert Johnson. He performed it solo 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 sold his soul to the Devil in exchange for musical genius. This is based largely on folklore of the American South that identifies a crossroads as the site where Faustian bargains can be made, as the lyrics do not contain any references to Satan.
"Spoonful" is a blues song written by Willie Dixon and first recorded in 1960 by Howlin' Wolf. Called "a stark and haunting work", it is one of Dixon's best known and most interpreted songs. Etta James and Harvey Fuqua had a pop and R&B record chart hit with their duet cover of "Spoonful" in 1961, and it was popularized in the late 1960s by the British rock group Cream.
"Baby, Please Don't Go" is a traditional blues song that was popularized by Delta blues musician Big Joe Williams in 1935. Many cover versions followed, leading to its description as "one of the most played, arranged, and rearranged pieces in blues history" by French music historian Gérard Herzhaft.
"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.
"Rock Me Baby" is a blues standard that has become one of the most recorded blues songs of all time. It originated as "Rockin' and Rollin'", a 1951 song by Lil' Son Jackson, itself inspired by earlier blues. Renditions by Muddy Waters and B.B. King made the song well-known. When B.B. King's recording of "Rock Me Baby" was released in 1964, it became his first single to reach the Top 40 in Billboard magazine's Hot 100 chart.
"Five Long Years" is a song written and recorded by blues vocalist and pianist Eddie Boyd in 1952. Called one of the "few postwar blues standards [that has] retained universal appeal", Boyd's "Five Long Years" reached number one on the Billboard R&B chart. Numerous blues and other artists have recorded interpretations of the song.
"One Way Out" is a blues song that was recorded in the early 1960s by both Sonny Boy Williamson II and Elmore James. A reworking of the song by G. L. Crockett, titled "It's a Man Down Here", appeared on the Billboard record charts in 1965. In 1971, the Allman Brothers Band recorded an updated live version of the song, which was included on their popular Eat a Peach album (1972).
"Trouble in Mind" is a vaudeville blues-style song written by jazz pianist Richard M. Jones. Singer Thelma La Vizzo with Jones on piano first recorded it in 1924 and in 1926, Bertha "Chippie" Hill popularized the tune with her recording with Jones and trumpeter Louis Armstrong. The song became an early blues standard, with numerous renditions by a variety of musicians in a variety of styles.
"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.
"Driftin' Blues" or "Drifting Blues" is a blues standard, recorded by Johnny Moore's Three Blazers in 1945. The song is a slow blues and features Charles Brown's smooth, soulful vocals and piano. It was one of the biggest blues hits of the 1940s and "helped define the burgeoning postwar West Coast blues style". "Driftin' Blues" has been interpreted and recorded by numerous artists in various styles. The Blues Foundation Hall of Fame and the Rock and Roll Hall of Fame have acknowledged the influence and lasting popularity of the song.
"Forty-Four" or "44 Blues" is a blues standard whose origins have been traced back to early 1920s Louisiana. However, it was Roosevelt Sykes, who provided the lyrics and first recorded it in 1929, that helped popularize the song. "Forty-Four," through numerous adaptations and recordings, remains in the blues lexicon eighty years later.
"Every Day I Have the Blues" is a blues song that has been performed in a variety of styles. An early version of the song is attributed to Pinetop Sparks and his brother Milton. It was first performed in the taverns of St. Louis by the Sparks brothers and was recorded July 28, 1935 by Pinetop with Henry Townsend on guitar. The song is a twelve-bar blues that features Pinetop's piano and falsetto vocal. The opening verse includes the line "Every day, every day I have the blues".
"Baby What You Want Me to Do" is a blues song that was written and recorded by Jimmy Reed in 1959. It was a record chart hit for Reed and, as with several of his songs, it has appeal across popular music genres, with numerous recordings by a variety of musical artists.
"Crosscut Saw", or "Cross Cut Saw Blues" as it was first called, is a hokum-style song "that must have belonged to the general repertoire of the Delta blues". Mississippi bluesman Tommy McClennan's recording of the song was released in 1941 and has since been interpreted by many blues artists. "Crosscut Saw" became an early R&B chart hit for Albert King, "who made it one of the necessary pieces of modern blues".
"Too Many Drivers" is a blues song recorded by Big Bill Broonzy in 1939. It is performed in an acoustic ensemble-style of early Chicago blues and the lyrics use double entendre often found in hokum-style blues songs. The song has been identified as one of Broonzy's more popular tunes and has been recorded over the years by a variety of artists, who often who use alternate titles, such as "Little Car Blues", "Little Side Car", "Automobile Blues", and "Let Me Ride Your Little Automobile".
