Electric blues refers to any type of 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 or blues harp 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.
Junior Wells was an American Chicago blues vocalist, harmonica player, and recording artist. He was one of the pioneers of the amplified blues harp-style associated with Chicago. Wells is best known for his signature song "Messin' with the Kid" and his 1965 album Hoodoo Man Blues, described by the critic Bill Dahl as "one of the truly classic blues albums of the 1960s".
"Mystery Train" is a song written and recorded by American blues musician Junior Parker in 1953. Originally performed in the style of a Memphis blues or rhythm and blues tune, it was inspired by earlier songs and later became a popular rockabilly song, as first covered by Elvis Presley, then numerous others.
James Henry Cotton was an American blues harmonica player, singer and songwriter, who performed and recorded with many of the great blues artists of his time and with his own band. He played drums early in his career but is famous for his harmonica playing.
"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.
"I Can't Quit You Baby" is a blues standard written by Willie Dixon and first recorded by Chicago blues artist Otis Rush in 1956. It was Rush's first recording and became a record chart hit. The song, a slow twelve-bar blues, has been recorded by various artists, including Led Zeppelin, who included it on their debut album.
"Baby, Please Don't Go" is a blues song that has been called "one of the most played, arranged, and rearranged pieces in blues history" by French music historian Gérard Herzhaft. Delta blues musician Big Joe Williams popularized the song with several versions beginning in 1935.
"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.
"My Babe" is a Chicago blues song and a blues standard written by Willie Dixon for Little Walter. Released in 1955 on Checker Records, a subsidiary of Chess Records, the song was the only Dixon composition ever to become a number one R&B single and it was one of the biggest hits of either of their careers.
Lafayette Leake was a blues and jazz pianist, organist, vocalist and composer who played for Chess Records as a session musician, and as a member of the Big Three Trio, during the formative years of Chicago blues. He played piano on many of Chuck Berry's recordings.
"Trouble in Mind" is a vaudeville blues-style song written by jazz pianist Richard M. Jones. It became an early blues standard, with numerous renditions by a variety of musicians. Although singer Thelma La Vizzo with Jones on piano first recorded the song in 1924, Bertha "Chippie" Hill popularized the song with her 1926 recording with Jones and trumpeter Louis Armstrong. In many versions, new lyrics are added. However, most usually include the well-known verse:
"Crawling King Snake" is a blues song that has been recorded by numerous blues and other artists. It is believed to have originated as a Delta blues in the 1920s and be related to earlier songs, such as "Black Snake Blues" by Victoria Spivey and "Black Snake Moan" by Blind Lemon Jefferson.
"Key to the Highway" is a blues standard that has been performed and recorded by several blues and other artists. Blues pianist Charlie Segar first recorded the song in 1940. Jazz Gillum and Big Bill Broonzy followed with recordings in 1940 and 1941, using an arrangement that has become the standard.
"Help Me" is a blues standard first recorded by Sonny Boy Williamson II in 1963. The song, a mid-tempo twelve-bar blues, is credited to Williamson, Willie Dixon, and Ralph Bass and is based on the 1962 instrumental hit "Green Onions" by Booker T. and the MGs. "Help Me" became a hit in 1963 and reached number 24 in the Billboard R&B chart.
"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."
"Crosscut Saw", or "Cross Cut Saw Blues" as it was first called, is a dirty blues song "that must have belonged to the general repertoire of the Delta blues". The song was first released in 1941 by Mississippi bluesman Tommy McClennan 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".
"That's All Right"or "That's Alright" is a blues song adapted by Chicago blues singer and guitarist Jimmy Rogers. He recorded it in 1950 with Little Walter on harmonica. Although based on earlier blues songs, music writer John Collis calls Rogers' rendition "one of the most tuneful and instantly memorable of all variations on the basic blues format". The song became a blues standard and has been recorded by numerous blues and other artists.
"Look on Yonder Wall", or "Get Ready to Meet Your Man" as it was first named, is a blues song first recorded in 1945 by James "Beale Street" Clark. Clark, also known as "Memphis Jimmy", was a blues pianist from Memphis, Tennessee. During the 1940s, he appeared on recordings by Jazz Gillum, Red Nelson, and an early Muddy Waters session, as well as several singles in his own name.
"You Don't Love Me" is a rhythm and blues-influenced blues song recorded by American musician Willie Cobbs in 1960. It is Cobbs' best-known song and features a guitar figure and melody that has appealed to musicians in several genres. Although it became a regional hit when it was released in Memphis, Tennessee, copyright issues prevented its further promotion and national chart success. Derived from an earlier song by Bo Diddley, it has inspired many popular adaptations, including "Shimmy Shimmy Walk" by the Megatons and "You Don't Love Me " by Jamaican singer Dawn Penn.
