01. T-Bone Walker — Call Me When You Need Me
02. Sonny Terry & Brownie McGhee — Hootin' Blues
03. Memphis Slim — The Blues is Everywhere
04. Otis Rush — I Can't Quit You Baby
05. Lonnie Johnson — Another Night to Cry
06. Sippie Wallace — Women Be Wise
07. John Lee Hooker — Hobo Blues
08. Eddie Boyd — Five Long Years
09. Walter "Shakey" Horton
10. Junior Wells — Hoodoo Man Blues
11. Big Joe Williams — Mean Stepfather
12. Mississippi Fred McDowell — Going Down to the River
13. Willie Dixon — Weak Brain and Narrow Mind
14. Sonny Boy Williams — Nine Below Zero
15. Otis Spann — Spann's Blues
16. Muddy Waters — Got My Mojo Working
17. Finale: Muddy Waters, Sonny Boy Williamson, Memphis Slim, Willie Dixon — Bye
Bye Blues
Bonus:
18. Earl Hooker — Walking The Floor.Over You/Off The Hook
. Sonny Boy Williamson: Bye Bye Bird (1964) [1:22]
2. Sonny Boy Williamson: My Younger Days (1964) [3:24]
3. Sunnyland Slim: Come On Home Baby (1964) [4:05]
4. Willie Dixon: Nervous (1962) [3:57]
5. Lightnin' Hopkins: Mojo Hand (1964) [3:19]
6. Victoria Spivey: Black Snake Blues (1963) [4:42]
7. Memphis Slim: Everyday I Have the Blues (1963) [2:21]
8. T-Bone Walker: Don't Throw Your Love on Me So Strong (1962) [5:13]
9. Roosevelt Sykes: Tall Heavy Mama (1966) [2:42]
10. Willie Dixon: Sittin' and Cryin' the Blues (1963) [3:27]
11. Matt "Guitar" Murphy: Murphy's Boogie (1963) [4:17]
12. Sonny Terry & Brownie McGhee: Stranger Blues (1962) [4:11]
13. Howlin' Wolf: Shake for Me (1964) [3:42]
14. Howlin' Wolf: I'll Be Back Someday (1964) [4:41]
15. Howlin' Wolf: Love Me Darlin' (1964) [3:24]
16. Big Mama Thornton: Down Home Shakedown (1965) [8:37]
1. "Hound Dog" by Big Mama Thornton (1965) [2:34]
2. "Gulgport Boogie" by Roosevlet Sykes (1965) [2:08]
3. "Out of Sight" by Buddy Guy (1965) [2:23]
4. "Feel so Good" by Dr. Isaiah Ross (1965) [3:31]
5. "Flip, Flop and Fly" by Big Joe Turner (1966) [5:01]
6. "All Night Long" by Skip James" (1967) [2:48]
7. "Crow Jane" by Skip James (1967) [1:55]
8. "Got Sick and Tired" by Bukka White (1967) [4:55]
9. "Death Letter Blues" by Son House (1967) [5:55]
10. "Wild About You" by Hound Dog Taylor & Little Walter (1967) [2:38]
11. "Wand Dang Doodle" by Koko Taylor & Little Walter (1967) [2:56]
12. "Stranger Blues" (1967) [4:12]
13. "Burnt Child (Afraid of Fire" by Sonny Terry & Brownie McGhee (1967) [2:28]
14. "Gonna Move Across the River" by Sonny Terry & Brownie McGhee (1967) [2:51]
15. "The Blues Ain't Nothin' But a Woman" by Helen Humes (1962) [9:45]
Of the blues
that were most closely listened to in the early 60s
by young guitarists such as Eric Clapton, Keith Richards and Jimmy Page,
many were by Howlin' Wolf, and, of those, not a few featured a guitarist,
then still young himself, who could steal a scene even from so charismatic a
performer.
Hubert Sumlin (...) thus became one of the most revered of blues guitarists,
and in his later years younger musicians practically lined up
to play with him or have him guest on their recordings.
http://www.guardian.co.uk/music/2011/dec/05/hubert-sumlin
Her signature
hit, “Poetry Man,”
established her as a leading light of the singer-songwriter movement
and whose swooping vocal acrobatics transcended musical genres
The guitarist
and singer Little Smokey Smothers
(...) was an influential mentor on the Chicago blues scene in the 1960s.
He was best known for his involvement in bringing together the young musicians
who became the groundbreaking Paul Butterfield Blues Band.
Smothers first saw Butterfield playing harmonica
on the sidewalk in Chicago's Hyde Park neighbourhood in the early 60s.
Impressed by his prodigious ability,
he incorporated Butterfield into his South Side revue,
a regular event at the Blue Flame club on 39th Street.
The venue became a magnet for an enthusiastic coterie of young, white blues
players,
including the guitarists Mike Bloomfield and Elvin Bishop.
http://www.guardian.co.uk/music/2010/dec/13/little-smokey-smothers-obituary
boogie-woogie piano player
who worked in Muddy Waters’s last
great band
and was among the last surviving members of the first generation of Delta
bluesmen
For more than half a century Eddie Kirkland
played the blues,
and for much of that time he seemed to have known the blues firsthand.
As a child, he was poor in the Jim Crow South.
As an adult, he lived through the
deaths of several children,
including the murder of the niece he had reared as a daughter.
By his own account,
he also survived two shootings and spent time on a chain
gang.
A guitarist, singer, songwriter and harmonica player,
Mr. Kirkland performed
with some of the greatest names in blues and soul,
including John Lee Hooker and Otis Redding.
But he remained somewhat in the
shadow of the stars,
not as widely known as they and not remotely as well off.
(Both conditions, by
all accounts, were fine with him.)
He kept a rigorous touring schedule.
Until several years ago,
he spent more than
40 weeks a year on the road; more recently,
he toured two weeks out of every four.
His itinerant life long ago earned him
the nickname the Gypsy of the Blues.
http://www.nytimes.com/2011/03/07/arts/music/07kirkland.html
bluesman
whose stark, one-chord boogies
were some of the feistiest and most desolate songs of the 20th century
(...)
Mr. Hooker's music stayed close to its Mississippi Delta roots.
Usually playing an electric guitar with a menacing hint of distortion,
he picked barbed, syncopated guitar riffs that went on to become cornerstones of
rock.
Electrified for tough urban crowds, they harked back to the rural South and to
West Africa.
"I don't play a lot of fancy guitar," he once told an interviewer.
"The kind of guitar I want to play is mean, mean, mean licks."
http://nytimes.com/2001/06/22/obituaries/22HOOK.html
The Blues
anchors a multi-media celebration that raises awareness of the blues
and its contribution to American culture and music worldwide.
Under the guiding vision of Executive Producer Martin Scorsese,
seven directors will explore the blues
through their own personal styles and
perspectives.
The films in the series are motivated by a central theme:
how the blues evolved from parochial folk tunes to a universal language. http://www.pbs.org/theblues/
'A lean, loose-jointed Negro
had commenced plunking a
guitar beside me while I slept.
His clothes were rags, his feet peeped out of
his shoes.
His face had on it some of the sadness of the ages.
As he played, he
pressed a knife on the strings of the guitar
in a manner popularised by Hawaiian
guitarists
who used steel bars. The effect was unforgettable.
His song too,
struck me instantly.
"Goin' to where the Southern cross the dog."
The singer
repeated the line three times,
accompanying himself on the guitar
with the
weirdest music I had ever heard.'
