I Am The Blues Willie Dixon Rar
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Dixon was an important link between the blues and rock and roll, working with Chuck Berry and Bo Diddley in the late 1950s. In the 1960s, his songs were adapted by numerous rock artists. He received a Grammy Award and was inducted into the Blues Hall of Fame, the Rock and Roll Hall of Fame, and the Songwriters Hall of Fame.
Dixon was born in Vicksburg, Mississippi, on July 1, 1915. He was one of fourteen children. His mother, Daisy, often rhymed things she said, a habit her son imitated. At the age of seven, young Dixon became an admirer of a band that featured pianist Little Brother Montgomery. He sang his first song at Springfield Baptist Church at the age of four. Dixon was first introduced to blues when he served time on prison farms in Mississippi as a young teenager. Later in his teens, he learned to sing harmony from a local carpenter, Theo Phelps, who led a gospel quintet, the Union Jubilee Singers, in which Dixon sang bass; the group regularly performed on the Vicksburg radio station WQBC. He began adapting his poems into songs and even sold some to local music groups.
In 1939, Dixon was a founding member of the Five Breezes, with Caston, Joe Bell, Gene Gilmore and Willie Hawthorne. The group blended blues, jazz, and vocal harmonies, in the mode of the Ink Spots. Dixon's progress on the upright bass came to an abrupt halt with the advent of World War II, when he refused induction into military service as a conscientious objector and was imprisoned for ten months. He refused to go to war because he would not fight for a nation in which institutionalized racism and racist laws were prevalent. After the war, he formed a group named the Four Jumps of Jive. He then reunited with Caston, forming the Big Three Trio, which went on to record for Columbia Records.
Dixon is considered one of the key figures in the creation of Chicago blues. He worked with Chuck Berry, Muddy Waters, Howlin' Wolf, Otis Rush, Bo Diddley, Joe Louis Walker, Little Walter, Sonny Boy Williamson, Koko Taylor, Little Milton, Eddie Boyd, Jimmy Witherspoon, Lowell Fulson, Willie Mabon, Memphis Slim, Washboard Sam, Jimmy Rogers, Sam Lay and others.
In his later years, Dixon became a tireless ambassador for the blues and a vocal advocate for its practitioners, founding the Blues Heaven Foundation, which works to preserve the legacy of the blues and to secure copyrights and royalties for blues musicians who were exploited in the past. Speaking with the simple eloquence that was a hallmark of his songs, Dixon claimed, "The blues are the roots and the other musics are the fruits. It's better keeping the roots alive, because it means better fruits from now on. The blues are the roots of all American music. As long as American music survives, so will the blues."In 1977, unhappy with the small royalties paid by Chess's publishing company, Arc Music, Dixon and Muddy Waters sued Arc and, with the proceeds from the settlement, founded their own publishing company, Hoochie Coochie Music.
Dixon wrote or co-wrote over 500 songs. Several have become blues standards, including "Help Me", "Hoochie Coochie Man", "I Can't Quit You Baby", "I'm Ready", "Little Red Rooster", "My Babe", "You Shook Me", and "Spoonful". Other Dixon compositions that reached the record charts include "Evil" (Howlin' Wolf), "I Just Want to Make Love to You" (Muddy Waters), "Pretty Thing" (Bo Diddley), "The Seventh Son" (Willie Mabon), "Wang Dang Doodle" (Koko Taylor), and "You Can't Judge a Book by the Cover" (Bo Diddley). In the 1960s, his songs were adapted by numerous rock artists.
Like his older half-brother, Big Bill Morganfield shares an uncanny vocal similarity with his father, Muddy Waters. But while Mud Morganfield, four years his senior, has chosen to honor their dad and perpetuate his memory through his own performance, Bill is steadily forging his own path as this rock-solid CD demonstrates. It delivers a big dose of modern blues along with several re-fashioned tunes from the past.
#PanzadaBlusera IIClásico de clásicos entre los discos de blues, este trabajo de Willie Dixon consta de puras composiciones de el mismo que en un principio fueron interpretadas por artistas de Chess Records.Una seguidilla de temazos que se prenden fuego a la menor chispa para uno de los discos FUNDAMENTALES de la historia toda de la música negra.¡Dale que va!
The 17-track album pays spirited homage to the piano-pounding and bass-slapping bygone legends from a legend himself, all while serving as a rousing and riveting guide to the lively post-war blues scenes of Chicago and Paris.
Has there ever, in the history of 20th century music, ever been a more influential organisation than that of the American Folk Blues Festivals (AFBF)?Founded in 1962, this series has surely had a lasting effect on the European, American, and indeed interational, music scenes. Where would hip hop, jazz, funk, rock, heavy metal or world music be without the blues? Blues is the foundation of the popular music of the 20th century. Its intensity, rhythms and harmonies have affected many peoples and culture, up to and including the music of Africa, the alkand and Spanish flamenco. The blues captures the sentiments of the people in a nutshell. Of course, in the beginning it was just a feeling. But not just of the blues, but also of emptiness. The idea of tracking down and bringing surviving blues legends to Europe was that of jazz publi...
"The Sirens label, owned by Chicago-based piano aficionado Steven Dolins, has built an admirable catalog of recordings by acoustic blues and jazz pianists. Less recognized are the label's forays into gospel, including a historic 2004 teaming of Geraldine and Donald Gay with Jessy Dixon. This disc, the latest in the Siren's gospel series, showcases three gifted keyboardists, all Chicagoans: Rev. Dwayne Mason, Leonard Maddox, and Willie Jones.
Music has always been an important aspect of African American religious worship and in the originality sweepstakes the Gospel Keyboard Trio earns an instant edge. As far as I can figure, their chosen instrumentation is unique within their idiom incorporating as it does acoustic and electric pianos along with Hammond B-3 organ to assemble an arsenal well-stocked with keys and pedals. Not that the Chicago-based band is strictly idiom-bound. Ample borrowings from funk, blues and jazz season their music to create an album far more inclusive and diverse than the average gospel platter.
Whether your musical tastes tend toward the sanctified sound or not, you will enjoy the deft musicianship on Heavenly Keys and marvel at the not-so-subtle ways in which jazz, blues, and gospel blend together to demonstrate their common parentage.
Poor Man's Paradise [Columbia, 1973]Jack Lee's three songs include one about how California was too hectic for him, and the only tune better than that comes from Willie Dixon, a specialist in the blues music a band of more or less the same name once played. C+
Tracks like Keep on Growing havea funky-country r'n'b edge and sound like the Band on speed, and onNobody Knows You When You're Down And Out (a blues standard)Clapton confidently takes the vocal lead, as he does on Keys tothe Highway.
Blues Breakers with Eric Clapton(1966): Co-billing on an album of mostly blues standards whereClapton's fiery or soulful playing was produced loud and raw. See here for a full consideration.
John Lennon once said the blues was achair. Not a fancy chair, just the first chair. No, it doesn't make much sense - butyou know what he means. And by making this analogy he placed himself... > Read more
For nearly thirty years, Corey Harris has been at the forefront of blues interpretation, fusing jazz, reggae, gospel and Caribbean influences to traditional blues. Along the way he has recorded and played with artists like B.B. King, Taj Mahal, Buddy Guy, R.L. Burnside, Ali Farka Toure, and others, performing throughout North and South America, Europe, Africa, and Australasia.
In Chicago, Sam was at the vanguard of a new West Side blues movement. He remained a popular nightclub act during the 1960s and was poised to take his career to a new level, after recording two acclaimed albums for Delmark Records and turning in legendary festival performances in Ann Arbor, Michigan, and in Europe, but he died of a heart attack on December 1, 1969. His music has continued to influence generations of blues, R&B, and rock musicians.
Magic Sam, like another Sam who lived in Chicago, Sam Cooke, was among the greatest vocalists of all time. Those who appreciate intense, passionate blues/soul singing will love this album. Although Magic Sam was also a genius guitarist, guitar aficionados would do better to experience any of the other Magic Sam Delmark releases.
Cream was a 1960s three-piece British band consisting of bassist/lead vocalist Jack Bruce, guitarist/vocalist Eric Clapton, and drummer Ginger Baker, having formed in London, England. They were known as one of the first great power trios and supergroups of rock. Their sound was characterised by a hybrid of blues, hard rock and psychedelic rock. Cream combined Clapton's blues guitar playing with the powerful and airy voice and intense bass lines of Jack Bruce and the manic drumming of Ginger Baker. They have sold over 35 million albums worldwide. Wheels of Fire was the world's first platinum-selling double album.Baker, Bruce, and Clapton named their band "Cream" because they thought themselves as the "cream of the crop" of their respective instruments.
Cream's music included songs based on traditional blues such as "Crossroads" and "Spoonful", and modern blues such as "Born Under a Bad Sign" and "Outside Woman Blues" as well as more eccentric songs such as "Strange Brew", "Tales of Brave Ulysses" and "Toad". Cream's biggest hits were "I Feel Free" (UK, #11), "Sunshine of Your Love" (US, #5), "White Room" (US, #6), "Crossroads" (US, #28), and "Badge" (UK, #18). 2b1af7f3a8