![Muddy Waters [Poster]](http://img176.imageshack.us/img176/476/muddywatersposter3ca.jpg)
As the basic equation goes, blues + country, and a shot of rhythm and blues = rock 'n' roll. Ever since the very first days, rock has mined the work of blues masters from the first half of the century, sometimes giving them credit, sometimes not. The debt rock owes to blues is enormous, and many of the bluesmen (and women) who created these sounds had died before they got their due. Here's a random sampling of blues originals that have become popularized through their rock cover versions. All of these tracks are worth hearing; not just because the originals are often much greater than the cover versions, but also because hearing a favorite band's choice in covers often illuminates the band, as well. A list like this could run into the thousands; I'll cut it at twenty with a promise of part two when time permits.
1. Muddy Waters: I Just Want To Make Love To You
Of all blues artists, Muddy Waters probably has had the most influence on rock. Perhaps the greatest of all the post-war Chicago Blues musicians, Waters (McKinley Morganfield) is the author of many oft-covered tunes familiar to rock listeners; "Trouble No More" and "Rollin' And Tumblin'" are a couple of originals. He was also an inspired covers artist; "I Just Want To Make Love To You" is a Willie Dixon original written specifically for Waters. Born in Mississippi, steeped in delta blues tradition, he migrated to Chicago in 1943; his first recording was in 1947. His greatest era was in the 1950's at Chess when he cut classic after classic; he experienced a vigorous "re-discovery" in the 1960's. "I Just Want To Make Love To You" was from 1956; Waters' version is slow, menacing, cocky, fierce, intense. It also has one of the most bone chilling harmonica solos in history. Rock artists covering this tune include The Rolling Stones, Shadows of Knight, and Foghat. Etta James also has a classic version. Waters died in 1983.
2. Howlin' Wolf: Smokestack Lightning
Howlin' Wolf was another Mississippian, born Chester Arthur Burnett in 1910. A big man, at 6 foot 3 and 300 lbs., he cut an imposing figure, and his voice was deep and resonant. His musical career didn't get started until the late 1930's, and it wasn't until he relocated to West Memphis, AR, in 1948 that he really began leaving a mark, after putting together a band. He came to the attention of Sam Phillips in 1951, who helped him get a deal with Chicago's Chess label; Wolf then relocated to Chicago where he recorded his best work in the 1950's. Already in his 40's, Wolf brought some of the old-style pre-war Delta Blues influence to the electric music he recorded in Chicago. His greatest moment among many was "Smokestack Lightning" in 1956, a disarmingly simple-sounding bent riff with Wolf growling the vocals and hitting high falsettos on his crying chorus, all with a jaunty swagger. Vocalists from Captain Beefheart to Tom Waits have adopted elements of his vocal style; whenever you hear the term "growl" attributed to a singer, it owes some props here. "Smokestack Lightning" has been frequently covered by many bands, including the Yardbirds and Soundgarden. Howlin' Wolf died in 1976.
Article comments
1 - Jones Violet
Perfect for a Sunday morning. Great stuff here, uao.
2 - uao
Thank you Jones Violet. I put a lot of effort into this one; I appreciate the kind word. :-)
3 - Phillip Winn
Wow, there's so much here it is hard to know where to even begin!
Blind Lemon Jefferson is worshipped around these parts, with a historical marker in downtown Dallas and a club (Blind Lemon) named after him.
Leadbelly is another amazing artist. I didn't know about his personal history, but I love his "King of the 12-string" album.
It's also nice to see Big Mama Thornton given some recognition here; she deserved more acclaim than she ever got.
You've got a couple of albums on here I don't think I've ever heard. Thanks for the recommendations; I'm going to spend a lot of time going through this.
4 - Taloran
An excellent read. You've covered some daunting ground here, and as you said, have barely scratched the surface. I look forward to future installments.
5 - hayduke
howlin wolf was named chester burnett, not arthur.... wasn't arthur the prez? Shoot wolf should of been president...
also willie dixon wrote songs for wolf and muddy. i thinks he gave them to the first one interested, not necessarily for one person in particular. He was an astute man who made alot of money in publishing, and holding a track for one person in particular, seems unlikely.
great records all that you cite. well done....
6 - uao
Thanks much guys. You're right hayduke, Chester Arthur was a president; my mind sometimes confuses names like that; good catch.
Now that you mention it, Dixon probably didn't write that tune "specifically" for Waters; like you said, it's more likely it was in his bagforthe first comer.
I do think that Dixon may have written stuff specifically for Koko Taylor, whose career he shepherded, but I may be wrong.
Thanks everyone for the thoughts and comments. I had a lot of fun writing this one, and even more fun listening to it along the way.
7 - TJ
Great article!
One question, though: I thought Mose Alison wrote "Parchman Farm?" Is this a different song entirely, or did Mose just "borrow" it?
8 - uao
Hmmm. Good question, TJ. I double checked it; "Parchman Farm Blues" is credited to Bukka White, although Mose Allison is listed as composer for "Parchman Farm" I haven't heard Allison's version, so I'm not sure if it is the same song. White's version would have predated Allison's by at least a decade, so White seems to indeed have written his version.
On Howlin' Wolf's name; turns out, I wasn't completely off. His full name was Chester Arthur Burnett, and he was named after Chester Arthur, the President.
9 - Joanie
Excellent dip into rock's historic link to the blues.
I'd love to see a part two!