WATERS MUDDY, DEEP BLUES. Contiene: baby, please don't go -blow wind blow -the blues had a baby and they named it rock and roll -champagne and reefer -close to you -deep down in Florida -evil -good news -got my mojo working -honey bee -I can't be satisfield -I feel like going home -I just want to make love to you -I want to be loved -I'm Ready -I'm your hoochie coochie man -long distance call -Luisiana Blues -mannish boy -my home is on the Delta -my love strikes like lightning -rollin' and tumblin' -rollin' stone -sad, sad day -the same thing -screamin' and cryin' -she's nineteen years old -still a fool -streamline woman -you can't lose what you ain't never had -you schook me. TABLATURE
MUDDY WATERS - DEEP BLUES
Series: Guitar Recorded Version TAB
Artist: Muddy Waters
30 tunes: Evil • Got My Mojo Working • Honey Bee • I'm Your Hoochie Coochie Man • more.
Produced in Cooperation with the estate of McKINLEY MORGANFIELD
Inventory #HL 00694789
ISBN: 9780793509553
UPC: 073999947892
Width: 9.0"
Length: 12.0"
184 pages
Through 1953, the small group (sans piano, and sometimes sans bass) persisted
with classics like "Long Distance Call" and "Still A Fool." September of that year
saw the release of "Blow Wind Blow" with Muddy: guitar and vocals, Jimmy Rogers:
guitar, Otis Spann: piano, Walter "Shakey" Horton: harp, and Elgin Evans: drums.
A new element of swinging, rhythmic drive had been added to the down-home feel
of the original group. Then in 1954, "I'm Your Hoochie Coochie Man" was sprung
on an unsuspecting music world (with the magic Little Walter back), and a new
direction in blues was heralded. Master blues composer Willie Dixon wrote the opus
and played bass, freeing Rogers to play rhythm and fill guitar. The first (and
perhaps best) classic Muddy Waters band had arrived, and the music rocked with the
energy of big-city dynamism and real-life country soul.
A hand injury took the guitar out of Muddy's hands in the late fifties and early
sixties. The recordings continued with two guitars, however as a first-class stable of
guitarists was established to fill the positions. Besides Jimmy Rogers, there was Pat
Hare, Luther Tucker, and Andrew Stephens to choose from. Earl Hooker, and
Buddy Guy also left their highly individual stamps on "modern" Chicago blues
standards like "You Shook Me" and "The Same Thing."
Around the mid sixties, Muddy's axe was appearing again in the clubs and in the
studio. He was playing better than ever, as the acoustic sides "Good Morning Little
Schoolgirl" and "My Home In The Delta" and the fierce electric slide of "You Can't
Lose What You Ain't Never Had" attest.
The late sixties saw Muddy riding the crest of the blues revival on stage, but his
recorded output was checkered. Electric Mud and After The Rain were low-water
marks, with their ridiculous sounding wah-wahs and fuzztones. Fathers And Sons,
though, with the young turks Michael Bloomfield, Paul Butterfield, and Duck Dunn,
was a sweetly satisfying, authentic survey of Muddy's choice material. Such a loving,
empathetic approach to recording Muddy would not occur again until Johnny
Winters' successful collaborations from 1977 through 1981 for Blue Sky Records.
Plans were taking shape for more recordings when Muddy died on April 30, 1983.
Muddy Waters' influence on electric guitar music is rivaled only by that of B.B.
King. Though never a virtuoso soloist, he had an intuitive sense of the power and
expressive possibilities of amplifier distortion. Those Aristocrat and early Chess sides
glowed with the thumping, growling bass and fat, sustaining treble licks afforded by
over-driven vacuum tubes. He clearly said it with his sound as well as his choice of
notes. Muddy's guitar's voice was big and bad enough to go toe-to-toe with any
guitar picker who played with him.
Muddy's approach to equipment was as direct and simple as his music. After a
string of hollow-body Stellas, Harmonys, and Gretches, he was seen with a Les Paul
Standard with single-coil pickups. When he got his red Tele in the late fifties, it
became his main instrument for over 30 years. Strung with knuckle-busting
.012-.056 gauge strings, he paired it with a pre-CBS Fender Super Reverb Amp (all
knobs on "9") and the little metal pinky slide made for him by a friend in the forties.
Muddy didn't listen to guitarists other than the men from his generation. He
most certainly was not impressed by fast, flashy players, though he respected those
like Johnny Winter and Bob Margolin who could play his style. \Vhat he looked for
in any blues musician was the ability to play "snap rhythm" - short, fast
embellishments around the chord changes, like Robert Johnson.
When asked, in his later years, if he ever felt the urge to practice, he said, "No,
I've been playing the blues for 50 years; it's in my hands. I don't need to practice it."
Special thanks to Bob Margolin, who played with Muddy for 10 years beforeforming The
Legendary Blues Band and leading his own group, for his invaluable assistance.
Dave Rubin
31 tunes
184 pages
INTRODUCTION MUDDY WATERS DEEP BLUES
DISCOGRAPHY
MUDDY WATERS GUITAR STYLE:
OPEN G TUNING, first position E blues, the backup guitarist
Table of contents :
Baby, Please Don't Go - 1953
Blow, Wind, Blow - 1953
The Blues Had A Baby And They Named It Rock And Roll - 1977
Champagne And Reefer - 1981
Close To You (I Wanna Get) - 1959
Deep Down In Florida - 1977
Evil - 1957
Good News - 1957
Got My MoJo Working - 1956
Honey Bee - 1950
I Can't Be Satisfied - 1948
I Feel Like Going Home - 1948
I Just Want To Make Love To You - 1954
I Want To Be Loved - 1977
I'm Ready - 1978
I'm Your Hoochie Coochie Man -
Long Distance Call - 1951
Louisiana Blues - 1950
Mannish Boy - 1977
My Home Is On The Delta - 1963
My Love Strikes Like Lightning - 1963
Rollin' Stone (Catfish Blues) - 1950
Rollin' And Tumblin' - 1944
Sad, Sad Day - 1981
The Same Thing - 1964
Screamin' And Cryin' - 1977
She's Nineteen Years Old - 1979
Still A Fool - 1950
Streamline Woman - 1948
You Can't Lose What You Ain't Never Had - 1964
You Shook Me - 1962
Italiano
English
