Huddie William "Lead Belly" Ledbetter
Huddie William Ledbetter (January 23, 1888 - December 6, 1949) was an
American folk and blues musician, notable for his clear and forceful
singing, his virtuosity on the twelve string guitar, and the rich
songbook of folk standards he introduced. He is best known as Leadbelly
or Lead Belly (see below).
Although his most commonly-played instrument was the twelve string, he
could also play the piano, mandolin, harmonica, violin, concertina, and
accordion. In some of his recordings, such as in one of his versions of
the folk ballad "John Hardy", he performs on the accordion instead of
the guitar.
The topics of Lead Belly's music covered a wide range of subjects,
including gospel songs, blues songs about women, liquor, racism, folk
songs about cowboys, prison, work, sailors, cattle herding, dancing,
and songs concerning the newsmakers of the day, such as President
Franklin Roosevelt, Adolf Hitler, the Scottsboro Boys, and
multi-millionaire Howard Hughes:
Albert King
Albert King
Albert King played a huge role in bringing
Memphis-style Soul into the Blues and popularizing the genre among both
Blacks and Whites. His relaxed vocal style, coupled with his intense
string bending on the guitar, was an intoxicating mixture that would go
far in bringing the Blues to a much wider audience. His guitar style on
songs such as his earlier "Don't Throw Your Love On Me So Strong" and
later hits on Stax - "Born Under A Bad Sign" and "Cross Cut Saw" -
would find its way into the playing of Jimi Hendrix, Eric Clapton, Mike
Bloomfield, and especially Stevie Ray Vaughan, among many others.
Slim Harpo
(1924-1970)
James Moore,
better known as Slim Harpo, was one of the most popular Blues artists
to cross over into the Rock world. His songs "I'm A King Bee," "Baby,
Scratch My Back," "Tip On In," and "Tee-Ni-Nee-Ni-Nu" defined the Swamp
Blues based out of Baton Rouge, Louisiana.
Jimmy Reed
(1925-1976)
Jimmy Reed
had more success in crossing over to the Pop charts than any other
Blues musician. His lazy, relaxed songs with their infectious rhythm
seemed to hit a nerve in the record-buying public during the late '50s
and early '60s. His songs landed on the Pop Top 100 chart 11 times.
"Baby, What You Want Me To Do," "Bright Lights, Big City," "Honest I
Do," and "Big Boss Man" are just a few of his sides that have become
standards of the genre.
Otis Spawn
(1930-1970)
Quite simply,
Otis Spann is the man that every Blues piano player that has come along
since looks to as the standard to live up to. Playing a huge role in
helping Muddy Waters define the small Blues combo sound of Chicago in
the '50s, Spann's playing was the epitome of how to not only back a
singer, but how to add much depth, interest, rhythm and melody to the
proceedings. A much-underrated singer in his own right, Otis will
nevertheless always be associated with the great songs he recorded with
Muddy.
Albert Collins
Albert Collins (1932-1993)
Known as the
"The "Iceman" and "The Master of the Telecaster," Albert Collins was
unique, but also epitomized the Texas guitar slinger. Many guitarists
have tried hard, many in vain, to duplicate his signature stinging
guitar licks. Coming out of the fertile and exciting Blues scene of
Houston in the '50s and '60s, Albert would go on to create a fusion of
infectious, horn-driven Blues that was always funky. Just about every
Blues band has a Collins style instrumental in their repertoire.
John Mayall
John Mayall is more renowned as a band leader and mentor than as a performer in his owh right.Throughout the 60s Mayall's most famous band “The Blues Breakers” acted as a training school for the leading Blues-Rock musicians of that era. Guitarists, Eric Clapton, Peter Green,and Mike Taylor joined his band in succession
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Freddie king
Paul Butterfield
Paul Butterfield
(1942-1987)
Paul
Butterfieldwas one of the first white musicians to gain acceptance and
respect in the Blues scene in Chicago of the '60s. His powerful harp
playing anchored his band that also featured Mike Bloomfield and Elvin
Bishop, along with ex-Howlin' Wolf sidemen Jerome Arnold and Sam Lay,
making the Paul Butterfield Blues Band one of the first integrated
bands. Their first two albums proved instrumental in helping bringing
the Blues into the mainstream.
Johnny Winters
Johnny Winter (b. 1944) This incredibly talented guitar slinger from Texas was
responsible for first exposing a multitude of aspiring young, white
guitarists to the Blues in the late '60s. His first album on Columbia
featured both Willie Dixon and Walter "Shakey" Horton and brought an
authenticity to the Blues that many other white Blues artists had
lacked. Johnny Winter went on to explore a more Rock approach, but came
back to the Blues in the late '70s. Winter was responsible for
producing the albums that put Muddy Waters back in the limelight,
garnering the legendary Bluesman his first Grammy awards.
Eric Clapton
Eric Clapton
Eric Clapton (b. 1945) - Blues Musician
Perhaps no one has turned more guitarists onto the Blues than Eric Clapton due to his huge, worldwide popularity with The Yardbirds, John Mayall, Cream and his own bands. His tone and style during his time with Mayall has become legendary, with hordes of guitarists snatching up the same equipment that he used in an attempt to recreate his sound. His From The Cradle album gave the Blues a huge shot in the arm in 1994 when it was much needed, giving traditional Blues songs a chance to be heard on commercial radio.
Stevie Ray Vaughn
Stevie Ray Vaughan (1954-1990) If
there is a person more successful than Clapton in getting the Blues
across to the masses, it was Stevie Ray. Vaughan almost single-handedly
brought the Blues to the world's consciousness in the '80s. His
incredible way of combining Albert King and Jimi Hendrix licks with a
fresh fire and attitude spawned countless imitators. He earned the
utmost respect from his mentors and his legacy is still felt strongly
today. Blind Lemon Jefferson
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Charlie Patton
Charley Patton
(1887-1934)
The man credited with first popularizing the Mississippi Delta Blues. Charley Patton was a consummate showman and his singing and guitar playing defined the style that would become known as Delta Blues. His playing was intense, primal and rhythmic. He pretty much started it all.
Blind Blake
Blind Blake
Blind Blake (early 1890s-1933)
What Charley Patton was to Delta Blues, Blind Blake was to Piedmont Blues. An absolute master of the guitar, he set the standard for the sophisticated Ragtime-influenced fingerpicking of Piedmont Blues prevalent on the eastern seaboard. His records went far in popularizing the genre.
Charles Brown
Charles Brown
The antithesis of John Lee Hooker, Charles Brown helped popularize the smooth, jazzy crooning ballad style of Blues that Nat King Cole pioneered in the '40s. His groundbreaking "Drifting Blues," recorded in 1945 with Johnny Moore's Three Blazers, greatly influenced a bevy of artists including Amos Milburn, Floyd Dixon, and a young Ray Charles. His "Black Night" and "Please Come For Christmas" are great examples of how Brown could create a mood that melted the soul
Professor Longhair
Professor Longhair
(1918-1980)
Henry Byrd or "Fess" as he became to be known, was a founding father of New Orleans R&B. His polyrhythmic and rollicking piano lines defined what New Orleans Blues was all about. His songs like "Mardi Gras In New Orleans" and "Tipitina" have become virtual anthems of the Big Easy, leaving their mark on all that followed, including Fats Domino and Dr. John.
Brownie McGhee
Brownie McGhee
(1915-1996)
One of the most beloved
Piedmont style guitar pickers and singers, Brownie McGhee enjoyed a
long career that blossomed even greater during the '60s Folk Blues
boom. A fine ambassador of the Blues around the globe, he was an
important figure both in Europe and in the States, whether he was on
his own or with longtime partner, harpist Sonny Terry.
Wynonie Harris
Wynonie Harris
(1915-1969)
This man bore the title of
"Mr. Blues" with unabashed pride and style. One of the greatest Blues
shouters of the popular Jump Blues era of the late '40s and early '50s,
Wynonie Harris helped shape the sound that would become Rock 'n' Roll
with his combination of panache, bold sense of humor and sheer
attitude. His version of Roy Brown's "Good Rockin' Tonight," along with
his stage presence, had a huge impact on a young Elvis Presley, among
others.
Willie Dixon
Willie Dixon
(1915-1992)
Big Willie Dixon's presence was profound, with his multiple roles as bassist, arranger, talent scout, and especially songwriter, playing a huge role in creating what has become known and loved as Chicago Blues. This poet laureate of the Blues wrote a major share of the greatest Blues tunes of all time. Both Muddy Waters and Howlin' Wolf, among many others, benefited greatly from his uncanny ability to craft a song and direct recording sessions.
Lightnin' Hopkins
Lightnin' Hopkins
(1912-1982)
Perhaps the most recorded Blues musician of all time. During his long and prolific career, Sam Hopkins comfortably bridged the gap between acoustic Country Blues and the urban Blues of his home ground of Houston, Texas. With his deep, evocative voice and deft guitar playing, Hopkins always did things his way and was one of the most respected artists of the Blues.
Big Joe Turner
Big Joe Turner
(1911-1985)
One of the premier Blues shouters, Big Joe Turner typified the ebullient sound of Kansas City's Jump Blues sound. His big, smooth baritone voice soaring over swingin' boogie-woogie rhythms that later became a mainstay of the West Coast scene, was a precursor to what would become known as Rock 'n' Roll, as exemplified by his "Shake, Rattle & Roll."
Robert Johnson
Robert Johnson
(1911-1938)
Robert Johnson took the raw, rhythmic immediacy of the Delta Blues that Charley Patton and Son House began, absorbed the influences and innovations of more sophisticated stylists like Lonnie Johnson, and created the most ingenious blend of Country Blues guitar ever. He was the first guitarist to expertly incorporate boogie-woogie piano bass lines underneath his fingerpicking and slide sound. He lived fast and died young, but after his material was re-released to the world in 1966, his impact was felt across the globe.
Howlin' Wolf
(1910-1976)
Chester Arthur Burnett, better known as Howlin' Wolf, was a Delta musician who waxed some incredible sides in Memphis for Sam Phillips that were an unbelievable mixture of raw and primal Country Blues combined with Jump Blues. After his move to Chicago, and with the help of Willie Dixon's songwriting, Wolf became the main rival of Muddy Waters for domination of the Windy City Blues scene in the '50s, and into the '60s. His gravelly, powerful voice and flamboyant stage presence were incomparable.
Blind boy Fuller
Blind Boy Fuller
(1908-1941)
Blind Boy Fullertook what
Blind Blake started and became one of the most influential and popular
Piedmont Bluesman of all time. A talented, versatile guitarist and
expressive singer, he recorded an impressive amount of material over a
short period of time.
Roosevelt Sykes
Roosevelt Sykes
(1906-1983)
Roosevelt Sykes' pioneering
barrelhouse and boogie-woogie piano playing, along with his smart and
fun lyrics, influenced just about every piano player that has ever
played a blue note. His huge presence was felt in both the St. Louis
and Chicago Blues scenes. "44 Blues," "Driving Wheel," and "Night Time
Is The Right Time" are all classic examples of his excellent work.
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Clarence "Pinetop" Smith
was one of the most influential Blues figures of the late '20s. His
song "Pinetop's Boogie Woogie" was the very first song with the term in
the title and its lyrics and stop-time arrangement became the template
for many subsequent piano Boogie-Woogie workouts. The beloved Pinetop
Perkins not only borrowed the style, but also the nickname, keeping the
flame burning today.
Pete Johnson
Pete Johnson
Pete Johnson
(1904-1967)
Along
with Albert Ammons and Meade Lux Lewis, Pete Johnson was one of the
kings of Boogie-Woogie piano. A mainstay of the vibrant Kansas City
Blues scene, he often recorded with Blues shouter Big Joe Turner. In
fact, the pairing of the two on John Hammond's Spirituals To Swing
Carnegie Hall concert in 1938 ignited a renewed Boogie-Woogie craze,
which swept the nation.
Tampa Red
Tampa Red
(1904-1981)
Hudson Whittaker, better known
as Tampa Red, was a prolific recording artist and talented guitarist.
His smooth slide guitar style and sly lyrics made him one of the most
popular Bluesmen of the early Chicago Blues scene. Earning the nickname
of "The Guitar Wizard," Tampa Red penned many songs that have become
classics, including "It Hurts Me Too" and "Black Angel Blues" (which
B.B. King later reworked as "Sweet Little Angel"). He also helped
create what became known as "hokum" with its humorous, double-entendre
lyrics.
Son House
Son House
(1902-1988)
Eddie "Son" House was simply the most intense sounding Blues artist of all-time. A contemporary of Charley Patton and Willie Brown, his pioneering Delta Blues sound directly influenced such musicians as Robert Johnson, Howlin' Wolf, and most importantly, Muddy Waters, who cited House as his biggest inspiration. Son's pounding rhythmic guitar and anguished vocals epitomized what the Mississippi Delta Blues was all about and was a window into his tortured soul.
Reverend Gary Davis
Kaukonen, and Ry Cood(1896-1972)
In the late '20s, Reverend Gary Davis was one of the main practitioners of the Piedmont Ragtime-style guitar picking, being a great influence on Blind Boy Fuller and many others. His career received a huge boost during the '60s Folk-Blues boom, due to his exceptional guitar technique and thoughtful songwriting. He was a huge inspiration to Bob Dylan, Taj Mahal, Jorma er.
Rice (Sonny Boy Williams II) Miller
Rice (Sonny Boy Williamson II) Miller
(1899-1965)
Aleck Ford "Rice" Miller was older than the original Sonny Boy Williamson, but decided to take on the same nickname, due to the original's great success, when Miller was holding forth on the famous "King Biscuit" radio show in Helena, Arkansas. Rice Miller's career eventually eclipsed the original Sonny Boy's. Miller influenced such Blues legends as Howlin' Wolf, Little Walter and James Cotton, who all learned directly from him. Outside of Little Walter, probably the most imitated Blues harp player ever.
Tommy Johnson
Tommy Johnson
(1896-1956)
Along with Charley Patton and Son House, Tommy Johnson was one of the pioneering Delta Blues Musicians. His characteristic vocal growl that would rise to an eerie falsetto howl was a big influence on both Jimmie Rodgers (the "Father of Country Music") and fellow Bluesman Howlin' Wolf. His songs' structures, including "Cool Water Blues," "I Asked For Water (She Brought Me Gasoline), "Maggie Campbell" and "Canned Heat Blues," found their way into many other artists' repertoires.
Bessie Smith
Bessie Smith
(1894-1937)
The woman who best defines the term of "classic" Blues singer. She earned the title of "Empress of the Blues" with her sassy, bold songs that earned the respect of both Blues and Jazz artists. The finest musicians performed behind her, helping to create an exceptional body of work before her tragic death. Her swagger, style and strong, passionate voice epitomized what the early vaudeville style Blues was all about. Most women Blues singers point to Bessie Smith as the one who set the standard.
Big Bill Broonzy
(1893-1958)
Big Bill Broonzy, through the years, was a most versatile performer, being equally adept at solo acoustic Folk-style, Ragtime, and early urban small combo Chicago Blues. He was one of the first artists to spread the Blues overseas, in addition to being a major force and mentor to many fellow Blues Musicians stateside. Broonzy was an exceptional guitarist, fine singer, and exceptional songwriter.
Mississippi John Hurt
Mississippi John Hurt (1893-1966)
This gentle man was an anomaly of sorts in that he was from the Delta region, but his guitar playing had much more in common with the more sophisticated finger-picking of Piedmont style Blues. He recorded a few sides in 1928, but was out of the music business until his rediscovery in 1963. He became one of the most beloved of Bluesmen in the '60s Folk-Blues resurgence, influencing a horde of aspiring guitarists in the college and coffeehouse circles.
John Lee Hooker
John Lee Hooker
John Lee Hooker
(1920-2001)
One of the most unique Bluesmen ever, only Lightnin' Hopkins may have more recordings among Blues artists. John Lee Hooker's guitar and vocal style was primal, deep and went straight to your gut and soul. This Mississippi Delta Bluesman learned his style early on, mostly from his stepfather Will Moore, and throughout his career that took him to Detroit and Chicago and eventually to the Bay Area; he never wavered from his singular vision. His initial smash hit in 1948, "Boogie Chillen," with its stomping beat, has been imitated by countless Rock and Blues bands ever since.
