'Hoochie Coochie Man' and 'Got my mojo working' were originally recorded by which Chicago blues singer?
"sex appeal. The stop-time riff was ""soon absorbed into the ""lingua franca"" of blues, R&B, jazz, and rock and roll"", according to musicologist Robert Palmer, and is used in several popular songs. When Bo Diddley adapted it for ""I'm a Man"", it became one of the most recognizable musical phrases in blues. After the song's initial success in 1954, Waters recorded several live and new studio versions. The original appears on the 1958 ""The Best of Muddy Waters"" album and many compilations. Numerous musicians have recorded ""Hoochie Coochie Man"" in a variety of styles, making it one of the most"
"wrote in 2007, Veteran guitarist Linsey Alexander, the ""Hoochie Man"", plays classic Chicago blues spiced up with the occasional joke or double entendre. Watch him take his guitar for a crowd walk-through, where he'll stop often to flirt with the pretty women. ... These days Alexander is one of the hardest-working bluesmen in the city, appearing as many as six nights a week at Chicago clubs. A critic described Alexander's music and live show as ""loud, raw, rocked out and raucous"". Another critic called Alexander a ""character"" and wrote that his live show is ""not to be missed."" The Linsey"
"""we felt like this was a great achievement for one of these blues phrases to be used in a movie"". As numerous artists recorded it in a variety of styles, ""Hoochie Coochie Man"" became a blues standard. Janovitz describes the song as ""a vital piece of Chicago-style electric blues that links the Delta to rock & roll"". Rock musicians are among the many who have interpreted it. In 1984, Waters' original ""I'm Your Hoochie Coochie Man"" was inducted into the Blues Foundation Hall of Fame. The Foundation noted that ""In addition to countless versions by Chicago blues artists, the song"
"Tapes"" (recorded 1971, released 1999); ""Muddy ""Mississippi"" Waters – Live"" (recorded 1977, released 1979); and ""Live at the Checkerboard Lounge, Chicago 1981"" with members of the Rolling Stones (released 2012). ""Hoochie Coochie Man"" represents Waters' recording transition from an electrified, but more traditional Delta-based blues of the late 1940s–early 1950s to a newer Chicago blues ensemble sound. The song was important to Dixon's career and signaled a change as well – Chess became convinced of Dixon's value as a songwriter and secured his relationship as such with the label. Waters soon followed up with several variations on the sixteen-bar stop-time"
"from the Hoochie Coochie Men, Baldry's band at the time, although, for contractual reasons, Rod Stewart is notably absent. It includes songs such as ""Got My Mojo Working,"" ""Goin' Down Slow"" and ""Everyday I Have the Blues,"" which became staples of Baldry's live shows throughout his career. Released on CD in 2006. Baldry's 1964 album for United Artists was reissued for America with a gatefold sleeve showing photos and clippings from the era. The bonus on this record is the inclusion of Baldry's duet with Rod Stewart on Sister Rosetta Thorpe's ""Up Above My Head,"" the B-side to Baldry's 1964"
"The Hoochie Coochie Men The Hoochie Coochie Men was a renowned Australian blues group composed of former Rainbow, Black Sabbath and Ozzy Osbourne bass player Bob Daisley, guitarist and singer Tim Gaze and drummer Rob Grosser. The recurring member of the band was former Deep Purple keyboard player Jon Lord who first performed with The Hoochie Coochie Men in February 2003 after an injury which prevented him from performing his usual concert setlist on piano. The band was also joined on stage by various harmonica players. The Hoochie Coochie Men's second studio album, ""Danger. White Men Dancing"" features guest performances"
"Hoodoo Man Blues Hoodoo Man Blues is the 1965 debut album of blues vocalist and harmonica player Junior Wells, performing with the Junior Wells' Chicago Blues Band, an early collaboration with guitarist Buddy Guy. Released on LP by Delmark Records, the album has been subsequently reissued on CD and LP by Delmark and Analogue Productions. The album of Chicago blues music was solicited by Bob Koester, the founder of Delmark Records, who liked Wells' music enough to give the musician considerable freedom on the album in spite of concerns of commercial response. The resultant innovative album became Delmark's best seller,"
"Good Rockin' Charles Good Rockin' Charles (March 4, 1933 – May 17, 1989) was an American Chicago blues and electric blues harmonicist, singer and songwriter. He released one album in his lifetime and is best known for his work with Johnny ""Man"" Young, Otis ""Big Smokey"" Smothers, Arthur ""Big Boy"" Spires and Jimmy Rogers. He was born Henry Lee Bester in Tuscaloosa, Alabama, and was later known as Charles Edwards. He relocated from his birthplace to Chicago, Illinois, in 1949, and was inspired by the harmonica players Sonny Boy Williamson I, Sonny Boy Williamson II and Little Walter. In the"
"Lacy Gibson Lacy Gibson (May 1, 1936 – April 11, 2011) was an American Chicago blues guitarist, singer and songwriter. He notably recorded the songs ""My Love Is Real"" and ""Switchy Titchy"" and in a long and varied career worked with Buddy Guy and Son Seals. One commentator noted that Gibson ""developed a large and varied repertoire after long stays with numerous bands, many recording sessions, and performances in Chicago nightclubs"". Gibson was born in Salisbury, North Carolina, and relocated with his family to Chicago in 1949. His mother gave him his first lessons in playing the guitar. His early"
"In 1946, he recorded his first records for Columbia Records and then for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess. In the early 1950s, Muddy Waters and his band—Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums and Otis Spann on piano—recorded several blues classics, some with the bassist and songwriter Willie Dixon. These songs included ""Hoochie Coochie Man"", ""I Just Want to Make Love to You"" and ""I'm Ready"". In 1958, he traveled to England, laying the foundations of the resurgence of interest"
"on tour in the early 1970s and unofficial recordings of these performances have circulated. In 1975, Presley recorded ""T-R-O-U-B-L-E"" for a single, but this is a completely different song. The song was included in the musical revue ""Smokey Joe's Cafe"". The song uses the same ""stop-time"" riff as Muddy Waters' 1954 song ""Hoochie Coochie Man"" written by Willie Dixon. This particular riff is one of the most recognizable lick in blues, and is also heard in Bo Diddley's ""I'm a man"" (1955) and Muddy Waters' ""Mannish boy"" (1955). Indeed, the key feature of the song is the use of stop"
"in small music combos before rock. However, unlike the polyphony of New Orleans jazz, the instrumentation parallels Waters' aggressive vocal approach and reinforces the lyrics. The players' use of amplification, pushed to the point of distortion, is a key feature of Chicago blues and another rock precedent. In particular, Little Walters' overdriven saxophone-like harmonica playing weaves in and out of the vocal lines, which heightens the drama. ""Hoochie Coochie Man"" is characterized as a ""self-mythologizing testament"" by Janovitz. The narrator boasts of his good fortune and his effect on women as aided by hoodoo. Waters explored similar themes in earlier"
"Sweet Home Chicago ""Sweet Home Chicago"" is a blues standard first recorded by Robert Johnson in 1936. Although he is often credited as the songwriter, several songs have been identified as precedents. The song has become a popular anthem for the city of Chicago despite ambiguity in Johnson's original lyrics. Numerous artists have interpreted the song in a variety of styles. The melody of ""Sweet Home Chicago"" is found in several blues songs, including ""Honey Dripper Blues"", ""Red Cross Blues"", and the immediate model for the song, ""Kokomo Blues"". The lyrics for ""Honey Dripper Blues No. 2"" by Edith North"
"first verse of ""Sweet Home Chicago"". Sweet Home Chicago ""Sweet Home Chicago"" is a blues standard first recorded by Robert Johnson in 1936. Although he is often credited as the songwriter, several songs have been identified as precedents. The song has become a popular anthem for the city of Chicago despite ambiguity in Johnson's original lyrics. Numerous artists have interpreted the song in a variety of styles. The melody of ""Sweet Home Chicago"" is found in several blues songs, including ""Honey Dripper Blues"", ""Red Cross Blues"", and the immediate model for the song, ""Kokomo Blues"". The lyrics for ""Honey Dripper"
"as Detroit and Chicago, and his name was synonymous with the blues harmonica for the next decade. Other well-known recordings of his include ""Sugar Mama Blues"", ""Shake the Boogie"", ""You Better Cut That Out"", ""Sloppy Drunk"", ""Early in the Morning"", ""Stop Breaking Down"", and ""Hoodoo Hoodoo"" (also known as ""Hoodoo Man Blues""). In 1947, ""Shake the Boogie"" made number 4 on ""Billboard""'s Race Records chart. Williamson's style influenced many blues harmonica performers, including Billy Boy Arnold, Junior Wells, Sonny Terry, Little Walter, and Snooky Pryor. He was the most widely heard and influential blues harmonica player of his generation. His"
"city noted for its pianists, guitar players were scarce. Hooker's popularity grew quickly as he performed in Detroit clubs, and, seeking an instrument louder than his acoustic guitar, he bought his first electric guitar. Hooker's recording career began in 1948, when Modern Records, based in Los Angeles, released a demo he had recorded for Bernie Besman in Detroit. The single, ""Boogie Chillen'"", became a hit and the best-selling race record of 1949. Despite being illiterate, Hooker was a prolific lyricist. In addition to adapting traditional blues lyrics, he composed original songs. In the 1950s, like many black musicians, Hooker earned"
"Koko Taylor Koko Taylor (born Cora Anna Walton, September 28, 1928 – June 3, 2009) was an American singer whose style encompassed Chicago blues, electric blues, rhythm and blues and soul blues. Sometimes called ""The Queen of the Blues"", she was known for her rough, powerful vocals. Born on a farm near Memphis, Tennessee, Taylor was the daughter of a sharecropper. She left Tennessee for Chicago in 1952 with her husband, Robert ""Pops"" Taylor, a truck driver. In the late 1950s, she began singing in blues clubs in Chicago. She was spotted by Willie Dixon in 1962, and this led"
"1953, Dixon approached Leonard Chess with ""Hoochie Coochie Man"", a new song he felt was right for Waters. Chess responded, ""if Muddy likes it, give it to him"". At the time, Waters was performing at the Club Zanzibar in Chicago. During an intermission, Dixon showed him the song. According to Dixon, Waters took to the tune immediately because it had so many familiar elements and he was able to learn enough to perform it that night. Jimmy Rogers, who was Waters' second guitarist, remembered that it took a little longer: On January 7, 1954, Waters entered the recording studio with"
"stemming from his failing health. With Shakey Jake With Al Smith Jimmie Lee Robinson Jimmie Lee Robinson (April 30, 1931 – July 6, 2002), also known as Lonesome Lee, was an American blues musician who was predominantly known for his involvement in the Chicago blues scene in the 1950s and 1960s. He performed with other blues musicians of the period and worked as a session musician. Following a hiatus from music, Robinson returned to the profession in the 1990s to record his own material for full-length albums. Robinson was born on April 30, 1931, in Chicago, Illinois. As a child"
"issued on CD in 2001. Ann Cole Ann Cole (January 24 or 29, 1934 – November 1986), born Cynthia Coleman, was an American R&B and gospel singer who has been described as ""a genuinely great soul singer who had the misfortune to be too far ahead of her time"". She had several minor hits in the late 1950s and early 1960s, but is now most noted as the original performer of ""Got My Mojo Working"", later popularised by Muddy Waters. She was born in Newark, New Jersey; her father Wallace and her uncles were members of a spiritual vocal group,"
"Johnny ""Big Moose"" Walker on organ, Ernest Johnson on electric bass, and Bobby Little on drums. Hooker biographer Sebastian Danchin cites ""Blue Guitar"" as Hooker's favorite piece ""as it combines the ultimate in taste, virtuosity, sheer simplicity, and pure creativity."" He notes the influence of blues slide guitarist Robert Nighthawk and Hooker's ""accuracy"" and ""impeccable phrasing"". The single became popular in Chicago and sold well for a blues instrumental. Many Chicago-area blues musicians added ""Blue Guitar"" to their sets and it took a place alongside other popularly performed instrumentals, such as Bill Doggett's ""Honky Tonk"" and Freddie King's ""Hide Away""."
"L.V. Johnson L.V. Johnson (December 25, 1946 – November 22, 1994) was an American Chicago blues and soul-blues guitarist, singer and songwriter. He is best known for his renditions of ""Don't Cha Mess with My Money, My Honey or My Woman"" and ""Recipe"". He worked with the Soul Children, the Bar-Keys and Johnnie Taylor. Songs he wrote were recorded by Tyrone Davis, Bobby Bland and the Dells. He was the nephew of Elmore James. Johnson was born in Chicago, Illinois, and learned to play the guitar from B.B. King. He was employed by Stax Records as a session musician and"
"Jo Jo Adams Joel Adams (c.1918 – February 27, 1988), sometimes credited as Doctor Jo-Jo Adams, was an American jump blues singer, comedian, dancer, and MC, who recorded in the 1940s and 1950s. He was born in a rural area of Alabama, and sang with the Big Four Gospel Jubilee Singers before moving to Chicago in the early 1940s. He then began performing in clubs on the South Side of Chicago, adopting a style derivative of Cab Calloway, wearing a tuxedo with extended tails that would swing around while he danced. He said: ""I introduced color to the stage. My"
"While serving in the U.S. Army he would blow bugle calls through a PA system, which led him to experiment with playing the harmonica that way. Upon discharge from the Army in 1945, he obtained his own amplifier and began playing harmonica at the outdoor Maxwell Street Market, becoming a regular on the Chicago blues scene. Pryor recorded some of the first post-war Chicago blues in 1948, including ""Telephone Blues"" and ""Snooky & Moody's Boogie"", with the guitarist Moody Jones, and ""Stockyard Blues"" and ""Keep What You Got"", with the singer and guitarist Floyd Jones. ""Snooky & Moody's Boogie"" is"
"""Gaze went back to his roots, with covers of blues material like Little Walters' 'Blues with a Feeling' and Bukka White's 'Parchman Farm Blues', sitting alongside quality Gaze-penned originals like 'Hell to Pay' and 'Riverside Blues'."" In 2001 Gaze and Grosner formed the Hoochie Coochie Men with former Kahvas Jute member, Daisley. Conway joined the group on harmonica. They released a self-titled debut album in that year, which Hector of ""Undercover News"" described as ""a 39 minute party animal. Like Paul Christie did with the Party Boys in the 80s, Daisley and crew have produced an equally loose and fun"
"and started recording mostly rock 'n' roll. Booker T. & the M.G.'s carried the electric blues style into the 1960s. Detroit-based John Lee Hooker pursued a unique brand of electric blues based on his deep rough voice accompanied by a single electric guitar. Though not directly influenced by boogie woogie, his ""groovy"" style is sometimes called ""guitar boogie"". His first hit, ""Boogie Chillen"", reached #1 on the R&B charts in 1949. He continued to play and record until his death in 2001. The New Orleans blues musician Guitar Slim recorded ""The Things That I Used to Do"" (1953), which featured"
"albums with Buddy Guy. Junior Wells Junior Wells (born Amos Wells Blakemore Jr., December 9, 1934January 15, 1998) was an American Chicago blues vocalist, harmonica player, and recording artist. He was one of the pioneers of the amplified blues harp-style associated with Chicago. Wells is best known for his signature song ""Messin' with the Kid"" and his 1965 album ""Hoodoo Man Blues"", described by the critic Bill Dahl as ""one of the truly classic blues albums of the 1960s"". Wells performed and recorded with Various notable blues musicians, including Muddy Waters, Earl Hooker, and Buddy Guy. He remained a fixture"
"Junior Wells Junior Wells (born Amos Wells Blakemore Jr., December 9, 1934January 15, 1998) was an American Chicago blues vocalist, harmonica player, and recording artist. He was one of the pioneers of the amplified blues harp-style associated with Chicago. Wells is best known for his signature song ""Messin' with the Kid"" and his 1965 album ""Hoodoo Man Blues"", described by the critic Bill Dahl as ""one of the truly classic blues albums of the 1960s"". Wells performed and recorded with Various notable blues musicians, including Muddy Waters, Earl Hooker, and Buddy Guy. He remained a fixture on the blues scene"
"critical acclaim towards the end of his career. He died in 1993, at the age of 67, and was buried in Flint, Michigan. Doctor Ross Doctor Ross (October 21, 1925 – May 28, 1993), also known as Doctor Ross the Harmonica Boss, born Charles Isaiah Ross in Tunica, Mississippi, was an American blues singer, guitarist, harmonica player and drummer. Ross's blues style has been compared to that of John Lee Hooker and Sonny Boy Williamson. His recordings for Sun Records in the 1950s include ""The Boogie Disease"" and ""Chicago Breakdown"". In 1951 Ross's records began to get airplay in Mississippi"
"found in Carl Rafferty's 1933 ""Mr. Carl's Blues"": Kokomo Arnold, whose ""Old Original Kokomo Blues"" served as the basis for Johnson's ""Sweet Home Chicago"", recorded two songs with similar lines, ""Sagefield Woman Blues"" in 1934: and ""Sissy Man Blues"" in 1935: The melody that Johnson uses is also found in 1934 recordings of ""I Believe I'll Make a Change"" by Leroy Carr and Josh White. Johnson's ""I Believe I'll Dust My Broom"" combines lyrics, also identified as ""floating verses"", from the earlier songs and adds two new verses of his own. Music historian Elijah Wald calls the result ""a more"
"Mighty Mo Rodgers Mighty Mo Rodgers (born July 24, 1942) is an American electric blues musician, singer, songwriter, and record producer, who has released six albums to date. He has been influenced by the work of Aretha Franklin, Bobby Bland, Eddie Boyd, Jimmy Reed, Otis Redding, Sam & Dave, and Willie Dixon. Bonnie Raitt noted that ""Mo Rodgers' music is a breath of fresh air in the blues/R&B world. He combines sly social commentary with a great funky sound. . . . I love his voice. He's a welcome original."" Maurice Rodgers was born in East Chicago, Indiana, He studied"
"Doctor Ross Doctor Ross (October 21, 1925 – May 28, 1993), also known as Doctor Ross the Harmonica Boss, born Charles Isaiah Ross in Tunica, Mississippi, was an American blues singer, guitarist, harmonica player and drummer. Ross's blues style has been compared to that of John Lee Hooker and Sonny Boy Williamson. His recordings for Sun Records in the 1950s include ""The Boogie Disease"" and ""Chicago Breakdown"". In 1951 Ross's records began to get airplay in Mississippi and Arkansas. He recorded with Chess Records and Sun with a group that included folk instruments, such as the washboard . In 1954"
"Floyd Jones Floyd Jones (July 21, 1917 – December 19, 1989) was an American blues singer, guitarist and songwriter. He was one of the first of the new generation of electric blues artists to record in Chicago after World War II, and a number of his recordings are regarded as classics of the Chicago blues idiom. His song ""On the Road Again"" was a top 10 hit for Canned Heat in 1968. Notably for a blues artist of his era, several of his songs have economic or social themes, such as ""Stockyard Blues"" (which refers to a strike at the"