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{{Refimprove|date=July 2009}}
{{Refimprove|date=July 2009}}
{{about|a music sub-genre}}
{{about|a music sub-genre}}
{{Infobox Music genre
The '''Memphis blues''' is a style of [[blues]] music that was created in the 1920s and 1930s by Memphis-area musicians like [[Frank Stokes (musician)|Frank Stokes]], [[Sleepy John Estes]], [[Furry Lewis]] and [[Memphis Minnie]]. The style was popular in [[vaudeville]] and [[medicine show]]s, and was associated with Memphis' main entertainment area, [[Beale Street]].
|bgcolor=#0000E1
|color=white
|name=Memphis blues
|stylistic_origins=[[Blues]], [[Country blues]]<ref name="rolling_memphis"/>
|cultural_origins=1910s-1930s, <br> [[Memphis, Tennessee|Memphis]], [[Tennessee]], [[United States]]
|instruments=[[Electric guitar]], [[Drum kit|Drums]], [[Piano]], [[Harmonica]], [[Singing|Vocals]]
|popularity=1940s-1950s
|derivatives=[[Electric blues]], [[Blues rock]], [[Heavy metal music|Heavy metal]]<ref name="rolling_memphis"/>
|subgenrelist=
|subgenres=
|fusiongenres=
|regional_scenes=
|other_topics=
}}
The '''Memphis blues''' is a style of [[blues]] music that was created in the 1920s and 1930s by Memphis-area musicians like [[Frank Stokes (musician)|Frank Stokes]], [[Sleepy John Estes]], [[Furry Lewis]] and [[Memphis Minnie]]. The style was popular in [[vaudeville]] and [[medicine show]]s, and was associated with Memphis' main entertainment area, [[Beale Street]]. Memphis played an important role in the development of [[electric blues]], [[rock and roll]], [[blues rock]], and [[heavy metal music]].<ref name="rolling_memphis">{{cite book|last=Miller|first=Jim|title=The Rolling Stone illustrated history of rock & roll|year=1980|publisher=''[[Rolling Stone]]''|location=New York|isbn=0394513223|url=http://books.google.co.uk/books?id=3ZEUAQAAIAAJ|accessdate=5 July 2012|quote=Black country bluesmen made raw, heavily amplified boogie records of their own, especially in Memphis, where guitarists like Joe Hill Louis, Willie Johnson (with the early Howlin' Wolf band) and Pat Hare (with Little Junior Parker) played driving rhythms and scorching, distorted solos that might be counted the distant ancestors of heavy metal.}}</ref>


==History==
==History==
{{Listen
| pos = right
| filename = Victor_Military_Band-The_Memphis_Blues.ogg
| title = "The Memphis Blues" (1914)
| description = "[[The Memphis Blues]]" (1914), composed by [[W. C. Handy]] in 1912 and recorded by [[Victor Records|Victor]] Military Band in 1914. First known commercial recording of Handy's first commercially successful [[blues]] composition.
| filename2 = Joe Hill Louis - Boogie in the Park.ogg
| title2 = Joe Hill Louis - "Boogie in the Park" (1950)
| description2 = "Boogie in the Park" (1950) by [[Joe Hill Louis]]. It featured Louis playing an overdriven, [[distortion (music)|distorted]] [[electric guitar]] solo while playing on a [[drum kit]] at the same time.<ref name="decurtis_phillips">{{cite book|last=DeCurtis|first=Anthony|title=Present Tense: Rock & Roll and Culture|year=1992|publisher=[[Duke University Press]]|location=Durham, N.C.|isbn=0822312654|url=http://books.google.co.uk/books?id=bsT3RQ9e58kC|edition=4. print.|quote=His first venture, the Phillips label, issued only one known release, and it was one of the loudest, most overdriven, and distorted guitar stomps ever recorded, "Boogie in the Park" by Memphis one-man-band Joe Hill Louis, who cranked his guitar while sitting and banging at a rudimentary drum kit.}}</ref>
| filename3 = Howlin' Wolf - How Many More Years.ogg
| title3 = Howlin' Wolf - "How Many More Years" (1951)
| description3 = [[Howlin' Wolf]]'s "[[Moanin' in the Moonlight|How Many More Years]]" (1951) is considered the first record to feature a distorted [[power chord]], played by [[Willie Johnson (guitarist)|Willie Johnson]] on the electric guitar.<ref>[[Robert Palmer (writer)|Robert Palmer]], "Church of the Sonic Guitar", pp. 13-38 in Anthony DeCurtis, ''Present Tense'', [[Duke University Press]], 1992, pp. 24-27. ISBN 0-8223-1265-4.</ref>
| filename4 = James Cotton - Cotton Crop Blues.ogg
| title4 = James Cotton - "Cotton Crop Blues" (1954)
| description4 = [[James Cotton]]'s "Cotton Crop Blues" (1954), featuring [[Pat Hare]] playing a heavily distorted electric guitar solo with power chords, anticipating elements of [[heavy metal music|heavy metal]].<ref name="palmer">Robert Palmer, "Church of the Sonic Guitar", pp. 13-38 in Anthony DeCurtis, ''Present Tense'', Duke University Press, 1992, pp. 24-27. ISBN 0-8223-1265-4.</ref>
}}

In addition to guitar-based blues, [[jug bands]], such as [[Gus Cannon]]'s Jug Stompers and the [[Memphis Jug Band]], were extremely popular practitioners of Memphis blues. The jug band style emphasized the danceable, syncopated rhythms of early [[jazz]] and a range of other archaic folk styles. It was played on simple, sometimes homemade, instruments such as [[harmonica]]s, [[violin]]s, [[mandolin]]s, [[banjo]]s, and guitars, backed by washboards, [[kazoo]], [[Jew's harp|guimbarde]] and jugs blown to supply the bass.
In addition to guitar-based blues, [[jug bands]], such as [[Gus Cannon]]'s Jug Stompers and the [[Memphis Jug Band]], were extremely popular practitioners of Memphis blues. The jug band style emphasized the danceable, syncopated rhythms of early [[jazz]] and a range of other archaic folk styles. It was played on simple, sometimes homemade, instruments such as [[harmonica]]s, [[violin]]s, [[mandolin]]s, [[banjo]]s, and guitars, backed by washboards, [[kazoo]], [[Jew's harp|guimbarde]] and jugs blown to supply the bass.


After [[World War II]], as African-Americans left the Mississippi Delta and other impoverished areas of the south for urban areas, many musicians gravitated to Memphis' blues scene, changing the classic Memphis blues sound. Musicians such as [[Howlin' Wolf]], [[Willie Nix]], [[Ike Turner]], and [[B.B.King]] performed on Beale Street and in [[West Memphis]], and recorded some of the classic electric blues, rhythm and blues and rock & roll records for labels such as [[Sun Records]]. [[Sam Phillips]]' Sun Records company recorded musicians such as [[Howlin' Wolf]] (before he moved to Chicago), [[Willie Nix]], [[Ike Turner]], and [[B.B.King]].<ref>J. Broven, ''Record Makers and Breakers: Voices of the Independent Rock ʹnʹ Roll Pioneers Music in American Life'' (University of Illinois Press, 2009), pp. 149–154.</ref> These players had a strong influence on later musicians in these styles, notably the early rock & rollers and [[rockabilly|rockabillies]], many of whom also recorded for Sun Records. After Phillips discovered [[Elvis Presley]] in 1954, the Sun label turned to the rapidly expanding white audience and started recording mostly rock 'n' roll.<ref name="Allmusicblues690-1">V. Bogdanov, C. Woodstra, S. T. Erlewine, ''All music guide to the blues: the definitive guide to the blues'' (Backbeat Books, 3rd edn., 2003), pp. 690–691.</ref>
After [[World War II]], as African-Americans left the Mississippi Delta and other impoverished areas of the south for urban areas, many musicians gravitated to [[Memphis, Tennessee|Memphis]]' blues scene, changing the classic Memphis blues sound. Musicians such as [[Howlin' Wolf]], [[Willie Nix]], [[Ike Turner]], and [[B.B.King]] performed on Beale Street and in [[West Memphis]], and recorded some of the classic [[electric blues]], [[rhythm and blues]] and [[rock and roll|rock & roll]] records for labels such as [[Sun Records]]. [[Sam Phillips]]' Sun Records company recorded musicians such as [[Howlin' Wolf]] (before he moved to Chicago), [[Willie Nix]], [[Ike Turner]], and [[B.B.King]].<ref>J. Broven, ''Record Makers and Breakers: Voices of the Independent Rock ʹnʹ Roll Pioneers Music in American Life'' (University of Illinois Press, 2009), pp. 149–154.</ref> These players had a strong influence on later musicians in these styles, notably the early rock & rollers and [[rockabilly|rockabillies]], many of whom also recorded for Sun Records. After Phillips discovered [[Elvis Presley]] in 1954, the Sun label turned to the rapidly expanding white audience and started recording mostly rock 'n' roll.<ref name="Allmusicblues690-1">V. Bogdanov, C. Woodstra, S. T. Erlewine, ''All music guide to the blues: the definitive guide to the blues'' (Backbeat Books, 3rd edn., 2003), pp. 690–691.</ref>


== Memphis blues musicians ==
== Memphis blues musicians ==
*[[W. C. Handy]]
*[[B. B. King]]
*[[B. B. King]]
⚫
*[[Bobby Sowell]]
*[[Doctor Ross]]
⚫
*[[Eric Gales]]
*[[Eugene Gales]]
*[[Frank Stokes (musician)|Frank Stokes]]
*[[Frank Stokes (musician)|Frank Stokes]]
⚫
*[[Junior Wells]]
*[[Furry Lewis]]
*[[Furry Lewis]]
*[[Willie Nix]]
*[[Howlin' Wolf]]
*[[Sleepy John Estes]]
*[[Ida Cox]]
*[[Ida Cox]]
*[[Joe Hill Louis]]
*[[Junior Parker]]
*[[Junior Parker]]
⚫
*[[Junior Wells]]
*[[Memphis Minnie]]
*[[Memphis Minnie]]
*[[Howlin' Wolf]]
*[[Pat Hare]]
*[[Rosco Gordon]]
*[[Sleepy John Estes]]
⚫
*[[Bobby Sowell]]
*[[Robert Wilkins]]
*[[Robert Wilkins]]
*[[Doctor Ross]]
*[[Rosco Gordon]]
*[[Joe Hill Louis]]
*[[W. C. Handy]]
*[[Willie Johnson (guitarist)|Willie Johnson]]
⚫
*[[Eric Gales]]
*[[Eugene Gales]]
*[[Willie Nix]]


==See also==
==See also==

Revision as of 04:20, 3 August 2012

This article is about a music sub-genre. For other uses, see Memphis blues (disambiguation).
Memphis blues
Stylistic originsBlues, Country blues[1]
Cultural origins1910s-1930s,
Memphis, Tennessee, United States
Typical instrumentsElectric guitar, Drums, Piano, Harmonica, Vocals
Derivative formsElectric blues, Blues rock, Heavy metal[1]

The Memphis blues is a style of blues music that was created in the 1920s and 1930s by Memphis-area musicians like Frank Stokes, Sleepy John Estes, Furry Lewis and Memphis Minnie. The style was popular in vaudeville and medicine shows, and was associated with Memphis' main entertainment area, Beale Street. Memphis played an important role in the development of electric blues, rock and roll, blues rock, and heavy metal music.[1]

History

"The Memphis Blues" (1914)
"The Memphis Blues" (1914), composed by W. C. Handy in 1912 and recorded by Victor Military Band in 1914. First known commercial recording of Handy's first commercially successful blues composition.
Joe Hill Louis - "Boogie in the Park" (1950)
"Boogie in the Park" (1950) by Joe Hill Louis. It featured Louis playing an overdriven, distorted electric guitar solo while playing on a drum kit at the same time.[2]
Problems playing these files? See media help.

In addition to guitar-based blues, jug bands, such as Gus Cannon's Jug Stompers and the Memphis Jug Band, were extremely popular practitioners of Memphis blues. The jug band style emphasized the danceable, syncopated rhythms of early jazz and a range of other archaic folk styles. It was played on simple, sometimes homemade, instruments such as harmonicas, violins, mandolins, banjos, and guitars, backed by washboards, kazoo, guimbarde and jugs blown to supply the bass.

After World War II, as African-Americans left the Mississippi Delta and other impoverished areas of the south for urban areas, many musicians gravitated to Memphis' blues scene, changing the classic Memphis blues sound. Musicians such as Howlin' Wolf, Willie Nix, Ike Turner, and B.B.King performed on Beale Street and in West Memphis, and recorded some of the classic electric blues, rhythm and blues and rock & roll records for labels such as Sun Records. Sam Phillips' Sun Records company recorded musicians such as Howlin' Wolf (before he moved to Chicago), Willie Nix, Ike Turner, and B.B.King.[5] These players had a strong influence on later musicians in these styles, notably the early rock & rollers and rockabillies, many of whom also recorded for Sun Records. After Phillips discovered Elvis Presley in 1954, the Sun label turned to the rapidly expanding white audience and started recording mostly rock 'n' roll.[6]

Memphis blues musicians

See also

Notes

  1. ^ a b c Miller, Jim (1980). The Rolling Stone illustrated history of rock & roll. New York: Rolling Stone. ISBN 0394513223. Retrieved 5 July 2012. Black country bluesmen made raw, heavily amplified boogie records of their own, especially in Memphis, where guitarists like Joe Hill Louis, Willie Johnson (with the early Howlin' Wolf band) and Pat Hare (with Little Junior Parker) played driving rhythms and scorching, distorted solos that might be counted the distant ancestors of heavy metal. {{cite book}}: Italic or bold markup not allowed in: |publisher= (help)
  2. ^ DeCurtis, Anthony (1992). Present Tense: Rock & Roll and Culture (4. print. ed.). Durham, N.C.: Duke University Press. ISBN 0822312654. His first venture, the Phillips label, issued only one known release, and it was one of the loudest, most overdriven, and distorted guitar stomps ever recorded, "Boogie in the Park" by Memphis one-man-band Joe Hill Louis, who cranked his guitar while sitting and banging at a rudimentary drum kit.
  3. ^ Robert Palmer, "Church of the Sonic Guitar", pp. 13-38 in Anthony DeCurtis, Present Tense, Duke University Press, 1992, pp. 24-27. ISBN 0-8223-1265-4.
  4. ^ Robert Palmer, "Church of the Sonic Guitar", pp. 13-38 in Anthony DeCurtis, Present Tense, Duke University Press, 1992, pp. 24-27. ISBN 0-8223-1265-4.
  5. ^ J. Broven, Record Makers and Breakers: Voices of the Independent Rock ʹnʹ Roll Pioneers Music in American Life (University of Illinois Press, 2009), pp. 149–154.
  6. ^ V. Bogdanov, C. Woodstra, S. T. Erlewine, All music guide to the blues: the definitive guide to the blues (Backbeat Books, 3rd edn., 2003), pp. 690–691.

External links

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