Time: 74:16
Size: 170.0 MB
Styles: Harmonica blues
Year: 2014
Art: Front
[3:11] 1. Sleepy John Estes - Policy Man
[4:40] 2. Saffire - I'll Be Your Sweet Black Angel
[2:31] 3. Dr. Ross - Juke Box Boogie
[3:02] 4. Harmonica Frank - Rockin Chair
[2:58] 5. Howlin' Wolf - All In The Mood
[2:25] 6. Junior Wells - Messin' With The Kid
[3:40] 7. Billy Boy Arnold - I Wish You Would
[3:12] 8. Big Walter Horton - Little Boy
[3:32] 9. James Cotton - West Helena Blues
[3:57] 10. Charlie Musselwhite - Just You
[4:08] 11. Lazy Lester - Raining In My Heart
[4:48] 12. Carey Bell - Bad Habits
[6:53] 13. Big Mama Thornton - Rock Me Baby
[4:46] 14. Sonny Terry - Sonny's Whoopin' The Doop
[2:34] 15. Coy Love - Harmonica Jam
[2:49] 16. Joe Hill Louis - Boogie In The Park
[3:15] 17. Raful Neal - You Don't Love Me (Anymore)
[1:56] 18. Frank Frost - Crawl Back
[7:30] 19. The Siegel-Schwall Band - Hush, Hush
[2:19] 20. Onie Wheeler - Jump Right Out Of This Jukebox
Beginning sometime in the late 1940s, harmonica players started using amplification in a new way. With a small, portable amplifier and a cheap microphone, they would cup the mic in their hands, together with the harmonica, to create a highly concentrated sound that was loud enough to project over the din on street corners and in small nightclubs. By the start of the 1950s, electric guitars and amplified harmonicas were the rule in Chicago blues bands, backed by drums, bass, and piano.
Early postwar attempts at recording transplanted rural artists reveal an uncomfortable grafting of country blues onto an urbane, jazz-influenced backing that doesn’t serve the direct, earthy character of the featured artists. Small, independent record companies have long been important vehicles for blues artists to get their music to consumers. Some of the better-known regional companies highlighted blues harmonica and promoted early rock-and-roll. This combination later influenced the adoption of the harmonica by rock artists in the 1960s, who heard blues harmonica alongside the latest hits. By the late 1950s, white teenagers were obsessed with rock-and-roll, while black audiences had largely moved on from the blues. The folk music movement of the 1950s presented Americans with an alternative to current popular music. Folk fans began to see blues musicians as a part of the folk movement. European and British music fans, who had been fascinated for several years with American music, especially jazz and blues, began promoting blues concerts in the UK and on the European continent. Young British musicians started emulating the blues records they heard, resulting in British rock bands with notables on the mouth harp.
Musicians worldwide have been bitten by the blues harp bug, and the virus often mutates and starts to interact with its new host. Artists and the stylistic crossbreeding they’ve been working between blues and other styles include jump and swing’s Dennis Gruenling, beatboxing’s Son of Dave, and soul’s Bobby Rush.
Early postwar attempts at recording transplanted rural artists reveal an uncomfortable grafting of country blues onto an urbane, jazz-influenced backing that doesn’t serve the direct, earthy character of the featured artists. Small, independent record companies have long been important vehicles for blues artists to get their music to consumers. Some of the better-known regional companies highlighted blues harmonica and promoted early rock-and-roll. This combination later influenced the adoption of the harmonica by rock artists in the 1960s, who heard blues harmonica alongside the latest hits. By the late 1950s, white teenagers were obsessed with rock-and-roll, while black audiences had largely moved on from the blues. The folk music movement of the 1950s presented Americans with an alternative to current popular music. Folk fans began to see blues musicians as a part of the folk movement. European and British music fans, who had been fascinated for several years with American music, especially jazz and blues, began promoting blues concerts in the UK and on the European continent. Young British musicians started emulating the blues records they heard, resulting in British rock bands with notables on the mouth harp.
Musicians worldwide have been bitten by the blues harp bug, and the virus often mutates and starts to interact with its new host. Artists and the stylistic crossbreeding they’ve been working between blues and other styles include jump and swing’s Dennis Gruenling, beatboxing’s Son of Dave, and soul’s Bobby Rush.
Music Of The World: Blow That Harmonica
