McKinley Morganfield (April 4, 1913 – April 30, 1983), known professionally as Muddy Waters, was an American blues singer-songwriter and musician who is often cited as the "father of modern Chicago blues", and an important figure on the post-war blues scene.
Muddy Waters grew up on Stovall Plantation near Clarksdale, Mississippi, and by age 17 was playing the guitar and the harmonica, emulating the local blues artists Son House and Robert Johnson. He was recorded in Mississippi by Alan Lomax for the Library of Congress in 1941. In 1943, he moved to Chicago to become a full-time professional musician. 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 in the blues there. His performance at the Newport Jazz Festival in 1960 was recorded and released as his first live album, At Newport 1960.
Muddy Waters' influence is incalculable, not just on blues and rhythm and blues but on rock and roll, hard rock, folk music, jazz, and country music. His use of amplification is often cited as the link between Delta blues and rock and roll.
Muddy Waters c. 1975
|Birth name||McKinley Morganfield|
|Born||April 4, 1913|
Issaquena County, Mississippi, U.S.
|Died||April 30, 1983 (aged 70)|
Muddy Waters' birthplace and date are not conclusively known. He stated that he was born in Rolling Fork, Mississippi, in 1915, but evidence also suggests that he was born in Jug's Corner, in neighboring Issaquena County, in 1913. Recent research has uncovered documentation showing that in the 1930s and 1940s, before his rise to fame, the year of his birth was reported as 1913 on his marriage license, recording notes, and musicians' union card. A 1955 interview in the Chicago Defender is the earliest in which he stated 1915 as the year of his birth, and he continued to say this in interviews from that point onward. The 1920 census lists him as five years old as of March 6, 1920, suggesting that his birth year may have been 1914. The Social Security Death Index, relying on the Social Security card application submitted after his move to Chicago in the mid-1940s, lists him as being born April 4, 1913. His gravestone gives his birth year as 1915.
His grandmother, Della Grant, raised him after his mother died shortly after his birth. Grant gave him the nickname "Muddy" at an early age because he loved to play in the muddy water of nearby Deer Creek. "Waters" was added years later, as he began to play harmonica and perform locally in his early teens. The remains of the cabin on Stovall Plantation where he lived in his youth are now at the Delta Blues Museum in Clarksdale, Mississippi.
He had his first introduction to music in church: "I used to belong to church. I was a good Baptist, singing in the church. So I got all of my good moaning and trembling going on for me right out of church," he recalled. By the time he was 17, he had purchased his first guitar. "I sold the last horse that we had. Made about fifteen dollars for him, gave my grandmother seven dollars and fifty cents, I kept seven-fifty and paid about two-fifty for that guitar. It was a Stella. The people ordered them from Sears-Roebuck in Chicago." He started playing his songs in joints near his hometown, mostly on a plantation owned by Colonel William Howard Stovall.
In August 1941, Alan Lomax went to Stovall, Mississippi, on behalf of the Library of Congress to record various country blues musicians. "He brought his stuff down and recorded me right in my house," Muddy recalled for Rolling Stone magazine, "and when he played back the first song I sounded just like anybody's records. Man, you don't know how I felt that Saturday afternoon when I heard that voice and it was my own voice. Later on he sent me two copies of the pressing and a check for twenty bucks, and I carried that record up to the corner and put it on the jukebox. Just played it and played it and said, 'I can do it, I can do it.'" Lomax came back in July 1942 to record him again. Both sessions were eventually released by Testament Records as Down on Stovall's Plantation. The complete recordings were reissued by Chess Records on CD as Muddy Waters: The Complete Plantation Recordings. The Historic 1941–42 Library of Congress Field Recordings in 1993 and remastered in 1997.
In 1943, Muddy Waters headed to Chicago with the hope of becoming a full-time professional musician. He later recalled arriving in Chicago as the single most momentous event in his life. He lived with a relative for a short period while driving a truck and working in a factory by day and performing at night. Big Bill Broonzy, then one of the leading bluesmen in Chicago, had Muddy Waters open his shows in the rowdy clubs where Broonzy played. This gave Muddy Waters the opportunity to play in front of a large audience. In 1944, he bought his first electric guitar and then formed his first electric combo. He felt obliged to electrify his sound in Chicago because, he said, "When I went into the clubs, the first thing I wanted was an amplifier. Couldn't nobody hear you with an acoustic." His sound reflected the optimism of postwar African Americans. Willie Dixon said that "There was quite a few people around singing the blues but most of them was singing all sad blues. Muddy was giving his blues a little pep." 
Three years later, in 1946, he recorded some songs for Mayo Williams at Columbia Records, with an old-fashioned combo consisting of clarinet, saxophone and piano; they were released a year later with Ivan Ballen's Philadelphia-based 20th Century label, billed as James "Sweet Lucy" Carter and his Orchestra - Muddy Waters' name was not mentioned on the label. Later that year, he began recording for Aristocrat Records, a newly formed label run by the brothers Leonard and Phil Chess. In 1947, he played guitar with Sunnyland Slim on piano on the cuts "Gypsy Woman" and "Little Anna Mae". These were also shelved, but in 1948, "I Can't Be Satisfied" and "I Feel Like Going Home" became hits, and his popularity in clubs began to take off. Soon after, Aristocrat changed its name to Chess Records. Muddy Waters's signature tune "Rollin' Stone" also became a hit that year.
Initially, the Chess brothers would not allow Muddy Waters to use his working band in the recording studio; instead, he was provided with a backing bass by Ernest "Big" Crawford or by musicians assembled specifically for the recording session, including "Baby Face" Leroy Foster and Johnny Jones. Gradually, Chess relented, and by September 1953 he was recording with one of the most acclaimed blues groups in history: Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (also known as Elgin Evans) on drums, and Otis Spann on piano. The band recorded a series of blues classics during the early 1950s, some with the help of the bassist and songwriter Willie Dixon, including "Hoochie Coochie Man", "I Just Want to Make Love to You", and "I'm Ready".
Along with his former harmonica player Little Walter Jacobs and recent southern transplant Howlin' Wolf, Muddy Waters reigned over the early 1950s Chicago blues scene, his band becoming a proving ground for some of the city's best blues talent. Little Walter continued a collaborative relationship long after he left Muddy Waters's band in 1952, appearing on most of the band's classic recordings in the 1950s. Muddy Waters developed a long-running, generally good-natured rivalry with Wolf. The success of his ensemble paved the way for others in his group to make their own solo careers. In 1952, Little Walter left when his single "Juke" became a hit, and in 1955, Rogers quit to work exclusively with his own band, which had been a sideline until that time.
During the mid-1950s, Muddy Waters' singles were frequently on Billboard magazine's various Rhythm & Blues charts including "Sugar Sweet" in 1955 and "Trouble No More", "Forty Days and Forty Nights", and "Don't Go No Farther" in 1956. 1956 also saw the release of one of his best-known numbers, "Got My Mojo Working", although it did not appear on the charts. However, by the late 1950s, his singles success had come to an end, with only "Close to You" reaching the chart in 1958. Also in 1958, Chess released Muddy Waters' first compilation album, The Best of Muddy Waters, which collected twelve of his singles up to 1956.
Muddy toured England with Spann in 1958, where they were backed by local Dixieland-style or "trad jazz" musicians, including members of Chris Barber's band. At the time, English audiences had only been exposed to acoustic folk blues, as performed by artists such as Sonny Terry, Brownie McGhee, and Big Bill Broonzy. Both the musicians and audiences were unprepared for Muddy Waters' performance, which included his electric slide guitar playing. He recalled:
They thought I was a Big Bill Broonzy [but] I wasn't. I had my amplifier and Spann and I was going to do a Chicago thing. We opened up in Leeds, England. I was definitely too loud for them. The next morning we were in the headlines of the paper, 'Screaming Guitar and Howling Piano'.
Although his performances alienated the old guard, some younger musicians, including Alexis Korner and Cyril Davies from Barber's band, were inspired to go in the more modern, electric blues direction. Korner and Davies' own groups included musicians who would later form the Rolling Stones (named after Muddy's 1950 hit "Rollin' Stone"), Cream, and the original Fleetwood Mac.
In the 1960s, Muddy Waters' performances continued to introduce a new generation to Chicago blues. At the Newport Jazz Festival, he recorded one of the first live blues albums, At Newport 1960, and his performance of "Got My Mojo Working" was nominated for a Grammy award. In September 1963, in Chess' attempt to connect with folk music audiences, Muddy Waters recorded Folk Singer, which replaced his trademark electric guitar sound with an acoustic band, including a then-unknown Buddy Guy on acoustic guitar. Folk Singer was not a commercial success, but it was lauded by critics, and in 2003 Rolling Stone magazine placed it at number 280 on its list of the 500 greatest albums of all time. In October 1963, Muddy Waters participated in the first of several annual European tours, organized as the American Folk Blues Festival, during which he also performed more acoustic-oriented numbers.
In 1967, he re-recorded several blues standards with Bo Diddley, Little Walter, and Howlin' Wolf, which were marketed as Super Blues and The Super Super Blues Band albums in Chess' attempt to reach a rock audience. In 1968, at the instigation of Marshall Chess, Muddy Waters recorded Electric Mud, an album intended to revive his career by backing him with Rotary Connection, a psychedelic soul band that Chess had put together. The album proved controversial; although it reached number 127 on the Billboard 200 album chart, it was scorned by many critics, and eventually disowned by Muddy himself:
That Electric Mud record I did, that one was dogshit. But when it first came out, it started selling like wild, and then they started sending them back. They said, "This can't be Muddy Waters with all this shit going on – all this wow-wow and fuzztone.
Later in 1969, Muddy Waters recorded and released the album Fathers and Sons, which featured a return to his classic Chicago blues sound. Fathers and Sons had an all-star backing band that included Michael Bloomfield and Paul Butterfield, longtime fans whose desire to play with him was the impetus for the album. It was the most successful album of Muddy Waters' career, reaching number 70 on the Billboard 200.
In 1971, a show at Mister Kelly's, an upmarket Chicago nightclub, was recorded and released, signalling both Muddy's return to form and the completion of his transfer to white audiences.
Later in 1972, he flew to England to record the album The London Muddy Waters Sessions. The album was a follow-up to the previous year's The London Howlin' Wolf Sessions. Both albums were the brainchild of Chess Records producer Norman Dayron, and were intended to showcase Chicago blues musicians playing with the younger British rock musicians whom they had inspired. Muddy Waters brought with him two American musicians, harmonica player Carey Bell and guitarist Sammy Lawhorn. The British and Irish musicians who played on the album included Rory Gallagher, Steve Winwood, Rick Grech, and Mitch Mitchell. Muddy Waters was dissatisfied by the results, due to the British musicians' more rock-oriented sound. "These boys are top musicians, they can play with me, put the book before 'em and play it, you know," he told Guralnick. "But that ain't what I need to sell my people, it ain't the Muddy Waters sound. An' if you change my sound, then you gonna change the whole man." He stated, "My blues look so simple, so easy to do, but it's not. They say my blues is the hardest blues in the world to play." Nevertheless, the album won another Grammy, again for Best Ethnic or Traditional Recording.
He won another Grammy for his last LP on Chess Records: The Muddy Waters Woodstock Album, recorded in 1975 with his new guitarist Bob Margolin, Pinetop Perkins, Paul Butterfield, and Levon Helm and Garth Hudson of the Band.
From 1977 to 1981, blues musician Johnny Winter, who had idolized Muddy Waters since childhood, produced four albums of his, all on the Blue Sky Records label: the studio albums Hard Again (1977), I'm Ready (1978) and King Bee (1981), and the live album Muddy "Mississippi" Waters – Live (1979). The albums were critical and commercial successes, with all but King Bee winning a Grammy. Hard Again has been especially praised by critics, who have tended to describe it as Muddy Waters' comeback album.
In 1981, Muddy Waters was invited to perform at ChicagoFest, the city's top outdoor music festival. He was joined onstage by Johnny Winter, and played classics like "Mannish Boy", "Trouble No More", and "Mojo Working" to a new generation of fans. This historic performance was made available on DVD in 2009 by Shout! Factory. Later that year, he performed live with the Rolling Stones at the Checkerboard Lounge; a DVD version of the performance was released in 2012.
Live at the Checkerboard Lounge, Chicago 1981 Muddy Waters and three members of British rock band the Rolling Stones Mick Jaggera Keith Richards & Ronnie Wood who performed & recorded on November 22, 1981. The Checkerboard Lounge was a blues club in Bronzeville, on the South Side of Chicago, which was established in 1972 by Buddy Guy and L.C. Thurman.
In 1982, declining health dramatically stopped his performance schedule. His last public performance took place when he sat in with Eric Clapton's band at a concert in Florida in the summer of 1982.
Muddy Waters's longtime wife, Geneva (a first cousin of R. L. Burnside), died of cancer on March 15, 1973. Gaining custody of some of his children, he moved them into his home, eventually buying a new house in Westmont, Illinois. Years later, he travelled to Florida and met his future wife, 19-year-old Marva Jean Brooks, whom he nicknamed "Sunshine". Eric Clapton served as best man at their wedding in 1979.
His sons, Larry "Mud" Morganfield and Big Bill Morganfield, are also blues singers and musicians. In 2017, another son, Joseph "Mojo" Morganfield, began publicly performing the blues, often with his brothers.
Muddy Waters died in his sleep from heart failure, at his home in Westmont, Illinois, on April 30, 1983, from cancer-related complications. He was transported from his Westmont home, which he lived in for the last decade of his life, to Good Samaritan Hospital in Downers Grove, Illinois. There he was pronounced dead at the age of 70. The funeral service was held on May 4, 1983. Throngs of blues musicians and fans attended his funeral at Restvale Cemetery in Alsip, Illinois. John P. Hammond told Guitar World magazine, "Muddy was a master of just the right notes. It was profound guitar playing, deep and simple... more country blues transposed to the electric guitar, the kind of playing that enhanced the lyrics, gave profundity to the words themselves.".
After his death, a lengthy legal battle ensued between Muddy Waters' heirs and Scott Cameron, his former manager. In 2010, Muddy Waters' heir was petitioning for the courts to appoint Mercy Morganfield, his daughter, as administrator and distribute remaining assets, which mainly consists of copyrights to his music. The petition to reopen the estate was successful. In May 2018, the heirs' lawyer sought to hold Scott Cameron's wife in contempt for diverting royalty income. However, the heirs asked for that citation not to be pursued. The next court date was set for July 10, 2018.
In 2017, the city of Chicago dedicated a ten story mural on the side of the building at 17 North State Street, at the corner of State and Washington Streets. It was commissioned as a part of the Chicago Blues Festival and designed by Brazilian artist Eduardo Kobra.
Two years after his death, Chicago honored him by designating the one-block section between 900 and 1000 East 43rd Street near his former home on the south side "Honorary Muddy Waters Drive". The Chicago suburb of Westmont, where Muddy lived the last decade of his life, named a section of Cass Avenue near his home "Honorary Muddy Waters Way". Following his death, fellow blues musician B.B. King told Guitar World magazine, "It's going to be years and years before most people realize how greatly he contributed to American music". A Mississippi Blues Trail marker has been placed in Clarksdale, Mississippi, by the Mississippi Blues Commission designating the site of Muddy Waters' cabin. In June 2017, a massive mural in downtown Chicago was dedicated to him.
The Rolling Stones named themselves after his 1950 song "Rollin' Stone" (also known as "Catfish Blues", which was covered by Jimi Hendrix). Rolling Stone magazine took its name from the same song. Hendrix recalled that "the first guitar player I was aware of was Muddy Waters. I first heard him as a little boy and it scared me to death". The band Cream covered "Rollin' and Tumblin'" on their 1966 debut album, Fresh Cream, as Eric Clapton was a big fan of Muddy Waters when he was growing up, and his music influenced Clapton's music career. The song was also covered by Canned Heat at the Monterey Pop Festival and later adapted by Bob Dylan on his album Modern Times. One of Led Zeppelin's biggest hits, "Whole Lotta Love", is lyrically based on the Muddy Waters hit "You Need Love", written by Willie Dixon. Dixon wrote some of Muddy Waters' songs, including "I Just Want to Make Love to You" (a big radio hit for Etta James, as well as the 1970s rock band Foghat), "Hoochie Coochie Man", which the Allman Brothers Band covered (the song was also covered by Humble Pie, Steppenwolf, and Fear), "Trouble No More" and "I'm Ready". In 1993, Paul Rodgers released the album Muddy Water Blues: A Tribute to Muddy Waters, on which he covered a number of Muddy Waters songs, including "Louisiana Blues", "Rollin' Stone", "Hoochie Coochie Man" and "I'm Ready" in collaboration with a number of guitarists, including Gary Moore, Brian May and Jeff Beck.
Angus Young, of the rock group AC/DC, has cited Muddy Waters as one of his influences. The AC/DC song title "You Shook Me All Night Long" came from lyrics of the Muddy Waters song "You Shook Me", written by Willie Dixon and J. B. Lenoir. Earl Hooker first recorded it as an instrumental, which was then overdubbed with vocals by Muddy Waters in 1962. Led Zeppelin also covered it on their debut album.
Muddy Waters' songs have been featured in long-time fan Martin Scorsese's movies, including The Color of Money, Goodfellas, and Casino. Muddy Waters' 1970s recording of his mid-'50s hit "Mannish Boy" (also known as "I'm a Man") was used in the films Goodfellas, Better Off Dead, Risky Business, and the rockumentary The Last Waltz.
|Muddy Waters Grammy Award History|
|1972||Best Ethnic or Traditional Folk Recording||They Call Me Muddy Waters||folk||MCA/Chess||winner|
|1973||Best Ethnic or Traditional Folk Recording||The London Muddy Waters Session||folk||MCA/Chess||winner|
|1975||Best Ethnic or Traditional Folk Recording||The Muddy Waters Woodstock Album||folk||MCA/Chess||winner|
|1978||Best Ethnic or Traditional Folk Recording||Hard Again||folk||Blue Sky||winner|
|1979||Best Ethnic or Traditional Folk Recording||I'm Ready||folk||Blue Sky||winner|
|1980||Best Ethnic or Traditional Folk Recording||Muddy "Mississippi" Waters Live||folk||Blue Sky||winner|
|1954||"Hoochie Coochie Man"|
|1957||"Got My Mojo Working"|
|Muddy Waters: Blues Music Awards|
|1994||Reissue Album of the Year||The Complete Plantation Recordings||Winner|
|1995||Reissue Album of the Year||One More Mile||Winner|
|2000||Traditional Blues Album of the Year||The Lost Tapes of Muddy Waters||Winner|
|2002||Historical Blues Album of the Year||Fathers and Sons||Winner|
|2006||Historical Album of the Year||Hoochie Coochie Man: Complete Chess Recordings, Volume 2, 1952–1958||Winner|
|1980||Blues Foundation Hall of Fame|
|1987||Rock and Roll Hall of Fame|
|1992||Grammy Lifetime Achievement Award|
U.S. Postage Stamp
|1994||29-cent commemorative stamp||U.S. Postal Service||Photo|
"Baby, Please Don't Go" is a blues song that has been called "one of the most played, arranged, and rearranged pieces in blues history" by French music historian Gérard Herzhaft. Delta blues musician Big Joe Williams popularized the song with several versions beginning in 1935.
After World War II, Chicago blues and rhythm and blues artists adapted the song to newer music styles. In 1952, a doo-wop version by the Orioles reached the top ten on the race records chart. In 1953, Muddy Waters recorded the song as an electric Chicago-ensemble blues piece, which influenced many subsequent renditions. By the early 1950s, the song became a blues standard.
In the 1960s, "Baby, Please Don't Go" became a popular rock song after the Northern Irish group Them recorded it in 1964. Several music writers have identified Jimmy Page, a studio guitarist at the time, as participating in the recording, although his exact contributions are unclear. Subsequently, Them's uptempo rock arrangement also made it a rock standard. AC/DC, Aerosmith, and The Amboy Dukes are among the rock groups who have recorded the song. "Baby, Please Don't Go" has been inducted into both the Blues and Rock and Roll Halls of Fame.Electric Mud
Electric Mud is the fifth studio album by Muddy Waters, with members of Rotary Connection serving as his backing band. Released in 1968, it imagines Muddy Waters as a psychedelic musician. Producer Marshall Chess suggested that Muddy Waters recorded it in an attempt to appeal to a rock audience.
The album peaked at number 127 on Billboard 200 album chart. It was controversial for its fusion of electric blues with psychedelic elements.Got My Mojo Working
"Got My Mojo Working" is a blues song written by Preston "Red" Foster and first recorded by Ann Cole in 1956. Muddy Waters popularized it in 1957 and the song was a feature of his performances throughout his career. A mojo is an amulet or talisman associated with hoodoo, an early African-American folk-magic belief system. Rolling Stone magazine included Waters' rendition of the song on its list of 500 Greatest Songs of All Time at number 359. In 1999, the National Academy of Recording Arts and Sciences gave it a Grammy Hall of Fame Award and it is identified on the list of "Songs of the Century".Hoochie Coochie Man
"Hoochie Coochie Man" (originally titled "I'm Your Hoochie Cooche Man") is a blues standard written by Willie Dixon and first recorded by Muddy Waters in 1954. The song makes reference to hoodoo folk magic elements and makes novel use of a stop-time musical arrangement. It became one of Waters' most popular and identifiable songs and helped secure Dixon's role as Chess Records' chief songwriter.
The song is a classic of Chicago blues and one of Waters' first recordings with a full backing band. Dixon's lyrics build on Waters' earlier use of braggadocio and themes of fortune and 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 interpreted Waters and Dixon songs. The Blues Foundation and the Grammy Hall of Fame recognize the song for its influence in popular music and the US Library of Congress' National Recording Registry selected it for preservation in 2004.I'm Ready (blues song)
"I'm Ready" is a blues song written by Willie Dixon and first recorded by Muddy Waters in 1954. It was a hit, spending nine weeks on the Billboard R&B chart where it reached number four. Since then, "I'm Ready" has been recorded by numerous blues and other artists.I Just Want to Make Love to You
"I Just Want to Make Love to You" is a 1954 blues song written by Willie Dixon, first recorded by Muddy Waters, and released as "Just Make Love to Me" (Chess 1571). The song reached number four on Billboard magazine's R&B Best Sellers chart.Backing Waters on vocals are Little Walter on harmonica, Jimmy Rogers on guitar, Otis Spann on piano, Willie Dixon on bass, and Fred Below on drums. Waters recorded the song again for the album Electric Mud (1968).Johnny Winter
John Dawson Winter III (February 23, 1944 – July 16, 2014), known as Johnny Winter, was an American musician, singer, songwriter, multi-instrumentalist and producer. Best known for his high-energy blues-rock albums and live performances in the late 1960s and 1970s, Winter also produced three Grammy Award-winning albums for blues singer and guitarist Muddy Waters. After his time with Waters, Winter recorded several Grammy-nominated blues albums. In 1988, he was inducted into the Blues Foundation Hall of Fame and in 2003, he was ranked 63rd in Rolling Stone magazine's list of the "100 Greatest Guitarists of All Time".LP (singer)
Laura Pergolizzi (born March 18) is an American singer and songwriter who performs under the stage name LP. She has released five albums and one LP. She has written songs for other artists including Cher, Rihanna, the Backstreet Boys, Leona Lewis, Mylène Farmer and Christina Aguilera.Live at the Checkerboard Lounge, Chicago 1981
Live at the Checkerboard Lounge, Chicago 1981 is a concert video and live album by American blues musician Muddy Waters and members of British rock band the Rolling Stones. It was recorded on November 22, 1981 by David Hewitt on the Record Plant Black Truck, mixed by Bob Clearmountain, and released on July 10, 2012.The Checkerboard Lounge was a blues club in Bronzeville, on the South Side of Chicago, which was established in 1972 by Buddy Guy and L.C. Thurman.Mannish Boy
"Mannish Boy" (or "Manish Boy" as it was originally titled) is a blues standard by Muddy Waters. First recorded in 1955, the song is both an arrangement of and an "answer song" to Bo Diddley's "I'm a Man", which was in turn inspired by Waters' and Willie Dixon's "Hoochie Coochie Man". "Mannish Boy" features a repeating stop-time figure on one chord throughout the song and is credited to Waters, Mel London, and Bo Diddley.Muddy Waters (American football)
Frank "Muddy" Waters (January 30, 1923 – September 20, 2006) was an American football player and coach. He served as the head coach at Hillsdale College (1954–1973), Saginaw Valley State University (1975–1979), and Michigan State University (1980–1982), compiling a career college football record of 173–96–7. Waters was inducted into the College Football Hall of Fame as a coach in 2000.Muddy Waters (album)
Muddy Waters is the third studio album from American rapper Redman, released December 10, 1996 on Def Jam Recordings.
The album peaked at twelve on the Billboard 200 chart.Redman (rapper)
Reginald Noble (born April 17, 1970), better known by his stage name Redman, is an American rapper, DJ, record producer, and actor. He rose to fame in the early 1990s as an artist on the Def Jam label. He is also well known for his collaborations with his close friend Method Man, as one-half of the rap duo Method Man & Redman, including their starring roles in films and sitcoms. He was also a member of the Def Squad in the late 1990s.Rock Me Baby (song)
"Rock Me Baby" is a blues standard that has become one of the most recorded blues songs of all time. It is based on earlier blues, with Big Bill Broonzy's 1940 song "Rockin' Chair Blues" identified as the first. When B.B. King's recording of "Rock Me Baby" was released in 1964, it became his first single to reach the Top 40 in Billboard magazine's Hot 100 chart.Rollin' Stone
"Rollin' Stone" is a blues song recorded by Muddy Waters in 1950. It is his interpretation of "Catfish Blues", a Delta blues that dates back to 1920s Mississippi. Although the single (with "Walkin' Blues" as the B-side) did not appear in the national record charts, it sold about 70,000 copies."Still a Fool", recorded by Muddy Waters a year later using the same arrangement and melody, reached number nine on the Billboard R&B chart. "Rollin' Stone" has been recorded by a variety of artists, and both Rolling Stone magazine and the rock group the Rolling Stones are named after the song.Rollin' and Tumblin'
"Rollin' and Tumblin'" (or "Roll and Tumble Blues") is a blues song first recorded by American singer/guitarist Hambone Willie Newbern in 1929. Called a "great Delta blues classic", it has been interpreted by hundreds of Delta and Chicago blues artists, including well-known recordings by Muddy Waters. "Rollin' and Tumblin'" has also been refashioned by a variety of rock-oriented artists.Super Blues
Super Blues is a 1967 studio album by a blues supergroup consisting of Bo Diddley, Muddy Waters, and Little Walter. The album was released in both mono and stereo formats by Checker Records in June 1967. A follow-up album The Super Super Blues Band was released later that year and featured Howlin' Wolf replacing Little Walter.Trouble No More (song)
"Trouble No More" is an upbeat blues song first recorded by Muddy Waters in 1955. The song was a hit the following year, reaching number seven in the Billboard R&B chart. Backing Muddy Waters were Jimmy Rogers (electric guitar), Little Walter (amplified harmonica), Otis Spann (piano), Willie Dixon (bass), Francis Clay (drums), a loose group of fellow Chess recording artists, sometimes known as the "Headhunters," who were instrumental in defining Chicago blues."Trouble No More" is a variation of "Someday Baby Blues," recorded by Sleepy John Estes in 1935, a song that has been interpreted and recorded by numerous artists. "Muddy Waters calls his "Trouble No More" and Big Maceo titled his "Worried Life Blues." Be that as it may ... they all derive from Sleepy John Estes' 1935 classic "Someday Baby Blues." As he did with "Rollin' Stone," "Rollin' and Tumblin'," "Walkin' Blues," and "Baby Please Don't Go," Muddy Waters took an older country blues and made it into a Chicago blues. Waters also modified the lyrics, using "Someday baby, you ain't gonna trouble, poor me anymore" instead of Estes' "Someday baby, you ain't gonna worry, my mind anymore" (Estes' 1938 version "New Someday Baby" uses "trouble" in place of "worry;" Bob Dylan's 2006 "Someday Baby" uses "trouble, poor me anymore").
The Allman Brothers Band recorded their arrangement of Muddy Waters' "Trouble No More" for their debut album The Allman Brothers Band (1969). A 1971 live recording of the song from the Fillmore East was included on Eat a Peach (1972) Both albums were best sellers (The Allman Brothers Band was certified "Gold," Eat A Peach as "Platinum") and brought "Trouble No More" to a new level of recognition.In 2000, guitarist Larry Coryell along with his sons Julian and Murali recorded the song for the album Coryells.You Shook Me
"You Shook Me" is a 1962 blues song recorded by Chicago blues artist Muddy Waters. It features his vocal in unison with a slide-guitar melody by Earl Hooker. "You Shook Me" became one of Muddy Waters' most successful early-1960s singles and has been interpreted by several blues and rock artists.