Hootchie
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The single entered magazine's charts on March 13, 1954, and reached number three on the Juke Box chart and number eight on the Best Seller chart. Appearing in the late 19th century, the was a sexually provocative dance. It Ain't Easy: Long John Baldry and the Birth of the British Blues.
Where we were, in the Delta, they couldn't do no nothin', I don't think. Willie Dixon: Preacher of the Blues.
Life Goes Style GmbH, Köln - Wenn du dabei sein möchtest , schreib dem Veranstalter Siggi eine Mail unter siggi. Girl Show: Into the Canvas World of Bump and Grind.
The song makes reference to folk magic elements and makes novel use of a musical arrangement. It became one of Waters' most popular and identifiable songs and helped secure Dixon's role as ' chief songwriter. The song is a classic of 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. After the song's initial success in 1954, Waters recorded several live and new studio versions. The original appears on the 1958 album and many compilations. Because this is what black people really believed in at that time. From 1946 to 1951, Willie Dixon sang and played bass with the Big Three Trio. After the group disbanded, he worked for Chess Records as a recording session arranger and bassist. Dixon wrote several songs, but label co-owner Leonard Chess failed to show any interest at first. The song became Waters' first record chart success in nearly two years. Appearing in the late 19th century, the was a sexually provocative dance. The dance is associated with entertainers andbut by the 1910s it declined in popularity. 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. Muddy would work them around for a while until he got it down where he could understand it and fool around with it. He would be onstage and try it out, do a few licks of it. We were building the arrangement, that's what we were really doing. Willie Dixon at Monterey Jazz Festival, 1981 On January 7, 1954, Waters entered the recording studio with his band to record the song. Waters sings and plays electric guitar along with Rogers, blues harmonica virtuoso Little Walter, and drummer Elgin Evans, all of whom had been performing with Waters since 1951. Pianistwho joined in 1953, and Dixon, in his debut on double bass for Waters' recording session, round out hootchie cootchie köln group. Two takes of the song were recorded. Although there are some moments in the alternate take when a player's timing rushes or drags perceptibly, because the band is so tight, the difference with the master is only six seconds for a nearly three-minute song. The first four bars are doubled in length so the harmony remains hootchie cootchie köln the for eight bars or one-half of the sixteen bar progression. Dixon explained that expanding twelve-bar blues was in response to amplification, which gave instruments more sustain. The extra bars also increase the contrasting effect of the repeating stop-time or. For the second eight bars, the song reverts to the last eight of the twelve-bar progression, which functions as a refrain or. The different textures provides the tune with a strong contrast, which helps underscore the lyrics. The song is performed at a moderate blues 72 in the. It is notated in and contains three sixteen-bar sections. A key feature of the song is the hootchie cootchie köln of stop time, or pauses in the music, during the first half of the progression. This musical device is commonly heard inwhen the instrumentation briefly stops, allowing for a short instrumental solo before resuming. However, Waters' and Dixon's use of stop time serves to heighten the tension through repetition, followed by a vocal rather than an instrument fill. He attributed it to the band and using such a phrase for eight bars was a new approach. He adds that this type of heavy sound was rarely heard in small music combos before rock. However, unlike the 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. The narrator boasts of his good fortune and his effect on women as aided by hoodoo. Waters explored similar themes in earlier songs, but his approach was more subtle. Dixon claimed that the idea of a seer was inspired by history and the Bible. The verses in the song's three sixteen-bar sections proceed chronologically. The fortune tellers would emphasize auspicious circumstances to enhance their earnings, especially when doing readings for pregnant women. In the second section, the narrative is in the present and several references are made to charms used by hoodoo conjurers. Their magical powers assure that the gypsy's prophecy will be borne out: women and the rest of world will take notice. The song concludes with a final section which projects the good fortune into the future. The number seven is prominent: on the seventh hour, on the seventh day, etc. The stringing together of sevens is another good omen and is analogous to the of folklore. Each section is linked by a refrain or recurring chorus. Writer Benjamin Filene sees this and Dixon's desire to tell complete stories, with the verses building on each other, as sharing elements of. Dixon felt that the lyrics expressed part of the audience's unfulfilled desire hootchie cootchie köln brag, while Waters later admitted that they were supposed to have a comic effect. Music historian points to the underlying theme of sexuality and virility as sociologically significant. He sees it as challenge to the fear of in the dying days of. It soon became the biggest hit of Waters' career. The single entered magazine's charts on March 13, 1954, and reached number three on the Juke Box chart and number eight on the Best Seller chart. Numerous later Waters' official compilations contain it, such as Sail On; McKinley Morganfield a. Muddy Waters; The Chess Box; His Best: 1947 to 1955; The Best of Muddy Waters — The Millennium Collection; ; Hoochie Coochie Man: The Complete Chess Masters, Vol. Chess released it in 1994 on the Waters rarieties hootchie cootchie köln One More Mile. He revisited the song with original guitarist Jimmy Rogers in 1977. They re-recorded it forthe -winning album produced by. Waters featured the song in his performances and several live recordings have been issued. His acclaimed At Newport 1960, one of the first live blues albums, includes a rendition by his later band with Spann, and. Other live albums have versions that span his career with different backup bands. These include Live in 1958 recorded in England in 1958 with Spann and 's band, released in 1993 and re-released as Collaboration in 1995 ; Authorized Bootleg: Live at the Fillmore Auditorium — San Francisco Nov 04—06 1966 released 2009 ; The Lost Tapes recorded 1971, released 1999 ; recorded 1977, released 1979 ; and with members of released hootchie cootchie köln. 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 hootchie cootchie köln followed up with several variations on the sixteen-bar stop-time arrangement written by Dixon. He reworked it as a four-note figure, which is repeated for the entire song without a progression to other chords. That's from 'Hoochie Coochie Man. American composer quoted the figure in another film,which received a nomination for an in 1955. Rock musicians are among the many who have interpreted it. Archived from on September 9, 2014. Where we were, in the Delta, they couldn't do no nothin', I don't think. And there is no way I can shake my finger at you and make you bark like a dog, or make frogs and snakes jump out of you. In his autobiography, Dixon wrote that he had Waters get his guitar and they rehearsed the song in the front of the restroom by the door while patrons were coming and going. The group lasted about a year and produced one album,which also included a version of the song. Archived from on July 7, 2015. Archived from on May 2, 2007. The Cambridge Companion to Blues and Gospel Music. Rock and Roll: An Introduction Second ed. Popular Music in America: And the Beat Goes On Fourth ed. The Language of the Blues: From Alcorub to Zuzu. The Sound of the City 2nd. Delta Blues Norton Paperback 2009 ed. Can't Be Satisfied: The Life and Times of Muddy Waters. Willie Dixon: Preacher of the Blues. It Ain't Easy: Long John Baldry and the Birth of the British Blues. Muddy Waters: Chess Box Box set booklet. Girl Show: Into the Canvas World of Bump and Grind. Escaping the Delta: Robert Johnson and the Invention of the Blues 1st. The Language of American Popular Entertainment: A Glossary of Argot, Slang, and Terminology.
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The song is performed at a moderate blues 72 in the. Veranstalter ist die Life goes Style GmbH Weitere Informationen auf Diginights ist nicht Veranstalter dieses Events. From 1946 to 1951, Willie Dixon sang and played bass with the Big Three Trio. Dixon wrote several songs, but label co-owner Leonard Chess failed to show any interest at first. He adds that this type of heavy sound was rarely heard in small music combos before rock. 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. The company report was last updated on Dec 18, 2018. The song became Waters' first record chart success in nearly two years.
