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Blues Music Analysis

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Blues: A Contemporary Sound
“It used to be called boogie-woogie, it used to be called blues, used to be called rhythm and blues. . . . It’s called rock now.” A club filled with smoke on the Southern Side of the city of Chicago, the Macomba Lounge, on a Saturday night in the year 1950. On a dimly lit small stage behind the bar in the narrow long club, mounted a strong African American robed in baggy pants, an electric green suit and a white shirt with a striped tie. A 3-inch pompadour was sported by him with his slicked back hair. He grasped an oversize electric guitar which is an instrument founded in the urban environment of postwar, pulling, caressing, bending and pushing the strings until he produced a distressed sharp cry that crossed …show more content…
However taking an array of shapes and experiencing numerous variations over the years, the blues shaped the foundation of rhythm and blues, jazz, and the rock-and-roll music. Africans, after been torn from their skin, suffering a cruel journey from their West African homes to the South of America on slave ships and enforced into a submissive mode of life, reserved a steadiness with their stance over a variety of conducts, counting music. Their voices slipped amongst the lines of the more unbending scale of European music to make a characteristic new sound. To the owners and supervisors of plantations the music appeared to be “falling and rising” and sounded …show more content…
Perhaps the standard of R&B artists of Chicago made Muddy Waters feel that he was bound to electrify his sound. “As soon as I went inside the clubs, the initial thing that I required was an amplifier. Could nobody perceive you while having an acoustic?” At least partially out of requirement, Muddy joined his amplifier and electric guitar with the Delta blues, which blasted out the volume, tension, and misperception of the streets of the big city (Edward, 2004 ). By uniting the sounds of the country and the city within a low-down, nitty-gritty, jittery sound, Muddy Waters reproduced the hopefulness of African Americans of the postwar, who had run away from the apparently inevitable cotton fields of the south. The urban music with the additional sullen country blues, which were born in bondage, were seriously

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