It would be included in the Rock and Roll Hall Of Fame’s list of the “500 Songs That Shaped Rock and Roll” and rank 226 on Rolling Stone magazines list of the “500 Greatest Songs of All Time”. Each episode of the podcast takes a deeper dive into one of six nuanced themes that contributed to the particularly disturbing nature of this surprisingly complicated case, providing further context and background for this horrific crime. We were building the arrangement, that's what we were really doing. The song marks one of Muddy’s first recordings with a full backing band, creating a template for the rock bands of the 1960s to emulate. That's from 'Hoochie Coochie Man.' [45][i] A Grammy Hall of Fame Award followed in 1998, which "honor[s] recordings of lasting qualitative or historical significance". [69] They re-recorded it for I'm Ready, the Grammy Award-winning album produced by Johnny Winter. [37] Dixon explained that expanding twelve-bar blues was in response to amplification, which gave instruments more sustain. [77] Emphasizing the origin of Bo Diddley's song, Waters sticks to the original first eight-bar phrase from "Hoochie Coochie Man" and includes some of the hoodoo references. Stream the best podcasts from your favorite stations. [29] During an intermission, Dixon showed him the song. Lyrics to "(I'm Your) Hoochie Coochie Man" on Lyrics.com. This 1954 recording (the second, after 1952's original) of blues standard "Hoochie Coochie Man" by Muddy Waters is one of the all-time classic blues records; a vital piece of Chicago-style electric blues that links the Delta to rock & roll, the session list is a who's who of bluesmen. The Murders at White House Farm: The Podcast. [54] These include a black cat bone, a John the conqueror root, and a mojo,[55] the last of which figured in "Louisiana Blues". It became one of Waters' most popular and identifiable songs and helped secure Dixon's role as Chess Records' chief songwriter. 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. Because the blues, you know, has always been a women's market". Jacobs's influential harmonica work is blistering, and Spann rolls his staccato piano figures in the trademark Chess style that can also be heard on Johnny Johnson's work on Chuck Berry's recordings. [43] Writer Benjamin Filene sees this and Dixon's desire to tell complete stories, with the verses building on each other, as sharing elements of pop music. [5] One of his first singles was "Gypsy Woman", recorded in 1947. [59], Each section is linked by a refrain or recurring chorus. [21] Waters explored similar themes in earlier songs, but his approach was more subtle. No. Above it all, we have the hearty and powerful Muddy Waters bellowing about his birthright as a "Hoochie Coochie Man." [32], As numerous artists recorded it in a variety of styles, "Hoochie Coochie Man" became a blues standard. [78], According to Palmer, songwriters adapted the phrase for other artists and it was "soon absorbed into the lingua franca of blues, jazz, and rock and roll". [4] When Bo Diddley adapted it for "I'm a Man", it became one of the most recognizable musical phrases in blues. [50] The opening verse starts before the narrator is born[51] and references Waters' 1947 song "Gypsy Woman": The gypsy woman told my mother, before I was born The final verse rattles off a list, all items based on the number seven, which has biblical significance as the symbol of divine perfection -- coming from the Hebrew word "shevah," meaning full, or sated -- and the legend of the luck of the seventh son, which predated the Bible: "On the seventh hour, on the seventh day/On the seventh month, seven doctors say/'He was born for good luck, that you'll see'/I got seven hundred dollars; don't you mess with me! The braggadocio most likely came as a reaction to Dixon's past, escaping rural poverty by moving to Chicago, where he became an amateur prizefighter. “Hoochie Coochie Man” or “(I’m Your) Hoochie Coochie Man” was written by Willie Dixon but made timeless by the great Muddy Waters on the 1954 recording. It was one of the earliest breaks from the Delta blues. > https://de.wikipedia.org/wiki/Hoochie_Coochie_Man. [84] In 2004, the National Recording Preservation Board, advisors to the US Library of Congress, selected it for preservation in the National Recording Registry and noted the contributions of the band members. [2] (Fred Below, who replaced Evans during 1954, is sometimes listed as the drummer. [67] In 1972, Waters recorded an "unplugged" rendition of the song, with Louis Myers on acoustic guitar and George "Mojo" Buford on unamplified harmonica. Up until this song, most electric blues were just amplified versions of acoustic arrangements; this was something unique. [75] Waters, not to be outdone, responded two months later with an answer song to "I'm a Man", titled "Mannish Boy". [14], From 1946 to 1951, Willie Dixon sang and played bass with the Big Three Trio. On the seventh hours On the seventh day On the seventh month The seven doctors said He was born for good luck And that you'll see I got seven hundred dollars )[3][34] Pianist Otis Spann, who joined in 1953, and Dixon, in his debut on double bass for Waters' recording session, round out the group.

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