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27 Cards in this Set
- Front
- Back
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Dippermouth Blues |
King Oliver 1923 12 bar blues early jazz cornet, trombone, clarinet, piano, banjo |
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St Louis Blues |
Bessie Smith 1929 hybrid blues and Tin Pan Alley style AAB, 12 bar blues contributed to blues going mainstream |
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Backwater Blues |
Bessie Smith 1927 blues genre provides the prime example of what "blues vocals" is AAB, 12 bar blues |
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Cross Road Blues |
Robert Johnson 1936 country blues/delta blues vocals and acoustic slide guitar |
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Its Tight Like That |
Tampa Red & Georgia Tom (hokum boys) 1928 hokum blues verse/refrain form piano, lead and backing vocals |
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Pine Top's Boogie |
Pine Top Smith 1928 boogie woogie genre shuffle rhythm repetitive bass figure outlining blues harmony |
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Copenhagen |
Fletcher Henderson 1924 early fox trot syncopated dance music introduced Black beat to popular song |
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Jumpin at the Woodside |
Count Basie 1938 four beat rhythm dense, syncopated texture call and response melody built from repeated riff |
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Can the Circle Be Unbroken |
The Carter Family 1935 country/folk song simple verse chorus 2/4 with dropped beats acoustic guitar, 2 female and 1 male voices |
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Blue Yodel No. 1 |
Jimmie Rodgers 1927 blues white take on black music AAB, 12 bar blues |
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Steel Guitar Rag |
Bob Wills and His Texas Playboys 1936 Exemplifies southwestern openness to outside influence mixes rhythm section and horns from jazz with steel guitar western swing |
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This Land is Your Land |
Woodie Guthrie folk 1940 critical response to Irving Berlin's "God Bless America" |
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Midnight Special |
Leadbelly folk 1930s country-blues style from the perspective of a prisoner |
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Mal Hombre |
Lydia Mendoza 1937 folk vocals and guitar |
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El Manisero |
Don Azpiazu and the Havana Casino Orchestra 1930 son-pregón style popularized the "rhumba" cuban music craze |
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This Train |
Sister Rosetta Tharpe gospel 1939 guitar and vocals |
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Choo Choo Ch' Boogie |
Louie Jordan and the Tympany 5 1946 epitomizes the R&B jump blues style boogie woogie, served as a link between country and R&B alternates between 12 bar blues verses and 8 bar choruses |
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Mama He Treats Your Daughter Mean |
Ruth Brown 1952 R&B |
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I Got a Woman |
Ray Charles R&B 1954 based on gospel song "It Must Be Jesus" with added jazz elements and secular lyrics |
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I'm Your Hootchie Cootchie Man |
Muddy Waters 1953 electric blues refrain-like 8 bar chorus competing riffs on guitar and harmonica two electric guitars, bass, drums, amped harmomica extended 16 bar blues form w/ strophic verse-chorus structure |
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Bo Diddley |
Bo Diddley R&B 1955 hambone rhythm & maracas 1st to have a woman guitarist one-chord blues |
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Shake, Rattle, and Roll |
Joe Turner 1954 verse/chorus blues heavy backbeat jump band r&b with hokum blues flavor 12 bar blues |
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Shake, Rattle, and Roll |
Bill Haley and the Comets 1954 verse/chorus 12 bar blues piano, bass, rhythm guitar, saxophone bowdlerized lyrics for white audiences |
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Sh-Boom |
The Chords 1954 simple verse doowop progression 4/4 |
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Sh-Boom |
The Crew Cuts 1954 more traditional, strict rhythm simple verse form 4/4 time doowop progression |
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Rocket 88 |
Jackie Brenston 1951 simple verse form heavy beat taken from jump bands distorted electric guitar claimed by some to be the first rock and roll record |
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Sixty Minute Man |
Billy Ward and the Dominoes 1951 R&B record Sold over 1 million copies, huge at the time In an interview, Alan Freed christened it rock 'n' roll |
