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The blues, and where to begin?

Hey guys,

I've been swallowing music in much any type or form since I was a toddler, now I'm almost 44....yet for some unknown reason I never got around to the world of blues. Strange. I know Zeppelin, The Doors etc were heavily influenced by blues, and I've had a Robert Johnson album, John Lee Hooker, etc....but I never gave them much time.

What would be a good starting point to really get to know blues a genre? Any artists, bands you could recommend?
 
Muddy Waters
Howling Wolf
Little Walter
B.B. King
Albert King
Freddie King
Bobby Bland
Junior Parker
Paul Butterfield (with and without Mike Bloomfield)
Hound Dog Taylor
Jimmy Reed
Elmore James
Fabulous Thunderbirds
Albert Collins
Robert Cray
Louis Jordan
Buddy Guy
Junior Wells (with and without Buddy Guy)

That'll keep you busy for awhile :roflmao:
 
There are many flavors of blues ... Delta blues, Chicago blues, Texas blues, Kansas City blues, West Coast blues, etc..

As a bass guitarist, you probably will do best to concentrate on the sub-genres which actually have bass in them. Therefore, a sampling:
Muddy Waters (Chicago)
Howling Wolf (Memphis/Chicago)
Big Joe Turner (Kansas City)
B.B. King (in a class by himself)
Freddy King (Texas)
T-Bone Walker (West Coast/Texas)

Whatever artists you listen to, try to focus on early recordings, i.e., before 1966, as these are the purest.

There are also country and rock-and-roll artists who provide a portal to the Blues: Chuck Berry, Little Richard, Bob Wills and the Texas Playboys, Carl Perkins, and more.

There are three forms which represent probably 95% of all modern Blues recordings: 12-bar, 8-bar, and blues ballads (16- or 32-bar). There are some outliers, like some of Muddy Waters's early records - these are Delta blues with upright bass. And there are some Blues artists who (seemingly) randomly omit or add measures, like John Lee Hooker and Lightning Hopkins, which can make it difficult to play along with.

EDIT: I just read @brianrost 's post. That's an excellent list!
 
Begin on the I. But fairly soon you go to the IV. But then you go back to the I. Finally, you go to the V, then the IV, then the I again.
{rimshot}
(Sorry, i couldn't help myself.)

But seriously, all the people everyone else said.
Although, i'd go right to the source first: Robert Johnson
 
You'll probably get a variation of responses as to what is the blues - it really is a very broad subject.

@brianrost 's list is a great start for the blues roots.

For me, the traditional style of blues gets old pretty quick to play or listen to. I personally enjoy what I call "power blues". I can get pretty fired up with that style. Yes, much of this material is covers of the names listed above - they just present the music in a style that is more energetic. Here's a list of some of the artists I consider power blues:
Cream
Hendrix
Robyn Trower
Pat Traverse
Frank Marino
Gary More
SRV
Joe Bonamassa

There are many more - many 70s R&R bands were essentially power blues. But this is also a pretty deep rabbit hole of material.
 
In my (admittedly very personal) experience, the blues can require a different approach.

I grew up in a musical and academic family, and was therefore brought up with a backdrop of orchestral standards, with all of the harmonic complexity, melodic exposition, and cerebral theory to go along with them. From there I discovered jazz, and delved into the many phases of jazz, each with its own sophistication and rich harmonic and rhythmic palettes, but also with an extra dose of that intangible "feel" that begins to dawn on all of us as we mature as musicians. Parallel to this journey was my immersion in the Classic Rock radio of the day, and later Punk and New Wave, all of which brought a very definite energy and enthusiasm to bear, and often with clever or unique arrangements, melodies, and sometimes rhythms.

Later I learned of the history and cultural evolution of these genres, and discovered that both jazz and rock can trace their roots back to early blues. And while I understand that cognitively, it turns out that whenever I try to embrace the blues as a musical form in its own right, it feels - simplistic. To borrow a literary analogy, it's like I jumped into the story halfway through, when the characters were already developing, and the arc of the storyline was already well underway. From that vantage, it can be anticlimactic to then turn to the beginning of the book, where things are basic and nearly skeletal. To be honest, in comparison to all of those other genres that I've loved for decades, the blues feels simplistic and childish.

And that's when I have to remind myself that the blues, as an artistic expression, is less about musical sophistication or complexity, and much more about the unveiling of the more somber and sorrowful side of human existence itself.

In other words, you might have to consciously adopt a different mindset when exploring the world of blues.

Good luck, and have fun!
 
There are many flavors of blues ... Delta blues, Chicago blues, Texas blues, Kansas City blues, West Coast blues, etc..

As a bass guitarist, you probably will do best to concentrate on the sub-genres which actually have bass in them. Therefore, a sampling:
Muddy Waters (Chicago)
Howling Wolf (Memphis/Chicago)
Big Joe Turner (Kansas City)
B.B. King (in a class by himself)
Freddy King (Texas)
T-Bone Walker (West Coast/Texas)

Whatever artists you listen to, try to focus on early recordings, i.e., before 1966, as these are the purest.

There are also country and rock-and-roll artists who provide a portal to the Blues: Chuck Berry, Little Richard, Bob Wills and the Texas Playboys, Carl Perkins, and more.

There are three forms which represent probably 95% of all modern Blues recordings: 12-bar, 8-bar, and blues ballads (16- or 32-bar). There are some outliers, like some of Muddy Waters's early records - these are Delta blues with upright bass. And there are some Blues artists who (seemingly) randomly omit or add measures, like John Lee Hooker and Lightning Hopkins, which can make it difficult to play along with.

EDIT: I just read @brianrost 's post. That's an excellent list!
AG, I do appreciate your appreciation and knowledge of what I like to think of as roots blues.
 
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In my (admittedly very personal) experience, the blues can require a different approach.

I grew up in a musical and academic family, and was therefore brought up with a backdrop of orchestral standards, with all of the harmonic complexity, melodic exposition, and cerebral theory to go along with them. From there I discovered jazz, and delved into the many phases of jazz, each with its own sophistication and rich harmonic and rhythmic palettes, but also with an extra dose of that intangible "feel" that begins to dawn on all of us as we mature as musicians. Parallel to this journey was my immersion in the Classic Rock radio of the day, and later Punk and New Wave, all of which brought a very definite energy and enthusiasm to bear, and often with clever or unique arrangements, melodies, and sometimes rhythms.

Later I learned of the history and cultural evolution of these genres, and discovered that both jazz and rock can trace their roots back to early blues. And while I understand that cognitively, it turns out that whenever I try to embrace the blues as a musical form in its own right, it feels - simplistic. To borrow a literary analogy, it's like I jumped into the story halfway through, when the characters were already developing, and the arc of the storyline was already well underway. From that vantage, it can be anticlimactic to then turn to the beginning of the book, where things are basic and nearly skeletal. To be honest, in comparison to all of those other genres that I've loved for decades, the blues feels simplistic and childish.

And that's when I have to remind myself that the blues, as an artistic expression, is less about musical sophistication or complexity, and much more about the unveiling of the more somber and sorrowful side of human existence itself.

In other words, you might have to consciously adopt a different mindset when exploring the world of blues.

Good luck, and have fun!
Well said.
 
Hey guys,

I've been swallowing music in much any type or form since I was a toddler, now I'm almost 44....yet for some unknown reason I never got around to the world of blues. Strange. I know Zeppelin, The Doors etc were heavily influenced by blues, and I've had a Robert Johnson album, John Lee Hooker, etc....but I never gave them much time.

What would be a good starting point to really get to know blues a genre? Any artists, bands you could recommend?
Everything in posts 2 and 3, then add Magic Sam. Don’t waste your time with the Brits(with the exception of maybe Peter Green and the original Fleetwood Mac)or SRV, or Bonamassa, at least just not yet, you have homework(oh yeah, Otis Rush) to do. Charlie Patton, Blind Willie Johnson, and Blind Lemon Jefferson were before Robert Johnson if you want to get deeper into pre-war country blues roots. Lightning Hopkins and Leadbelly were acoustic artists who blended into folk music. Big Boy Crudup was an early component of electric guitar, and a transitional figure not only from country to urban blues, but also from blues to rock’n’roll(he wrote this tune called “That’s Alright Mama”). Investigate jump blues, the post-war segue from big band to early R’n’B/R’n’R. Louis Jordan was the man, and a little further on, Ray Charles’ Atlantic years has much to offer.
Don’t forget the ladies; Bessie Smith was one of the first to record what was considered blues, but it won’t sound like Chicago style, it had more to do with the post-Dixieland jazz of the time, and Memphis Minnie was so much more than the person who got plundered for “When The Levee Breaks”. Sister Rosetta Tharp was a force of nature, on vocals and guitar, and came from gospel roots. Never let anyone tell you the blues is boring, they usually din’t know what they’re talking about.
 
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And that's when I have to remind myself that the blues, as an artistic expression, is less about musical sophistication or complexity, and much more about the unveiling of the more somber and sorrowful side of human existence itself.

In other words, you might have to consciously adopt a different mindset when exploring the world of blues.

The "gestalt" of the Blues is powerlessness. Based on temperatures in the U.S. today, this is a good day to listen to "Nine Below Zero" by Sonny Boy Williamson, but I can't recommend adopting that "mindset."

You're right that the Blues are not "about musical sophistication or complexity," but there are Blues forms, and as musicians, we can definitely study and practice those forms in depth.

In my not-so-humble opinion, much of what turns people off about "the Blues" is the self-indulgent wankery practiced by some performers (I'm mostly looking at electric guitarists). There are very few Blues songs (or songs of any genre) that deserve more than five minutes. B.B. King knew to play more songs, keeping each one pretty short, saying what needed to be said and not more.
 
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OP, start with any Chess Records release from the late 50s to late 60s. The recordings are generally bass friendly.






These are generally known as Blues Rock.
For me, the traditional style of blues gets old pretty quick to play or listen to. I personally enjoy what I call "power blues". I can get pretty fired up with that style. Yes, much of this material is covers of the names listed above - they just present the music in a style that is more energetic. Here's a list of some of the artists I consider power blues:
Cream
Hendrix
Robyn Trower
Pat Traverse
Frank Marino
Gary More
SRV
Joe Bonamassa

There are many more - many 70s R&R bands were essentially power blues. But this is also a pretty deep rabbit hole of material.