Under the production of Bill Szymczyk, B.B. King updated his blues in both style and subject matter on his March 5, 1969, rendering of “Why I Sing the Blues.”  In the pulsating performance, propelled by [...]

Blind Lemon Jefferson recorded  “See That My Grave Is Kept Clean”  for Paramount in Chicago in 1928, following up an earlier version that was issued under a religious pseudonym, Deacon L.J. Bates, 1927’s “See That [...]

Blues empress Bessie Smith delivered one of her finest, most expressive performances on “Nobody Knows You When You're Down and Out,” a classic hard times blues recorded for Columbia in New York on May 15, [...]

Sylvester Weaver was the Louisville musician who introduced the guitar to blues recording in 1923, first accompanying singer Sara Martin and then on his own solo sides, promoted with a flurry of fanfare about his [...]

“Don't Mess With Man,” Irma Thomas’ first record, hit the “Billboard” R&B charts in 1960 and not only established her but also provided plenty of women singers with a song to spice up their repertoire [...]

“Why Don’t You Do Right?” was a pop hit for Peggy Lee with Benny Goodman and his Orchestra in 1942 and the song originated as “Weed Smoker’s Dream” on a 1936 record by the Harlem [...]

“Driving Wheel” was one of several older blues successfully reworked by Junior Parker with his smooth vocal expertise. Based on Roosevelt Sykes’ “Driving Wheel Blues” from 1936, the title equated the powered wheel of a [...]

“Key to the Highway” becomes the first song elected to the Blues Hall of Fame twice—first by Big Bill Broonzy in 1941 and now by a Broonzy colleague, Jazz Gillum. Broonzy was better known than [...]

Gatemouth Brown’s instrumental prowess was on full display on his 1954 classic “Okie Dokie Stomp.” Brown’s nonstop guitar masterpiece was recorded with hot backing by the Pluma Davis Orchestra in Houston in May 1954. Bandleader-trombonist [...]

Vee-Jay Records first recorded “I Ain’t Got You” by its star, Jimmy Reed, in July 1955, but Billy Boy Arnold recalled in his autobiography that writer-producer Calvin Carter wanted a “swingin’, upbeat” version—which Billy Boy [...]