The Country “Hillbilly” Blues Roots of Rock Music

Rock music came together from many sources and influences, including all forms of the blues. The first “rock ‘n’ roll record” (according to an interesting book, What Was the First Rock ‘n’ Roll Record? by Jim Dawson and Steven Propes) is “Rocket 88” by Jackie Brenston with Ike Turner (1951), mainly because it introduced that fuzz tone and distortion sound we take for granted in rock today.

There are many reasonable alternatives, and one could fill several days of nonstop music in an attempt to cover the territory. A lot of these alternatives were songs from the Chicago blues renaissance of 1940-60, with country blues musicians such as Muddy Waters switching to the electric guitar.

If you trace back the origins of these Chicago blues songs and electric guitar stylings, you find the acoustic country blues guitar of Robert Johnson, Blind Lemon Jefferson, and Charley Patton, mixed with some hillbilly music termed “folk” by today’s standards, including Elizabeth Cotten, the Carter Family, Clarence Ashley, and Cannon’s Jug Stompers. Rock music derives its raw spirit of rebellion and lusty sex from the country blues sound, which gave birth to the Chicago blues, rhythm and blues, and rock ‘n’ roll. This playlist demonstrates how some of these early songs were interpreted in rock music.

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Liner Notes

“Shake That Thing” by Papa Charlie Jackson (Traditional), “Diddie Wa Diddie” by Blind Blake (Blake), and “Ditty Wah Diddy” by Bo Diddley and by Captain Beefheart (Willie Dixon and Bo Diddley)

A native of either New Orleans or somewhere else in the Mississippi Delta (very little is known about him), Papa Charlie Jackson was the first commercially successful male blues singer to appear on records, and the first to record a form of the blues that deviated from the orchestrated popular blues of Mamie Smith and Bessie Smith during 1920-26. This is from his first recordings for Paramount in 1924.

Jackson recorded “race” records of blues standards — check out the Papa Charlie Jackson Collection — including “I’m Alabama Bound” (later recorded by the Charlatans). He moved up to Chicago from the Delta, way ahead of the bluesmen that would come later, and established his reputation in clubs.

“Shake That Thing” is clearly an important rhythmic ancestor of all those “Diddy Wah Diddy” songs, including “Diddie Wa Diddie” by Blind Blake (from All the Published Sides) recorded in 1929, “Diddy Wah Diddy” written by Willie Dixon and Bo Diddley recorded in 1956 (from 40 Greatest Hits of Bo Diddley), and “Ditty Wah Diddy” recorded in 1966 by Captain Beefheart (from the Legendary A&M Sessions).

“Spoonful (a.k.a. A Spoonful Blues)” by Charley Patton, “Spoonful” by Howlin’ Wolf, “Spoonful” by Cream (Traditional)

This song is based on an earlier song by Papa Charlie Jackson called “All I Want is a Spoonful”. Patton, from Edwards MI, toured the Deep South from 1921-23, influencing a number of young bluesmen including Robert Johnson, John Lee Hooker, Howlin’ Wolf, and Willie Dixon, who wrote the modern blues song “Spoonful”.

Patton would play his guitar behind his back and between his legs like a vaudeville act, way before Chuck Berry and Jimi Hendrix would do the same. He recorded songs for Paramount in 1929 (see Complete Recordings). You can hear the origin of the familiar “Spoonful” riff, set in an arrangement that is more upbeat than the latter-day “Spoonful”, which was recorded by Howlin’ Wolf and eventually by Cream.

Howlin’ Wolf wrote or covered many blues songs that found their way into rock (see The Absolutely Essential Collection), including “Smokestack Lightnin'”, “How Many More Years”, “Forty Four”, “The Red Rooster”, “Wang Dang Doodle”, “Back Door Man”, “Goin’ Down Slow”, and “I Ain’t Superstitious”. Born Chester Arthur Burnett in 1910, Howlin’ Wolf sang and played guitar and harmonica for over four decades, transforming the acoustic Delta blues into the electric Chicago blues.

“Spoonful” appeared on Cream’s first album, Fresh Cream, and inspired a new generation of hard rock. Formed by Ginger Baker, Jack Bruce, and Eric Clapton, the Cream was an experiment in jazz-rock, the first power trio of bass, guitar, and drums, which came together for only two heady years, 1967-68. A lengthy live version of this song recorded at Winterland, S.F. on March 10, 1968, was released on the Wheels of Fire album, and generally recognized as the Cream’s signature performance.

“Match Box Blues” by Blind Lemon Jefferson, and “Matchbox” by Carl Perkins (Blind Lemon Jefferson)

Blind Lemon Jefferson may be the most well-known of the ancient bluesmen. Born in Texas, Jefferson’s fame as a blues singer increased in the early 1920s, and he started recorded his blues in 1925 for Paramount in Chicago. This song is from a session in 1927, released on the Okeh label — you can find it on Black Snake Moan. One night in Dec. 1929, he left the studio and was found dead the next morning, his frozen body lying in the street with his guitar next to him.

Carl Perkins arranged the Blind Lemon Jefferson song “Match Box Blues” (taught to him by his father) into his own “Matchbox” with somewhat different lyrics — see The Complete Carl Perkins On Sun. Carl Perkins was a contemporary of Elvis at Sun Records and an inspiration for bands that played rockabilly songs, such as the Beatles, who covered “Matchbox” with Ringo singing the lead. Perkins was injured in a car accident and lost his momentum just as Elvis was conquering the pop charts.

Many blues songs found there way into “rockabilly” rock ‘n’ roll. Check out this video of Eddie Cochran doing “C’mon Everybody”:

“Black Snake Moan” by Blind Lemon Jefferson (Blind Lemon Jefferson), “That’s All Right” by Arthur “Big Boy” Crudup, and “That’s All Right (Mama)” by Elvis Presley (Crudup)

Like many other singers, Blind Lemon Jefferson sang many types of songs for popular audiences, including moans, breakdowns, prison songs, gospel songs, popular tunes of the day — see Black Snake Moan. But his own blues centered around the black snake motif (look out Jim Morrison). He does not accompany himself on guitar while singing, but uses it to answer each vocal line, and he suspends the beat for the verse. You can hear him sing “That’s all right, mama” and “Any way you do” in a slow tempo.

These lyrics would inspire Arthur Crudup to write perhaps the first rock ‘n’ roll song, “That’s All Right,” which was covered by Elvis Presley and Carl Perkins, providing a direct link from Blind Lemon Jefferson to rock ‘n’ roll. For a version recorded in 1943, see My Baby Left Me… But That’s Alright.

Arthur Crudup was well known in Memphis before the age of Elvis, and Sun Records’ Sam Phillips was inspired by Crudup’s live performance to go out and find a white boy who could sing with the same feeling. That would, of course, be Elvis Presley, who shook the song out of the blues and into rock ‘n’ roll. You can find the Elvis version on The Sun Sessions.

“Cross Road Blues (Alternate Take”) by Robert Johnson, and “Crossroads” by Cream (Johnson)

Robert Johnson, king of the Delta blues, was the main inspiration for a generation of country blues and rock. Johnson was cited as the main influence by Eric Clapton, Keith Richards, and many others.

Born in 1911 in the Mississippi Delta region, Johnson absorbed the music and live performances of Leroy Carr (“How Long, How Long Blues”), Charley Patton, and Son House.

This song, the “alternate” version recorded in Nov. 1936 (released on King of the Delta Blues Singers and found on The Complete Recordings), reached a wider audience throughout the country and Europe than the first version, which barely made it out of the Delta. The song fueled a long-standing myth about Johnson: that he made a deal with the devil in order to gain newfound musical talent. He went away for some time, local bluesmen said, and when he returned, he was so much better they could not believe it.

Robert Johnson reigned during the late 1920s and early 1930s country blues scene in the Delta, playing with blues greats Sonny Boy Williamson II, Robert Nighthawk, Elmore James, Honeyboy Edwards, Howlin’ Wolf, and Johnny Shines. He developed a taste for all kinds of “bad” behavior, including booze, smoke, gambling, and stealing women from their men. He traveled incessantly and performed as far from the Delta as St. Louis, Chicago, Detroit, and New York City. He played his last gig in Aug. 1938, when he was killed by an angry husband.

The song has been covered by many blues and rock artists, with Cream taking it to a magnificently lofty peak of a jamming experience. Recorded at Winterland, S.F. on March 10, 1968, the “Crossroads” jam and solos by Eric Clapton inspired a new generation of hard rock guitarists. Formed by Ginger Baker, Jack Bruce, and Eric Clapton, Cream was an experiment in jazz-rock, the first power trio of bass, guitar, and drums, which came together for only two heady years, 1967-68. The Wheels of Fire album featured both live and studio tracks.

“Milk Cow Blues” by Kokomo Arnold, “Milkcow Calf’s Blues” by Robert Johnson, and “Milkcow Blues Boogie” by Elvis Presley (Kokomo Arnold)

Kokomo Arnold was a left-handed slide guitarist from the Georgia who started his career in Chicago. He wrote and recorded the first recognized version of “Milk Cow Blues” and his other hit, “Old Original Kokomo Blues”, in 1934 (see Collection 1930-1938).

The metaphor of a milk cow for a female lover was already established in blues recordings such as “My Black Mama Part 1” by Son House, and there were many other songs with “Milkcow” in their titles. The song made Arnold a star, and was widely adapted by artists in blues, Western swing and rock. It was recorded by Cliff Bruner’s Texas Wanderers (1937), Johnnie Lee Wills (brother of Bob Wills) (1941), Elvis Presley (1954), Ricky Nelson (1960), Aerosmith (1977), and Willie Nelson (2000).

Robert Johnson turned “Milk Cow Blues” into “Milkcow’s Calf Blues” and “Old Original Kokomo Blues” into “Sweet Home Chicago” (on The Complete Recordings). Other Robert Johnson songs covered by rock stars include “Stop Breaking Down” and “Love in Vain” by the Rolling Stones.

On The Sun Sessions, Elvis Presley starts the song in the traditional slow blues style, then stops. “Hold it fellas. It don’t move,” he says to the other musicians. “Let’s get real real gone for a change!” Here, in a vocal outtake, is the transition point from blues to rock ‘n’ roll. Elvis Presley recorded this at Sun Records Studios in Dec. 1954, with Scotty Moore on lead guitar and Bill Black on bass.

“I’m So Glad” by Skip James and “I’m So Glad” by Cream (James)

Skip James was a Delta blues singer born in 1902 who played guitar and piano, and is especially known for using a dark, minor-key guitar tuning and singing with an unnerving falsetto. He recorded music in various styles including spirituals and cover versions as well as originals. “I’m So Glad“, recorded in 1931 and available on Hard Times Killin Floor, was derived from a 1927 song, “So Tired”, by Art Sizemore and George A. Little, recorded in 1928 by Gene Austin and by Lonnie Johnson (Johnson’s version was entitled “I’m So Tired of Livin’ All Alone”).

Cream reworked “I’m So Glad” to use an electric blues rock arrangement. As a result of Cream’s albums and performances, “I’m So Glad” gained a much wider audience and other artists often based their versions on Cream’s. The studio version of the song appears on Fresh Cream.

“Bull Doze Blues” by Henry Thomas (Thomas) and “Going Up the Country” by Canned Heat (Al Wilson)

Henry Thomas, a.k.a. Ragtime Texas, born in 1874, played guitar in a finger-picking and strumming style, and on this song played the quills (pan pipes), a reed instrument with roots in African music, which was mostly replaced by harmonicas by the 1920s. He recorded “Bull Doze Blues” in 1927; you can find it on Texas Worried Blues: Henry Thomas Complete Recorded Works. Thomas performed at the Columbian Exposition of 1893 and the St. Louis World’s Fair of 1904, and recorded his songs in Chicago between 1927 and 1929 for Vocalion Records. After these two years of performances and studio sessions, he vanished without leaving a trace.

“Going Up the Country” can be found on The Very Best of Canned Heat. It was used as the opening tune for the film Woodstock (you can also find it on the Woodstock Music from the Original Soundtrack). Canned Heat was formed by Bob “The Bear” Hite and Al “Blind Owl” Wilson, who sings lead vocals on this song, which he derived from “Bull Doze Blues” by Henry Thomas, substituting a flute for the quills.

“That’s No Way to Get Along” by Robert Wilkins (Wilkins) and “Prodigal Son” by the Rolling Stones (Jagger/Richards)

The Rolling Stones wrote “Prodigal Son” based entirely on “That’s No Way to Get Along” by Robert Wilkins, a Memphis singer from Mississippi in the 1920-30s who started (and ended) as a gospel singer, although he could play excellent blues guitar.

The Original Rolling Stone collection of Robert Wilkins songs represents sessions from 1928 through 1935, when Wilkins enjoyed his greatest popularity with “I Do Blues,” “Rollin’ Stone (Parts 1 and 2),” “Jailhouse Blues,” and “I’ll Go with Her.” Another unusual song is the scandalous “Old Jim Canan’s,” about a notorious Memphis barrelhouse where blues-loving patrons were “drinkin’ whiskey and sniffin’ cocaine”.

His confessional “That’s No Way to Get Along” from 1929 was recreated some 35 years later by the Reverend Robert Wilkins as “Prodigal Son,” and covered by the Rolling Stones on Beggars Banquet. The Stones were at 1968 more of a quintet than a band fronted by Mick Jagger (vocals), with Keith Richards on guitar, Brian Jones on guitar and harmonica (and exotic instruments such as sitar and dobro), and Bill Wyman (bass) and Charlie Watts (drums) forming the most solid rhythm section in rock.

“Old Dog Blue” by Jim Jackson and “Old Blue” by the Byrds (Jackson)

Jim Jackson was a medicine show performer, street singer, and jug band musician who played with Gus Cannon and Furry Lewis in and around Memphis in the 1920s. He recorded this in 1928, and it has been covered by bluesmen (Sonny Terry, Furry Lewis), folk artists (Joan Baez, Pete Seeger, Cisco Houston), and rock groups (the Byrds, J.J. Cale). “Old Blue, he died like a man / Now he’s treeing possum in the Promised Land.” You can find this version on the Anthology of American Folk Music.

The Byrds had gone through some changes by the time they’d recorded this song for Dr. Byrds and Mr. Hyde. 12-string guitarist and lead singer Jim McGuinn had renamed himself Roger (in accordance with his newfound Subud faith), Chris Hillman on bass and mandolin had led the group into country and western music (with help from friend Gram Parsons) only to leave the band and be replaced by John York, Gene Parsons had replaced Michael Clarke on drums, and Clarence White and moved to the forefront on lead, slide, and pedal steel guitar.

“Minglewood Blues” and “New Minglewood Blues” by Cannon’s Jug Stompers with Noah Lewis, and “New New Minglewood Blues (Live)” by the Grateful Dead (Lewis)

Cannon’s Jug Stompers were a well-known jug and skiffle group in Memphis from 1908-1913. Jug band music started in Louisville, KY, with the Louisville Jug Band but had a greater impact in Memphis. Years later, in 1928, they recorded several songs including this one. Gus Cannon could play many instruments but specialized in banjo and jug. Noah Lewis played harmonica and was the best showman of the group — he could play two harmonicas at once, through mouth and nose. Ashley Thompson sang and played guitar.

Minglewood was a lumber camp a few miles east of the Mississippi River near Dyersburg, TN, and Noah Lewis had worked there. He recorded it later as “New Minglewood Blues” by the Noah Lewis Jug Band. Cannon’s Jug Stompers: The Complete Works includes the first version. You can also find the first version on the Anthology of American Folk Music. The second version appears on Complete Recorded Works In Chronological Order, Vol. 2.

The Grateful Dead covered Noah Lewis’ “Viola Lee Blues” and the Jug Stomper’s “Big Railroad Blues” and arranged a new version of this song called “New New Minglewood Blues”. This version is live from Ladies & Gentlemen: The Grateful Dead – Fillmore East, New York City, April 1971 (2nd set). The Grateful Dead at this time were Jerry Garcia (guitar and vocals), Bob Weir (guitar and vocals), Phil Lesh (bass), Bill Kreutzmann (drums), and Ron “Pigpen” McKernan (organ). This version cooks, especially Phil’s bass, and the interplay of Jerry and Bob’s guitars is as good as it gets. Check out Rockument’s History of the Grateful Dead and Rockument’s Haight-Ashbury page.

“Stop Breakin’ Down Blues” by Robert Johnson and “Stop Breaking Down” by the Rolling Stones (Johnson)

Robert Johnson recorded “Stop Breakin’ Down Blues” in 1937 (on The Complete Recordings). The song is probably based on “Caught Me Wrong Again” (Memphis Minnie, 1936), “Stop Hanging Around” (Buddy Moss, 1935), or “You Got to Move” (Memphis Minnie and Joe McCoy, 1934). In 1945, Sonny Boy Williamson I adapted “Stop Breaking Down” as an early Chicago blues with Big Maceo (piano), Tampa Red (guitar), and Charles Sanders (drums).

The Rolling Stones recorded “Stop Breaking Down” for their 1972 Exile on Main Street album, with prominent slide guitar work by Mick Taylor and Mick Jagger providing the harmonica and guitar.

“99 Year Blues” by Julius Daniels and “99 Year Blues” by Hot Tuna (Daniels/Torrence)

Julius Daniels came from Denmark, SC and recorded this song in Atlanta in 1927. He was one of the first southeastern bluesmen to make records. You can find this version on the Anthology of American Folk Music. A version of this song was adapted to become “Viola Lee Blues” by Cannon’s Jug Stompers, covered by the Grateful Dead.

This song was covered by Hot Tuna and appears on Burgers. Hot Tuna formed as Jefferson Airplane was crashing in the early 1970s, featuring guitarist Jorma Kaukonen and bassist Jack Casady, with Papa John Creach on violin, Sammy Piazza on drums, and Will Scarlet on harmonica. An impromptu jam session at the Chateau Liberte in the Santa Cruz Mountains in April, 1971, led to the formation of “Hot Shit” as they first called themselves (an interim name was supposedly “Hot Fuckin’ Tuna”).

“When the Levee Breaks” by Memphis Minnie and “When the Levee Breaks” by Led Zeppelin

Memphis Minnie, born in Mississippi in 1897, was a prolific blues songwriter, guitarist, and singer. She recorded around 200 songs, some of the best known being “When the Levee Breaks” and “Me and My Chauffeur Blues“. “When the Levee Breaks” is a country blues song written and first recorded by Memphis Minnie and Kansas Joe McCoy in 1929. The lyrics reflect experiences during the upheaval caused by the Great Mississippi Flood of 1927. You can find the Memphis Minnie version on The Roots Of Led Zeppelin.

The Led Zeppelin version appears on Led Zeppelin IV released in 1971 using much of the original lyrics. The songwriting is credited to Memphis Minnie and the individual members of the band, which were Robert Plant (vocals), Jimmy Page (guitar), John Paul Jones (bass and keyboards) and John Bonham (drums). Many other artists have performed and recorded versions of the song.

“Where Did You Sleep Last Night (In the Pines)” by Lead Belly and “Where Did You Sleep Last Night” by Nirvana (Traditional)

Like numerous other folk and blues songs, “In the Pines” was passed on from one generation and locale to the next by word of mouth. A version of the song was recorded onto phonograph cylinder in 1925. Also titled “Where Did You Sleep Last Night”, Lead Belly learned the song from an interpretation of a 1917 sheet music version compiled by Cecil Sharp, and by the 1925 phonograph recording of “In the Pines”. See Lead Belly Absolutely the Best.

Nirvana were a rock band formed in 1987 that became very popular in the early 1990s, featuring Kurt Cobain (guitar and vocals), Krist Novoselic (bass), Dave Grohl (drums), Pat Smear (guitar), Lori Goldston (cello). This song was part of a TV special MTV Unplugged in New York, and one of Cobain’s last performances before he died.