The Memphis Blues
Handy sold the rights and complained bitterly ever after; this July 1914 recording entered the National Recording Registry.
Handy sold the rights and complained bitterly ever after; this July 1914 recording entered the National Recording Registry.
Okeh sent an Avalon sharecropper home after modest sales, leaving behind a fingerpicked John Henry that refuses the hammer.

Chapman played it live for seven years before recording it, then a loose blues shuffle became her biggest hit.

Recorded in Camden in February 1928, a vaudeville novelty from 1915 that Rodgers claimed forever with one yodel.
Smith calls out the steps over a rolling left hand, on the first record to carry boogie woogie in its title.

Cut for Art Rupe's Specialty in 1950, Mayfield's prayer for the world arrives before he asks anything for himself.
Raye and Prince wrote it for an Abbott and Costello comedy, and the sisters harmonize like a brass section.
Dixon's title was blues code for adultery, cut by Wolf at Chess and reopened by the Doors in 1967.

H.C. Speir set up the June 1929 session, and Patton's first Paramount release still sounds like the Delta's starting point.

Seventy-five thousand copies in two months, Perry Bradford's tune, and Smith's voice opening the record industry to Black audiences.
Alberta Hunter and Lovie Austin wrote it; Smith's debut record sold 780,000 copies in six months, just voice and piano.

A bartender's scolding at Detroit's Apex Bar became the hook, and Motown's future Funk Brothers played the session.

A Willie Dixon lyric about craving, drawn loosely from a 1929 Charley Patton side, and Wolf looming over one chord.

Intended as a blues ballad until the producer brought wine; Hawkins said he never remembered recording it.

Waters heard Ann Cole sing it on tour, cut a single that flopped, then made it his signature at Newport.
Johnson's 1936 triplet figure run through an amplifier, Sonny Boy Williamson on harmonica, and a riff everybody stole.

Bartholomew and Domino wrote it, Pat Boone's cover took the number one, and Domino's rolling piano triplets outlasted it.
Al Bell lifted the bassline from a Jamaican instrumental, and Mavis Staples turned Muscle Shoals into a pulpit.

Written with Paul Epworth in one afternoon after a breakup, and the credits list stiletto heels as percussion.
Armstrong's cornet answering every line Smith sings, with only a wheezing harmonium underneath, cut in New York in 1925.