"Dust My Broom " is a blues song originally recorded as "I Believe I Will Sweep My Sap" by American blues artist Robert Johnson in 1936. This is a solo performance in Delta blues style with Johnson vocals accompanied with his acoustic guitar. Like many of his songs, it was based on earlier blues songs, the earliest of which has been identified as "I Believe I'll Make a Change", which was recorded by Sparks brothers as "Pinetop and Lindberg" in 1932. Guitar Johnson features work the early use of the boogie rhythm pattern, which is seen as a major innovation, as well as repeating the threefold number. "I Believe I 'll Dust My Broom" was issued before the blues record was tracked by the recording of industry trade publications and, like most records of Johnson, have not been identified as a big seller at the time.
However, recording Elmore James 1951 as "Dust My Broom" "makes it a classic as we know it", according to blues historian Gerard Herzhaft. James' slide guitar adaptation of Johnson's triplet figure has been identified as one of the most famous blues guitar riffs and has inspired many rock players. This song has become a blues standard, with many interpretations by various musicians. It has also been selected for the Blues Foundation Blues of Fame, the Grammy Hall of Fame, and the Library of Congress' National Recording Registry.
Video Dust My Broom
Previous songs
The "Dust My Broom" element has been traced back to some previous blues songs. Blues-writer Edward Komara has suggested that Johnson may have begun to develop his version as early as 1933. The 1932 recording of The Sparks brothers of "I Believe I'll Make A Change" and Jack Kelly's "Believe I'll Go Back Home" in 1933 both using the same melody and lyrics. Several verses are also found in Carl Rafferty's 1933 "Mr. Carl's Blues":
Kokomo Arnold, whose "Old Original Kokomo Blues" served as the basis for Johnson's "Sweet Home Chicago", recorded two songs in a similar line, "Sagefield Woman Blues" in 1934:
dan "Sissy Man Blues" pada tahun 1935:
The melody Johnson used was also found on the 1934 recording "I Believe I'll Make a Change" by Leroy Carr and Josh White.
Maps Dust My Broom
Lyrics and interpretation
Johnson "I Believe I 'll Dust My Broom" combines lyrics, also identified as a "floating paragraph", from previous songs and adds two new verses of his own. Music historian Elijah Wald calls this result "a more cohesive lyrics than one of Arnold's pieces [and] concentrates on the theme of the journey, and is far away from the girl he loves." Attempts have been made to read the meaning of hoodoo into the phrase "my broom dust". However, the bluesman Big Joe Williams, who knew Johnson and was familiar with folk magic, described it as "going for good... I put you down, I will not come back". Music writer Ted Gioia also likens sentences with parts of the Bible about shaking dust off the feet and symbolizing "the rambling ways of blues musicians":
While Johnson is disappointed with a woman, she also misses another woman:
The last verse shows the use of unusual geographical references. This was taken from topical events, including the Second Ito-Ethiopia War, the Japanese invasion of Manchuria, and the establishment of the Commonwealth of the Philippines. However, its use in Johnson songs is seen as an escape by music writer Greil Marcus. Music writer Thomas Beebee noted that while the world of many blues listeners is limited to the Mississippi Delta,
The last song of the song raises the stakes, exploding into fantastic geography - the singer's voice lags a bit behind the guitar line here, as if burdened by an imaginative leap that is involved... Mixed with all the bitterness, after all, is a geographical extension that arrives -three stretches thirty miles from Arkansas back into a trip around the world.
"Sweet Home Chicago" (Johnson's next track) included refraining "Returning to California land, to my sweet Chicago home". Comparing the two, Marcus comments, "'Chicago' functions in the lyrics as a distant place as 'Philippine Islands'; 'California' is a mythical place like 'Ethiopia'".
Recording and composition
"I Believe I 'll Dust My Broom" was recorded by Johnson during his first recording session on November 23, 1936. The recording took place in an emergency studio in Room 414 at Gunter Hotel in San Antonio, Texas and produced by Art Satherley and Don Law. It was Johnson's second track and followed by "Hearted Woman Blues Kind." Like most of the recordings, it appears that the second song was recorded and given a reference number. Stephen LaVere, who manages Johnson's record legacy, notes that this, along with some others, "remains [s] not found, if ever published, destroyed after being recorded (if ever); or unknown to the collector".
Johnson recorded the song as an optimistic boogie shuffle. As with some of Johnson's other songs and typical Delta blues of his day, he did not follow the strict twelve-bar structure of the blues, but more time to adjust his will. The song is performed in key E at a moderate tempo of 100-105 beats per minute. Unlike some of the previous songs that influenced Johnson, "I Believe I 'll Dust My Broom" does not feature a bottleneck or slide guitar. Instead, Johnson used a fingerstyle guitar in which melodic lines were played against the boogie bass driving figure, creating an effect similar to the popular combination of piano and guitar accompaniment. Wald has identified the use of a boogie bass line, adapted for guitar from piano boogie style, as a major innovation by Johnson, although it has been used in a 1935 tape by Johnny Temple, entitled "Lead Pencil Blues (It Just Won 't Tulis)". To facilitate his fingerpicking style, Johnson also uses open tuning. Komara describes it as a modified open-A tuning with the fifth string returning from A to B, giving the new tunes EBEAC ? -E or standard E tuning open from EBEG ? -BE.
The song also features the use of Johnson's repeating guitar figure consisting of fast high-pitched triplets. The riff came to determine the song, although Johnson also used it in some of his songs, including the slide version for "Ramblin 'in My Mind".
Release
"I Believe I 'll Dust My Broom" was released in 1937 by three associated record companies: Vocalion Records (using catalog number 03475), ARC (No. 7-02-81), and Conqueror Records (8871). It was issued on a standard 78-rpm ten-inch record, powered by Johnson's "Dead Shrimp Blues". This single is an eleven-year-old Johnson record released during his lifetime.
As one of Johnson's three songs to become the initial standard of the blues, Wald asks why "I Believe I'll Dust My Broom" is not included in the first reissue of the recording, the King of the Delta Blues Singers album released by Columbia in 1961. The authors Pearson and McCulloch noted that his place on the album "will link Johnson with the legitimate heir of his musical idea - a high-energy, American-American artist of big-city, electrically strengthened blues remain solidly in touch with Johnson's musical heritage". In 1970, the song was included in Johnson's second compilation in Columbia, the King of Delta's Singers Blues, Vol. II , in 1990, on the set of The Complete Recordings , and on several compilation albums.
Elmore James translates
​​â € <â €
"Dust My Broom" was one of Elmore James's earliest songs regularly while he was living in the Mississippi Delta in the late 1930s. Blues historian Ray Topping has suggested that James may have met Robert Johnson during this time, when he learned how to play a song. James often performed with Aleck Rice Miller, better known as Sonny Boy Williamson II as a duo. However, his music career was disrupted by duties in the US Navy during World War II. Once out, he rejoined Williamson, who regularly appeared on the radio. In January 1951, Williamson was offered the opportunity to record some songs for Trumpet Records, where, with one account, he was accompanied by James. In August, the duo auditioned for "Dust My Broom" for Trumpet owner Lillian McMurry, who signed a record deal with James. Meanwhile, two versions of "Dust My Broom" were recorded - Arthur's "Big Boy" Crudup in 1949 and Robert Lockwood in 1951. Both renditions appeared on the charts.
Recording and composition
On August 5, 1951, after the recording of Sonny Boy Williamson II, Elmore James recorded "Dust My Broom" at Radio Service Studio Ivan Scott in Jackson, Mississippi. James, who provides reinforced vocals and slide guitars, is accompanied by Williamson on the harmonica, Leonard Ware on bass, and Frock O'Dell on drums. Recording studios do not transition to recording technology, so groups are recorded directly to disk using a single microphone. It's the only song recorded by James; Trumpet's McMurray feels that his other songs are not suitable to be recorded. However, Williamson and James's cousin, Homesick James, later claimed that McMurry was secretly recording the show and that Elmore was so annoyed that he could not record the B-side. McMurray denied this and gave James a check and pass a day before the session to show his knowledge and approval to participate in the recording.
To record his song, Elmore James uses the first four verses of Robert Johnson and concludes with a similar to that found in Arthur Crudup's 1949 tapes:
James's song also follows Johnson's melodies, keys, and tempos, but attaches more closely to chord changes from twelve blues bars. However, according to music expert Robert Palmer, he "transformed what had become a country blues that quickly became a rocking shuffle, which was strongly reinforced". In addition to supporting musicians, the most important addition to this song is James's overdrive slide guitar, which plays a recurring triplet figure and adds twelve solo bars after the fifth verse. Compared to Johnson's guitar work, Gioia described them as "more insistent, firing a machine-gun beatlet that would be the undefined sound of early rockers". The use of his vibrato with a slide has been referred to as his "typical guitar style" by music expert Charlie Gillet. Music critic Cub Koda noted that, in the hands of James, "this may be the most famous blues riff of all time, [n] up to a four-note intro from Bo Diddley's 'I'm a Man'".
Releases and charts
Elmore James never recorded his own material again for Trumpet, though he later appeared as a sideman. McMurry, who did not know the previous record of the song, arranged the copyright "Dust My Broom" in the name of James and then took out the single, bringing the song "Catfish Blues" by Bobo Thomas as the B-side. Both songs include his players as "Elmo James", although James did not perform with Thomas. The regional graphic footage shows that "My Broom Dust" is gradually gaining popularity in various parts of the US. In the end the national album R & amp; B singles was released on 5 April 1952 and peaked at number nine. In 1955, after releasing an updated version by another record label, McMurray rented the tape to Ace Records, which released it again. Jewel Records also re-released the original Trumpet recording as a single in 1965.
Since it was originally released by Trumpet, the original recording did not appear on many of James's early/early compilation albums. However, it included in King Biscuit Time , Sonny Boy Williamson II collection by Arhoolie Records, and James box set, The Early Classic Recordings 1951-1956 . The "Dust My Broom" version that appeared in many compilations, such as the King of the Slide Guitar , was recorded during its first session in Chicago in 1959 and the last session in New York in late 1962 or early-1963 for the group label Fire Records Bobby Robinson. This subsequent interpretation does not include the harmonica, but has a piano accompaniment.
Derivatives and "Dust My Blues"
A single success by a relatively small Trumpet Record made other record companies catch up with James in the hope of bringing in an advanced single. Joe Bihari, who owns Los Angeles-based Modern Records with his brothers, and his talent scout, Ike Turner is one of the first. The next session in Chicago produced "I Believe", a "Dust My Broom" imitation, which became number nine single charting and was first published on the new modern Meteor Records in 1953. Able to score two hits within a year with basically a song the same by the same artist encourages the record company to exploit it as much as possible. Thus, many reworking "Dust My Broom" with small variations was recorded by James for different record labels during his career.
In 1955, Flair Records, another Bihari label, released a rework of a song titled "Dust My Blues" (catalog No. 1074). Recorded in New Orleans at Cosimo Matassa's J & amp; M Studios, James is supported by veteran New Orleans musicians, including bassist Frank Fields, drummer Earl Palmer, and pianist Edward Frank. Topping called it "the strong reincarnation of the old broom theme" and Gillett added that it was "a great loud music". "Dust My Blues" is probably the original re-original James recording, with an updated accompaniment. It appeared on several regional charts when the single was reissued in the 1960s. After the British release of 1964 from "Dust My Blues", James's guitar slide voice was adapted by many guitarists who were oriented towards the British blues.
Recognition
Source of the article : Wikipedia
0 Comments