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Jimmy's Blues House: Boogie Down
Play Your Way Through The History Of The Boogie
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About this course
The Boogie is not only a core rhythmic staple of the Blues, it’s had a significant influence on many other popular genres, most notably Rock & Roll and Rhythm & Blues.
To get a solid grip on the Boogie, and its many variations, Jimmy Vivino’s Boogie Down edition of Jimmy's Blues House is organized across a chronological series of video guitar performances and lessons -- You will play your way through the history of the “boogie” learning dozens of variations along the way!
”We’ll start our journey from its roots and learn how to play the Boogie in the styles of Robert Johnson, John Lee Hooker, Mississippi Fred McDowell, Muddy Waters and Sonny Boy Williamson.
We’ll continue along the Boogie timeline and learn how to play in the more contemporary styles of The Rolling Stones, Stevie Ray Vaughan, ZZ Top and George Thorogood.”
Big props go out to Dave Rubin for helping us make this course extra special and highly informative. Dave is not only one of our fave TrueFire educators, he is also widely respected as a blues historian and best-selling author of over 100 books. Dave was kind enough to help research the “boogie” and write the text narrative that guide you through the course timeline.
You’ll have all of TrueFire’s advanced learning tools at your finger tips to personalize your workspace and learn at your own pace.
You can loop, slow down, or speed up any section of a lesson. Plus, all of the tab and notation is synced to the videos for the optimal learning experience. You’ll also get tab and standard notation files to print out, Guitar Pro files, and all of the backing tracks to practice with.
Grab your guitar, and let’s boogie down with Jimmy Vivino!
To get a solid grip on the Boogie, and its many variations, Jimmy Vivino’s Boogie Down edition of Jimmy's Blues House is organized across a chronological series of video guitar performances and lessons -- You will play your way through the history of the “boogie” learning dozens of variations along the way!
”We’ll start our journey from its roots and learn how to play the Boogie in the styles of Robert Johnson, John Lee Hooker, Mississippi Fred McDowell, Muddy Waters and Sonny Boy Williamson.
We’ll continue along the Boogie timeline and learn how to play in the more contemporary styles of The Rolling Stones, Stevie Ray Vaughan, ZZ Top and George Thorogood.”
Big props go out to Dave Rubin for helping us make this course extra special and highly informative. Dave is not only one of our fave TrueFire educators, he is also widely respected as a blues historian and best-selling author of over 100 books. Dave was kind enough to help research the “boogie” and write the text narrative that guide you through the course timeline.
You’ll have all of TrueFire’s advanced learning tools at your finger tips to personalize your workspace and learn at your own pace.
You can loop, slow down, or speed up any section of a lesson. Plus, all of the tab and notation is synced to the videos for the optimal learning experience. You’ll also get tab and standard notation files to print out, Guitar Pro files, and all of the backing tracks to practice with.
Grab your guitar, and let’s boogie down with Jimmy Vivino!
What you'll learn
- Play boogie variations from traditional to contemporary styles
- Learn a foundational Chicago blues boogie pattern
- Learn boogie in the styles of multiple influential artists
- Understand the historical evolution of boogie rhythm
- Develop a comprehensive boogie vocabulary
Release date: 01/17/2023 • 1h 00m runtime
Sample lessons
The Fifties and Muddy Waters
Overview
1955 Muddy Boogie
Performance
1955 Muddy Boogie
Breakdown
1966 Slim Boogie
Breakdown
What's included
32 lessons • 19 charts • 9 Jam Tracks
Jimmy's Blues House: Boogie Down
Hey, it’s Jimmy Vivino here. The Boogie is not only a core rhythmic staple of the Blues, it’s had a significant influence on many other popular genres, most notably Rock& Roll and Rhythm & Blues.
To give you a solid grip on the Boogie and its many variations, I’ve organized the lessons chronologically. You’ll play your way through the history of the Boogie from its very roots.
We start our journey by learning in the styles of Robert Johnson, John Lee Hooker, Mississippi Fred McDowell, Muddy Waters, and Sonny Boy Williamson.
We’ll then advance along the Boogie timeline and learn more contemporary variations in the styles of The Rolling Stones, George Thorogood, ZZ Top, and Stevie Ray Vaughan.
Ready to dig in? Grab your guitar, and let's Boogie Down!
To give you a solid grip on the Boogie and its many variations, I’ve organized the lessons chronologically. You’ll play your way through the history of the Boogie from its very roots.
We start our journey by learning in the styles of Robert Johnson, John Lee Hooker, Mississippi Fred McDowell, Muddy Waters, and Sonny Boy Williamson.
We’ll then advance along the Boogie timeline and learn more contemporary variations in the styles of The Rolling Stones, George Thorogood, ZZ Top, and Stevie Ray Vaughan.
Ready to dig in? Grab your guitar, and let's Boogie Down!
The Early Roots of Boogie
The Early Roots of Boogie
Though the roots are thought to be almost exclusively from the piano, it appears that guitarists laid the groundwork for the blues-based idiom. Legendary producer John Hammond, Sr, suggested that it probably was initially played on the banjo and the lauded anthropologist and writer, Zora Neale Hurston, described dance entertainment in the late 1800s juke joints as guitar driven: "One guitar was enough for a dance. To have two was considered excellent. Where two were playing, one man played lead and the other seconded him. The first player was 'picking' and the second was 'framming,' that is, playing chords while the lead carried the melody by dexterous fingerwork. Sometimes a third player was added, and he played a tom-tom effect on the lower strings." Eventually the establishment proprietors realized one piano player could play louder than acoustic guitars, and was more cost efficient.
The earliest reference to boogie woogie was noted by pianist Sammy Price who recalled hearing Blind Lemon Jefferson playing a moving boogie bass line and singing about a "booger rooger," or house party, around 1911. The term itself is actually attributed to blues pianist Charles "Cow Cow" Davenport. He employed it to describe the blues-based piano playing of Clarence "Pinetop" Smith, who recorded the landmark "Pinetop's Boogie Woogie" in 1929.
Cut Boogie
"Twelve Pound Daddy" (1927) sung by Pearl Dickson with blues guitar brothers Maylon and Richard "Hacksaw" Harney is likely the first blues with the "cut boogie" guitar rhythm. It is so-called due to it being based on alternating 5ths and 6ths (sometimes with the b7th) dyads from the scale as opposed to typical "walking bass" patterns involving the root, 3rd, 5th, 6th and b7th degrees of the Mixolydian mode. Other influential examples include "Lead Pencil Blues" (1935) by Johnny Temple and "Sweet Home Chicago" (1936) by Robert Johnson. The seismic effect of cut boogie patterns is inestimable, particularly on Chicago blues, rockabilly and the classic rock 'n' roll of Chuck Berry.
Though the roots are thought to be almost exclusively from the piano, it appears that guitarists laid the groundwork for the blues-based idiom. Legendary producer John Hammond, Sr, suggested that it probably was initially played on the banjo and the lauded anthropologist and writer, Zora Neale Hurston, described dance entertainment in the late 1800s juke joints as guitar driven: "One guitar was enough for a dance. To have two was considered excellent. Where two were playing, one man played lead and the other seconded him. The first player was 'picking' and the second was 'framming,' that is, playing chords while the lead carried the melody by dexterous fingerwork. Sometimes a third player was added, and he played a tom-tom effect on the lower strings." Eventually the establishment proprietors realized one piano player could play louder than acoustic guitars, and was more cost efficient.
The earliest reference to boogie woogie was noted by pianist Sammy Price who recalled hearing Blind Lemon Jefferson playing a moving boogie bass line and singing about a "booger rooger," or house party, around 1911. The term itself is actually attributed to blues pianist Charles "Cow Cow" Davenport. He employed it to describe the blues-based piano playing of Clarence "Pinetop" Smith, who recorded the landmark "Pinetop's Boogie Woogie" in 1929.
Cut Boogie
"Twelve Pound Daddy" (1927) sung by Pearl Dickson with blues guitar brothers Maylon and Richard "Hacksaw" Harney is likely the first blues with the "cut boogie" guitar rhythm. It is so-called due to it being based on alternating 5ths and 6ths (sometimes with the b7th) dyads from the scale as opposed to typical "walking bass" patterns involving the root, 3rd, 5th, 6th and b7th degrees of the Mixolydian mode. Other influential examples include "Lead Pencil Blues" (1935) by Johnny Temple and "Sweet Home Chicago" (1936) by Robert Johnson. The seismic effect of cut boogie patterns is inestimable, particularly on Chicago blues, rockabilly and the classic rock 'n' roll of Chuck Berry.
1948 Arthur Boogie
1948 Arthur Boogie
Arthur "Guitar Boogie" Smith (1921-2014), though not the first to record guitar boogies, earned his eponymous nickname by popularizing the form. He embraced it without feeling pigeon-holed and enjoyed a long, productive career playing guitar, banjo, mandolin and fiddle. Smith composed and recorded "Feudin' Banjos" in 1955, saw it covered by Lester Flatt and then turned into a mega-hit when recast as "Dueling Banjos" and prominently featured as the theme song in Deliverance (1972). Taking advantage of its impact, it was released as a single, becoming ubiquitous on Top 40 radio and hitting #1 in the US.
Originally recorded in 1945 and released in 1948, "Guitar Boogie" sold over three million copies, went Gold and became a classic. The Virtues cut it as "Guitar Boogie Shuffle" in 1958 and it went to #5. The timing could not have been better coming in the instrumental era and the burgeoning rise of the electric guitar. Ironically, Smith recorded his original on an unamplified Martin D-27 acoustic. However, like countless others he soon grasped the potential of the electric guitar and became involved with Leo Fender in 1950 to promote the proto-Telecaster "Broadcaster" solid body guitar.
Arthur "Guitar Boogie" Smith (1921-2014), though not the first to record guitar boogies, earned his eponymous nickname by popularizing the form. He embraced it without feeling pigeon-holed and enjoyed a long, productive career playing guitar, banjo, mandolin and fiddle. Smith composed and recorded "Feudin' Banjos" in 1955, saw it covered by Lester Flatt and then turned into a mega-hit when recast as "Dueling Banjos" and prominently featured as the theme song in Deliverance (1972). Taking advantage of its impact, it was released as a single, becoming ubiquitous on Top 40 radio and hitting #1 in the US.
Originally recorded in 1945 and released in 1948, "Guitar Boogie" sold over three million copies, went Gold and became a classic. The Virtues cut it as "Guitar Boogie Shuffle" in 1958 and it went to #5. The timing could not have been better coming in the instrumental era and the burgeoning rise of the electric guitar. Ironically, Smith recorded his original on an unamplified Martin D-27 acoustic. However, like countless others he soon grasped the potential of the electric guitar and became involved with Leo Fender in 1950 to promote the proto-Telecaster "Broadcaster" solid body guitar.
1948 Arthur Boogie
1948 Arthur Boogie
Arthur "Guitar Boogie" Smith (1921-2014), though not the first to record guitar boogies, earned his eponymous nickname by popularizing the form. He embraced it without feeling pigeon-holed and enjoyed a long, productive career playing guitar, banjo, mandolin and fiddle. Smith composed and recorded "Feudin' Banjos" in 1955, saw it covered by Lester Flatt and then turned into a mega-hit when recast as "Dueling Banjos" and prominently featured as the theme song in Deliverance (1972). Taking advantage of its impact, it was released as a single, becoming ubiquitous on Top 40 radio and hitting #1 in the US.
Originally recorded in 1945 and released in 1948, "Guitar Boogie" sold over three million copies, went Gold and became a classic. The Virtues cut it as "Guitar Boogie Shuffle" in 1958 and it went to #5. The timing could not have been better coming in the instrumental era and the burgeoning rise of the electric guitar. Ironically, Smith recorded his original on an unamplified Martin D-27 acoustic. However, like countless others he soon grasped the potential of the electric guitar and became involved with Leo Fender in 1950 to promote the proto-Telecaster "Broadcaster" solid body guitar.
Arthur "Guitar Boogie" Smith (1921-2014), though not the first to record guitar boogies, earned his eponymous nickname by popularizing the form. He embraced it without feeling pigeon-holed and enjoyed a long, productive career playing guitar, banjo, mandolin and fiddle. Smith composed and recorded "Feudin' Banjos" in 1955, saw it covered by Lester Flatt and then turned into a mega-hit when recast as "Dueling Banjos" and prominently featured as the theme song in Deliverance (1972). Taking advantage of its impact, it was released as a single, becoming ubiquitous on Top 40 radio and hitting #1 in the US.
Originally recorded in 1945 and released in 1948, "Guitar Boogie" sold over three million copies, went Gold and became a classic. The Virtues cut it as "Guitar Boogie Shuffle" in 1958 and it went to #5. The timing could not have been better coming in the instrumental era and the burgeoning rise of the electric guitar. Ironically, Smith recorded his original on an unamplified Martin D-27 acoustic. However, like countless others he soon grasped the potential of the electric guitar and became involved with Leo Fender in 1950 to promote the proto-Telecaster "Broadcaster" solid body guitar.
The Fifties and Muddy Waters
The Fifties and Muddy Waters
McKinley "Muddy Waters" Morganfield (1913-83) is rightly acknowledged as the link between prewar acoustic Delta blues and postwar electric Chicago blues. Not as well known, however, he may also be seen as a link between the landmark boogies of John Lee Hooker and Arthur "Guitar Boogie" Smith and Chicago blues. "Muddy Jumps One", a rare instrumental also from that milestone "boogie year" of 1948 with Muddy backed only by upright bassist Big Crawford, employs walking boogie bass lines on the guitar tantalizingly similar to "Rocket 88". The latter number, arguably cited as the "first rock 'n' roll record" and produced by Ike Turner, is noted for the raw, distorted bass string guitar tone of Willie Kizart which fills the lower frequencies. In addition, Muddy's "She's So Pretty" (1954) uses the propulsive walking boogie bass lines heard in both "Muddy Jumps One" and "Rocket 88".
Guitar Slim
Eddie "Guitar Slim" Jones (1926-59) was a deeply emotional blues guitarist who squeezed expressively abrasive notes from his @ 1953 Gold Top Les Paul. Equally important to his fame in the 1950s, he was a spectacular performer given to dying his hair various colors like blue and red and strolling out into the audience via an exceptionally long guitar cable. When playing with his buddy Johnny "Guitar" Watson, they would often take turns riding on each others shoulders.
Jones was also a boogie man. "(They call me) Guitar Slim" (1954, "Quicksand" (1955) and various takes of "Guitar Slim Boogie" (1957) reveal limber walking boogie lines, usually in the intros to set the groove.
Jump Blues and Rockabilly
The 1950s are generally referred to as the "jump blues" era of boogie-based shuffles, though the "roots" took hold in the 1940s. Most prominently, T-Bone Walker stands out with "T-Bone Boogie" (1945), "T-Bone Jumps Again" (1947) and "T-Bone Shuffle" (1947), among others. Laying the foundation for many of his eventual standards was unsung boogie woogie piano hero Freddie Slack.
In the "pop" music world, rockabilly cat Carl Perkins boogied up "Blue Suede Shoes" (1956) and "Matchbox" (1957) based on the Blind Lemon Jefferson prewar classic "Matchbox Blues". Rock 'n' roll spawned countless boogie-powered hits like "Long Tall Sally" (1956), "Lucille" (1957), "Keep a-Knockin'" (1957), "Good Golly Miss Molly" (1958) and other heavy weight recordings from Little Richard.
During the same time, outside the realm of Top 40 radio, Ike Turner and his Kings of Rhythm continued after "Rocket 88" to play jumping boogie woogie patterns, including on their blistering version of "Matchbox" (1958).
Howlin' Wolf
Muddy's friendly "rival," Chester "Howlin' Wolf" Burnett (1910-76), also contributed to the development of boogie blues in the 1950s. "Baby Ride with Me (Ridin' in the Moonlight)" (1951), "California Boogie" (1951) and "Come Back Home" (1952), to name just three, boogie, shuffle and swing thanks in large part to the extraordinary overdriven rhythm and lead playing of blues guitar legend Willie Johnson.
Chuck Berry
The "Father of Rock 'n' Roll Guitar" wanted to avoid "shuffles" (as he told this writer) and just play rock 'n' roll with a straight 4/4 beat. Nonetheless, his bedrock tunes like "Roll Over Beethoven" (1955) and "Johnny B. Goode"(1957) were rhythmically "in the crack" between a shuffle and eighth-note rock. In addition, "School Days" (1956), "Memphis, Tennessee" (1959), "Little Queenie" (1959, see T. Rex) and "No Particular Place to Go" (1963) are swinging boogie shuffles. (Note: Lonnie Mack's 12-bar instrumental version of "Memphis" from 1963 also swings the boogie).
McKinley "Muddy Waters" Morganfield (1913-83) is rightly acknowledged as the link between prewar acoustic Delta blues and postwar electric Chicago blues. Not as well known, however, he may also be seen as a link between the landmark boogies of John Lee Hooker and Arthur "Guitar Boogie" Smith and Chicago blues. "Muddy Jumps One", a rare instrumental also from that milestone "boogie year" of 1948 with Muddy backed only by upright bassist Big Crawford, employs walking boogie bass lines on the guitar tantalizingly similar to "Rocket 88". The latter number, arguably cited as the "first rock 'n' roll record" and produced by Ike Turner, is noted for the raw, distorted bass string guitar tone of Willie Kizart which fills the lower frequencies. In addition, Muddy's "She's So Pretty" (1954) uses the propulsive walking boogie bass lines heard in both "Muddy Jumps One" and "Rocket 88".
Guitar Slim
Eddie "Guitar Slim" Jones (1926-59) was a deeply emotional blues guitarist who squeezed expressively abrasive notes from his @ 1953 Gold Top Les Paul. Equally important to his fame in the 1950s, he was a spectacular performer given to dying his hair various colors like blue and red and strolling out into the audience via an exceptionally long guitar cable. When playing with his buddy Johnny "Guitar" Watson, they would often take turns riding on each others shoulders.
Jones was also a boogie man. "(They call me) Guitar Slim" (1954, "Quicksand" (1955) and various takes of "Guitar Slim Boogie" (1957) reveal limber walking boogie lines, usually in the intros to set the groove.
Jump Blues and Rockabilly
The 1950s are generally referred to as the "jump blues" era of boogie-based shuffles, though the "roots" took hold in the 1940s. Most prominently, T-Bone Walker stands out with "T-Bone Boogie" (1945), "T-Bone Jumps Again" (1947) and "T-Bone Shuffle" (1947), among others. Laying the foundation for many of his eventual standards was unsung boogie woogie piano hero Freddie Slack.
In the "pop" music world, rockabilly cat Carl Perkins boogied up "Blue Suede Shoes" (1956) and "Matchbox" (1957) based on the Blind Lemon Jefferson prewar classic "Matchbox Blues". Rock 'n' roll spawned countless boogie-powered hits like "Long Tall Sally" (1956), "Lucille" (1957), "Keep a-Knockin'" (1957), "Good Golly Miss Molly" (1958) and other heavy weight recordings from Little Richard.
During the same time, outside the realm of Top 40 radio, Ike Turner and his Kings of Rhythm continued after "Rocket 88" to play jumping boogie woogie patterns, including on their blistering version of "Matchbox" (1958).
Howlin' Wolf
Muddy's friendly "rival," Chester "Howlin' Wolf" Burnett (1910-76), also contributed to the development of boogie blues in the 1950s. "Baby Ride with Me (Ridin' in the Moonlight)" (1951), "California Boogie" (1951) and "Come Back Home" (1952), to name just three, boogie, shuffle and swing thanks in large part to the extraordinary overdriven rhythm and lead playing of blues guitar legend Willie Johnson.
Chuck Berry
The "Father of Rock 'n' Roll Guitar" wanted to avoid "shuffles" (as he told this writer) and just play rock 'n' roll with a straight 4/4 beat. Nonetheless, his bedrock tunes like "Roll Over Beethoven" (1955) and "Johnny B. Goode"(1957) were rhythmically "in the crack" between a shuffle and eighth-note rock. In addition, "School Days" (1956), "Memphis, Tennessee" (1959), "Little Queenie" (1959, see T. Rex) and "No Particular Place to Go" (1963) are swinging boogie shuffles. (Note: Lonnie Mack's 12-bar instrumental version of "Memphis" from 1963 also swings the boogie).
1955 Muddy Boogie
The Fifties and Muddy Waters
McKinley "Muddy Waters" Morganfield (1913-83) is rightly acknowledged as the link between prewar acoustic Delta blues and postwar electric Chicago blues. Not as well known, however, he may also be seen as a link between the landmark boogies of John Lee Hooker and Arthur "Guitar Boogie" Smith and Chicago blues. "Muddy Jumps One", a rare instrumental also from that milestone "boogie year" of 1948 with Muddy backed only by upright bassist Big Crawford, employs walking boogie bass lines on the guitar tantalizingly similar to "Rocket 88". The latter number, arguably cited as the "first rock 'n' roll record" and produced by Ike Turner, is noted for the raw, distorted bass string guitar tone of Willie Kizart which fills the lower frequencies. In addition, Muddy's "She's So Pretty" (1954) uses the propulsive walking boogie bass lines heard in both "Muddy Jumps One" and "Rocket 88".
Guitar Slim
Eddie "Guitar Slim" Jones (1926-59) was a deeply emotional blues guitarist who squeezed expressively abrasive notes from his @ 1953 Gold Top Les Paul. Equally important to his fame in the 1950s, he was a spectacular performer given to dying his hair various colors like blue and red and strolling out into the audience via an exceptionally long guitar cable. When playing with his buddy Johnny "Guitar" Watson, they would often take turns riding on each others shoulders.
Jones was also a boogie man. "(They call me) Guitar Slim" (1954, "Quicksand" (1955) and various takes of "Guitar Slim Boogie" (1957) reveal limber walking boogie lines, usually in the intros to set the groove.
Jump Blues and Rockabilly
The 1950s are generally referred to as the "jump blues" era of boogie-based shuffles, though the "roots" took hold in the 1940s. Most prominently, T-Bone Walker stands out with "T-Bone Boogie" (1945), "T-Bone Jumps Again" (1947) and "T-Bone Shuffle" (1947), among others. Laying the foundation for many of his eventual standards was unsung boogie woogie piano hero Freddie Slack.
In the "pop" music world, rockabilly cat Carl Perkins boogied up "Blue Suede Shoes" (1956) and "Matchbox" (1957) based on the Blind Lemon Jefferson prewar classic "Matchbox Blues". Rock 'n' roll spawned countless boogie-powered hits like "Long Tall Sally" (1956), "Lucille" (1957), "Keep a-Knockin'" (1957), "Good Golly Miss Molly" (1958) and other heavy weight recordings from Little Richard.
During the same time, outside the realm of Top 40 radio, Ike Turner and his Kings of Rhythm continued after "Rocket 88" to play jumping boogie woogie patterns, including on their blistering version of "Matchbox" (1958).
Howlin' Wolf
Muddy's friendly "rival," Chester "Howlin' Wolf" Burnett (1910-76), also contributed to the development of boogie blues in the 1950s. "Baby Ride with Me (Ridin' in the Moonlight)" (1951), "California Boogie" (1951) and "Come Back Home" (1952), to name just three, boogie, shuffle and swing thanks in large part to the extraordinary overdriven rhythm and lead playing of blues guitar legend Willie Johnson.
Chuck Berry
The "Father of Rock 'n' Roll Guitar" wanted to avoid "shuffles" (as he told this writer) and just play rock 'n' roll with a straight 4/4 beat. Nonetheless, his bedrock tunes like "Roll Over Beethoven" (1955) and "Johnny B. Goode"(1957) were rhythmically "in the crack" between a shuffle and eighth-note rock. In addition, "School Days" (1956), "Memphis, Tennessee" (1959), "Little Queenie" (1959, see T. Rex) and "No Particular Place to Go" (1963) are swinging boogie shuffles. (Note: Lonnie Mack's 12-bar instrumental version of "Memphis" from 1963 also swings the boogie).
McKinley "Muddy Waters" Morganfield (1913-83) is rightly acknowledged as the link between prewar acoustic Delta blues and postwar electric Chicago blues. Not as well known, however, he may also be seen as a link between the landmark boogies of John Lee Hooker and Arthur "Guitar Boogie" Smith and Chicago blues. "Muddy Jumps One", a rare instrumental also from that milestone "boogie year" of 1948 with Muddy backed only by upright bassist Big Crawford, employs walking boogie bass lines on the guitar tantalizingly similar to "Rocket 88". The latter number, arguably cited as the "first rock 'n' roll record" and produced by Ike Turner, is noted for the raw, distorted bass string guitar tone of Willie Kizart which fills the lower frequencies. In addition, Muddy's "She's So Pretty" (1954) uses the propulsive walking boogie bass lines heard in both "Muddy Jumps One" and "Rocket 88".
Guitar Slim
Eddie "Guitar Slim" Jones (1926-59) was a deeply emotional blues guitarist who squeezed expressively abrasive notes from his @ 1953 Gold Top Les Paul. Equally important to his fame in the 1950s, he was a spectacular performer given to dying his hair various colors like blue and red and strolling out into the audience via an exceptionally long guitar cable. When playing with his buddy Johnny "Guitar" Watson, they would often take turns riding on each others shoulders.
Jones was also a boogie man. "(They call me) Guitar Slim" (1954, "Quicksand" (1955) and various takes of "Guitar Slim Boogie" (1957) reveal limber walking boogie lines, usually in the intros to set the groove.
Jump Blues and Rockabilly
The 1950s are generally referred to as the "jump blues" era of boogie-based shuffles, though the "roots" took hold in the 1940s. Most prominently, T-Bone Walker stands out with "T-Bone Boogie" (1945), "T-Bone Jumps Again" (1947) and "T-Bone Shuffle" (1947), among others. Laying the foundation for many of his eventual standards was unsung boogie woogie piano hero Freddie Slack.
In the "pop" music world, rockabilly cat Carl Perkins boogied up "Blue Suede Shoes" (1956) and "Matchbox" (1957) based on the Blind Lemon Jefferson prewar classic "Matchbox Blues". Rock 'n' roll spawned countless boogie-powered hits like "Long Tall Sally" (1956), "Lucille" (1957), "Keep a-Knockin'" (1957), "Good Golly Miss Molly" (1958) and other heavy weight recordings from Little Richard.
During the same time, outside the realm of Top 40 radio, Ike Turner and his Kings of Rhythm continued after "Rocket 88" to play jumping boogie woogie patterns, including on their blistering version of "Matchbox" (1958).
Howlin' Wolf
Muddy's friendly "rival," Chester "Howlin' Wolf" Burnett (1910-76), also contributed to the development of boogie blues in the 1950s. "Baby Ride with Me (Ridin' in the Moonlight)" (1951), "California Boogie" (1951) and "Come Back Home" (1952), to name just three, boogie, shuffle and swing thanks in large part to the extraordinary overdriven rhythm and lead playing of blues guitar legend Willie Johnson.
Chuck Berry
The "Father of Rock 'n' Roll Guitar" wanted to avoid "shuffles" (as he told this writer) and just play rock 'n' roll with a straight 4/4 beat. Nonetheless, his bedrock tunes like "Roll Over Beethoven" (1955) and "Johnny B. Goode"(1957) were rhythmically "in the crack" between a shuffle and eighth-note rock. In addition, "School Days" (1956), "Memphis, Tennessee" (1959), "Little Queenie" (1959, see T. Rex) and "No Particular Place to Go" (1963) are swinging boogie shuffles. (Note: Lonnie Mack's 12-bar instrumental version of "Memphis" from 1963 also swings the boogie).
1955 Muddy Boogie
The Fifties and Muddy Waters
McKinley "Muddy Waters" Morganfield (1913-83) is rightly acknowledged as the link between prewar acoustic Delta blues and postwar electric Chicago blues. Not as well known, however, he may also be seen as a link between the landmark boogies of John Lee Hooker and Arthur "Guitar Boogie" Smith and Chicago blues. "Muddy Jumps One", a rare instrumental also from that milestone "boogie year" of 1948 with Muddy backed only by upright bassist Big Crawford, employs walking boogie bass lines on the guitar tantalizingly similar to "Rocket 88". The latter number, arguably cited as the "first rock 'n' roll record" and produced by Ike Turner, is noted for the raw, distorted bass string guitar tone of Willie Kizart which fills the lower frequencies. In addition, Muddy's "She's So Pretty" (1954) uses the propulsive walking boogie bass lines heard in both "Muddy Jumps One" and "Rocket 88".
Guitar Slim
Eddie "Guitar Slim" Jones (1926-59) was a deeply emotional blues guitarist who squeezed expressively abrasive notes from his @ 1953 Gold Top Les Paul. Equally important to his fame in the 1950s, he was a spectacular performer given to dying his hair various colors like blue and red and strolling out into the audience via an exceptionally long guitar cable. When playing with his buddy Johnny "Guitar" Watson, they would often take turns riding on each others shoulders.
Jones was also a boogie man. "(They call me) Guitar Slim" (1954, "Quicksand" (1955) and various takes of "Guitar Slim Boogie" (1957) reveal limber walking boogie lines, usually in the intros to set the groove.
Jump Blues and Rockabilly
The 1950s are generally referred to as the "jump blues" era of boogie-based shuffles, though the "roots" took hold in the 1940s. Most prominently, T-Bone Walker stands out with "T-Bone Boogie" (1945), "T-Bone Jumps Again" (1947) and "T-Bone Shuffle" (1947), among others. Laying the foundation for many of his eventual standards was unsung boogie woogie piano hero Freddie Slack.
In the "pop" music world, rockabilly cat Carl Perkins boogied up "Blue Suede Shoes" (1956) and "Matchbox" (1957) based on the Blind Lemon Jefferson prewar classic "Matchbox Blues". Rock 'n' roll spawned countless boogie-powered hits like "Long Tall Sally" (1956), "Lucille" (1957), "Keep a-Knockin'" (1957), "Good Golly Miss Molly" (1958) and other heavy weight recordings from Little Richard.
During the same time, outside the realm of Top 40 radio, Ike Turner and his Kings of Rhythm continued after "Rocket 88" to play jumping boogie woogie patterns, including on their blistering version of "Matchbox" (1958).
Howlin' Wolf
Muddy's friendly "rival," Chester "Howlin' Wolf" Burnett (1910-76), also contributed to the development of boogie blues in the 1950s. "Baby Ride with Me (Ridin' in the Moonlight)" (1951), "California Boogie" (1951) and "Come Back Home" (1952), to name just three, boogie, shuffle and swing thanks in large part to the extraordinary overdriven rhythm and lead playing of blues guitar legend Willie Johnson.
Chuck Berry
The "Father of Rock 'n' Roll Guitar" wanted to avoid "shuffles" (as he told this writer) and just play rock 'n' roll with a straight 4/4 beat. Nonetheless, his bedrock tunes like "Roll Over Beethoven" (1955) and "Johnny B. Goode"(1957) were rhythmically "in the crack" between a shuffle and eighth-note rock. In addition, "School Days" (1956), "Memphis, Tennessee" (1959), "Little Queenie" (1959, see T. Rex) and "No Particular Place to Go" (1963) are swinging boogie shuffles. (Note: Lonnie Mack's 12-bar instrumental version of "Memphis" from 1963 also swings the boogie).
McKinley "Muddy Waters" Morganfield (1913-83) is rightly acknowledged as the link between prewar acoustic Delta blues and postwar electric Chicago blues. Not as well known, however, he may also be seen as a link between the landmark boogies of John Lee Hooker and Arthur "Guitar Boogie" Smith and Chicago blues. "Muddy Jumps One", a rare instrumental also from that milestone "boogie year" of 1948 with Muddy backed only by upright bassist Big Crawford, employs walking boogie bass lines on the guitar tantalizingly similar to "Rocket 88". The latter number, arguably cited as the "first rock 'n' roll record" and produced by Ike Turner, is noted for the raw, distorted bass string guitar tone of Willie Kizart which fills the lower frequencies. In addition, Muddy's "She's So Pretty" (1954) uses the propulsive walking boogie bass lines heard in both "Muddy Jumps One" and "Rocket 88".
Guitar Slim
Eddie "Guitar Slim" Jones (1926-59) was a deeply emotional blues guitarist who squeezed expressively abrasive notes from his @ 1953 Gold Top Les Paul. Equally important to his fame in the 1950s, he was a spectacular performer given to dying his hair various colors like blue and red and strolling out into the audience via an exceptionally long guitar cable. When playing with his buddy Johnny "Guitar" Watson, they would often take turns riding on each others shoulders.
Jones was also a boogie man. "(They call me) Guitar Slim" (1954, "Quicksand" (1955) and various takes of "Guitar Slim Boogie" (1957) reveal limber walking boogie lines, usually in the intros to set the groove.
Jump Blues and Rockabilly
The 1950s are generally referred to as the "jump blues" era of boogie-based shuffles, though the "roots" took hold in the 1940s. Most prominently, T-Bone Walker stands out with "T-Bone Boogie" (1945), "T-Bone Jumps Again" (1947) and "T-Bone Shuffle" (1947), among others. Laying the foundation for many of his eventual standards was unsung boogie woogie piano hero Freddie Slack.
In the "pop" music world, rockabilly cat Carl Perkins boogied up "Blue Suede Shoes" (1956) and "Matchbox" (1957) based on the Blind Lemon Jefferson prewar classic "Matchbox Blues". Rock 'n' roll spawned countless boogie-powered hits like "Long Tall Sally" (1956), "Lucille" (1957), "Keep a-Knockin'" (1957), "Good Golly Miss Molly" (1958) and other heavy weight recordings from Little Richard.
During the same time, outside the realm of Top 40 radio, Ike Turner and his Kings of Rhythm continued after "Rocket 88" to play jumping boogie woogie patterns, including on their blistering version of "Matchbox" (1958).
Howlin' Wolf
Muddy's friendly "rival," Chester "Howlin' Wolf" Burnett (1910-76), also contributed to the development of boogie blues in the 1950s. "Baby Ride with Me (Ridin' in the Moonlight)" (1951), "California Boogie" (1951) and "Come Back Home" (1952), to name just three, boogie, shuffle and swing thanks in large part to the extraordinary overdriven rhythm and lead playing of blues guitar legend Willie Johnson.
Chuck Berry
The "Father of Rock 'n' Roll Guitar" wanted to avoid "shuffles" (as he told this writer) and just play rock 'n' roll with a straight 4/4 beat. Nonetheless, his bedrock tunes like "Roll Over Beethoven" (1955) and "Johnny B. Goode"(1957) were rhythmically "in the crack" between a shuffle and eighth-note rock. In addition, "School Days" (1956), "Memphis, Tennessee" (1959), "Little Queenie" (1959, see T. Rex) and "No Particular Place to Go" (1963) are swinging boogie shuffles. (Note: Lonnie Mack's 12-bar instrumental version of "Memphis" from 1963 also swings the boogie).
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Reviews
12 results
Sangeetko
Verified buyer
11/24/25
Good to know different types of blues.
Dan M.
Verified buyer
08/26/25
Jimmy's Blues House Boogie Down
Jimmy Vivino has hit a home run with this course. He presents the history of the Blues and brings you up to date with the facts and licks, melodies and the players of the Blues. The course is worth its weight in gold. It definitely should be in everyone's library and reviewed from time to time. I highly recommend it if you are a blues player.
breso6846
Verified buyer
04/05/25
Boogie Guitar
Nice progression through the history of boogie guitar
Dave58
Verified buyer
02/18/23
challenging course!
Nice course with lots of interesting information. Fantastic guitar player and teacher who takes us through many generations of blues/boogie styles that still make a difference today! Great
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