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Hoochie Coochie Man(Swamp blues remix)
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Hoochie Coochie Man(Swamp blues remix) (JJ's Version) Featuring William"Dead Eye"Norris III
blues rock rock blues down home blues jazz blues nu blues backporch blues jungle blues tango blues hill country blues ol timey blues gutbucket blues midwest blues viper blues raw blues illinois blues stomp blues bebop blues
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Artist picture
I am a one-man garage-blues-inspired-rock-jazz-folk band from Kickapoo, Illinois! Razzle Dazzle em' & they'll never catch wise! Brown-Eyed Soul-Blues
No details. Said to be from Little Egypt, Illinois. Proficient-esque-ish on guitar, acoustical kazoo, DIY One-String Diddley Bow, rhythm, foot-tappin', foot-stompin', foot-tambo'in', whoopin, hollerin', howlin', and Mississippi saxophone.
Song Info
Genre
Blues • Blues Rock
Charts
Peak #93
Peak in subgenre #6
Author
Willie Dixon
Uploaded
February 07, 2022
Track Files
MP3
MP3 8.4 MB • 320 kbps • 3:40
Lossless
WAV 37.0 MB
Meta Data
Beat
4/4
Key
E min
Vocals
Male
Character
Energy
relaxed, cool
high-energy
Danceable
coffee-place
dancefloor
Positivity
dark, sad, angry
happy
Appeal
unique
radio-friendly
Story behind the song
“I stone got crazy when I saw somebody run down them strings with a bottleneck. My eyes lit up like a Christmas tree and I said that I had to learn.” On April 4, 1915, McKinley Morganfield was born near Rolling Fork, Miss. He was raised by his grandmother; legend has it that, after watching him play in a creek, she nicknamed him Muddy Waters. In 1954, Waters recorded the song that would take his name to a wide audience: "I'm Your Hoochie Coochie Man." Muddy Waters scored his first R&B hit with "I Can't Be Satisfied" in 1948. It still had the sound of the country blues he played before leaving the Mississippi Delta for Chicago five years earlier. By the time he recorded "I'm Your Hoochie Coochie Man" in 1954, he'd assembled what he later called his best band: guitarist Jimmie Rodgers, pianist Otis Spann, Willie Dixon playing bass, Fred Below on drums and Little Walter blowing his harmonica like a saxophone. "Hoochie Coochie Man" was Waters' 10th hit and best-selling single ever. It clung near the top of the R&B charts for 13 weeks. But that didn't mean Muddy Waters made a lot of money, says Marshall Chess, whose father and uncle ran Chess Records, Waters' label. "There were not many radio stations that played black music," Chess says. "White radio was very racist at the time. There was not distribution everywhere in black neighborhoods of the big cities. There weren't many record shops. People bought their music at barber shops sort of general store, package stores where they sold milk, beer, cigarettes and records." Still, it seems that the distinctive stop-time rhythm of "Hoochie Coochie Man" was not lost on another singer from Mississippi, by the name of Elvis Presley. Legend has it that when Muddy Waters heard Presley's 1958 recording of the Jerry Leiber-Mike Stoler song "Trouble," Waters said, "I better watch out. I believe whitey's picking up on the things that I'm doing." But by this time, the racial makeup of Waters' own audience had started to shift. That same year, he traveled to England with pianist Otis Spann and discovered that he was better known there than back home. But the English cast him as a folk singer, and he obligingly toned down his amplified Chicago blues to suit his hosts. Two years later, Waters was invited to play at the 1960 Newport Jazz Festival and, much like his audience in England, this one was almost entirely white. Biographer Robert Gordon says that with rock 'n' roll's rise in the late 1950s, Waters sorely needed new blues fans. Newport presented him with a great opportunity. "He understands that he's facing there's a crossover moment that this is a record-buying audience in front of him and they are not his record-buying audience, but they could be," Gordon says. The record was a commercial if not artistic success. Music critics hated it, but Gordon says that adaptations of "Hoochie Coochie Man" show how close this blues standard, composed at the threshold of the rock 'n' roll era, is to both genres. "I would think that 'Hoochie Coochie Man' is a keystone in the architecture of rock 'n' roll," Gordon says, "because it was a song that could be covered by rock bands and sound like a rock 'n' roll song and be done by blues bands and sound like a blues song, and basically they're all playing the same thing." Muddy Waters made at least two dozen recordings of his signature song during the nearly three decades he sang it. His final performances of "Hoochie Coochie Man" marked a return to the song's stripped-down origins. Until his death in 1983 at the age of 68, Waters remained the Hoochie Coochie Man. www.npr.org/2000/04/03/1072420/hoochie-coochie-man “I rambled all the time. I was just like that, like a rollin' stone.” I been in the blues all my life. I'm still delivering 'cause I got a long memory. Great folk art here: www.facebook.com/LenniesFolkArtBlues
Lyrics
The gypsy woman told my mother Before I was born I got a boy child's comin' He's gonna be a son of a gun He gonna make pretty women's Jump and shout Then the world wanna know What this all about But you know I'm him Everybody knows I'm him Well you know I'm the hoochie coochie man Everybody knows I'm him I got a black cat bone I got a mojo too I got the Johnny Concheroo I'm gonna mess with you I'm gonna make you girls Lead me by my hand Then the world will know The hoochie coochie man But you know I'm him Everybody knows I'm him Oh you know I'm the hoochie coochie man Everybody knows I'm him On the seventh hours On the seventh day On the seventh month The seven doctors say He was born for good luck And that you'll see I got seven hundred dollars Don't you mess with me But you know I'm him Everybody knows I'm him Well you know I'm the hoochie coochie man Everybody knows I'm him
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