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As the chords of a 12-bar blues follow a form, so does the melodic line. The melodic line might just be the melody of the piece or it might also include lyrics. The melody and lyrics frequently follow an AA'B form, meaning one phrase is played then repeated (perhaps with a slight alteration), then something new is played. [14]
Steedman (1984) [1] has proposed a set of recursive "rewrite rules" which generate all well-formed transformations of jazz, basic I–IV–I–V–I twelve-bar blues chord sequences, and, slightly modified, non-twelve-bar blues I–IV–V sequences ("rhythm changes"). The typical 12-bar blues progression can be notated
The blues' 12-bar structure and the blues scale was a major influence on rock and roll music. Rock and roll has been called "blues with a backbeat"; Carl Perkins called rockabilly "blues with a country beat". Rockabillies were also said to be 12-bar blues played with a bluegrass beat.
In rock and blues, musicians also often refer to chord progressions using Roman numerals, as this facilitates transposing a song to a new key. For example, rock and blues musicians often think of the 12-bar blues as consisting of I, IV, and V chords. Thus, a simple version of the 12-bar blues might be expressed as I–I–I–I, IV–IV–I–I ...
Stylistically, Rodgers drew on the rich musical tradition of blues and folk music. He often used the classic 12-bar blues scheme ("12 bar blues"), with the first line of each verse being repeated twice. He also used common phrases, so-called floating lyrics or maverick stanzas (sometimes also maverick phrases).
The album received positive reviews. In a retrospective review, Stephen Thomas Erlewine of AllMusic declared that "12 Bar Blues is an unpredictable, carnivalesque record confirming that Weiland was the visionary behind STP's sound. He's fascinated by sound, piling on layers of shredded guitars, drum loops, and keyboards, making sure that each ...