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"I Can't Quit You Baby" is blues song written by Willie Dixon and first recorded by Chicago blues artist Otis Rush in 1956. [1] It is a slow twelve-bar blues ensemble piece, with lyrics about the consequences of an adulterous relationship which is difficult to end. "I Can't Quit You Baby" was Rush's first recording and Cobra Records's debut
Howlin' Wolf recorded "Killing Floor" in Chicago in August 1964, which Chess Records released as a single. [2] According to blues guitarist and longtime Wolf associate Hubert Sumlin, the song uses the killing floor – the area of a slaughterhouse where animals are killed – as a metaphor or allegory for male-female relationships: "Down on the killing floor – that means a woman has you down ...
The destination of a chord progression is known as a cadence, or two chords that signify the end or prolongation of a musical phrase. The most conclusive and resolving cadences return to the tonic or I chord; following the circle of fifths , the most suitable chord to precede the I chord is a V chord.
The cover became their biggest hit, reaching #20 on the US singles chart, and they followed it with the release of an album that included their interpretations of Bob Dylan's "Like a Rolling Stone", The Doors' "Touch Me", Blood, Sweat & Tears' "I Can't Quit Her" (US #67), and Simon & Garfunkel's "For Emily, Whenever I May Find Her".
"I Can't Hold Out" has been described as a "jumping 'Dust My Broom' styled number ... that featured Dixon's trademark stop-time arrangement after each verse". [2] After recording the song in April 1960, Chess prepared for a rush release of the single in May 1960, to capitalize on the success of James' previous single for Fire Records, "The Sky Is Crying", which was then entering the Billboard ...
Crusade is the fourth album and third studio album by the British blues rock band John Mayall & the Bluesbreakers, released on 1 September 1967 on Decca Records.It was the follow-up to A Hard Road, also released in 1967.
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The song uses "a stop-time hook that opens up for one of the genre's most memorable guitar riffs" [10] and incorporates a middle instrumental section Hooker-style boogie. [4] According to Hooker, he wrote the song during an extended engagement at the Apex Bar in Detroit. I would never be on time [for the gig]; I always would be late comin' in.