fbpx
Wikipedia

Call It Stormy Monday (But Tuesday Is Just as Bad)

"Stormy Monday" redirects here. For other uses, see Stormy Monday (disambiguation).

"Call It Stormy Monday (But Tuesday Is Just as Bad)" (commonly referred to as "Stormy Monday") is a song written and recorded by American blues electric guitar pioneer T-Bone Walker. It is a slow twelve-bar blues performed in the West Coast blues-style that features Walker's smooth, plaintive vocal and distinctive guitar work. As well as becoming a record chart hit in 1948, it inspired B.B. King and others to take up the electric guitar. "Stormy Monday" became Walker's best-known and most-recorded song.

"Call It Stormy Monday (But Tuesday Is Just As Bad)"
Single by T-Bone Walker
A-side"I Know Your Wig Has Gone"
ReleasedNovember 1947 (1947-11)
RecordedHollywood, California, September 13, 1947
GenreBlues
Length3:00
LabelBlack & White
Songwriter(s)Aaron Walker a.k.a. T-Bone Walker
Producer(s)Ralph Bass
T-Bone Walker singles chronology
"Bobby Sox Blues"
(1946)
"Call It Stormy Monday (But Tuesday Is Just As Bad)"
(1947)
"Long Skirt Baby Blues"
(1947)

In 1961, Bobby "Blue" Bland further popularized the song with an appearance in the pop record charts. Bland introduced a new arrangement with chord substitutions, which was later used in many subsequent renditions. His version also incorrectly used the title "Stormy Monday Blues", which was copied and resulted in royalties being paid to songwriters other than Walker. The Allman Brothers Band recorded an extended version for their first live album in 1971, with additional changes to the arrangement. Through the album's popularity and the group's concert performances, they brought "Stormy Monday" to the attention of rock audiences. Similarly, Latimore's 1973 hit recording made it popular with a later R&B audience.

"Stormy Monday" is one of the most popular blues standards, with numerous renditions. As well as being necessary for blues musicians, it is also found in the repertoires of many jazz, soul, pop, and rock performers. The song is included in the Grammy, Rock and Roll, and Blues Foundation halls of fame as well as the U.S. Library of Congress' National Recording Registry.

Contents

T-Bone Walker was one of the earliest musicians to use the electric guitar. After moving to Los Angeles around 1936, he began performing regularly in the clubs along Central Avenue, then the center of the city's jazz and blues music scene. He started as a singer and dancer with jazz and early jump-blues bands, such as Les Hite and his orchestra, but by 1940 was playing electric guitar and singing in his own small combos. His particular style of jazz-influenced blues guitar and showmanship, which included playing the guitar behind his neck and while doing the splits, brought him to the attention of Capitol Records.

In July 1942, Walker recorded "Mean Old World" and "I Got a Break, Baby" as one of the first artists for the Los Angeles-based record company. Music writer Bill Dahl described the songs as "the first sign of the T-Bone Walker that blues guitar aficionados know and love, his fluid, elegant riffs and mellow, burnished vocals setting a standard that all future blues guitarists would measure themselves by". Shortly thereafter, his recording career was interrupted by the 1942–44 musicians' strike and the diversion of shellac (a key material used in the manufacture of the then-standard ten-inch 78 rpm phonograph record) for the U.S. war effort during World War II. By 1946, Walker signed with producer Ralph Bass and Black & White Records. Although there is conflicting information regarding the recording date, "Call It Stormy Monday (But Tuesday Is Just as Bad)" was released as a single in November 1947.

Meanwhile, "Stormy Monday Blues", a jazz single by Earl Hines and His Orchestra with Billy Eckstine on vocals had become a number one hit on Billboard magazine's Harlem Hit Parade chart in 1942 and also reached number 23 in the magazine's pop chart. Credited to Eckstine, Hines, and Bob Crowder, the composition features a big band arrangement with different lyrics and does not include the words "stormy" or "Monday". The fact that both Walker's and the Eckstine/Hines song include "Stormy Monday" in the title has led to confusion regarding the songs' true titles and authorship.

T-Bone Walker at the American Folk Blues Festival in 1972

There are conflicting accounts about the recording date for "Call It Stormy Monday (But Tuesday Is Just as Bad)". In an interview, Walker claimed that he recorded the song in 1940 "just before the war" (the U.S. entered World War II December 7, 1941), but that it was not released because of war-time material restrictions. Journalist Dave Dexter, who worked for Capitol Records in the early 1940s, believed that Walker recorded it for Capitol before the Eckstine/Hines song (March 1942), but that it was not released because of the unavailability of shellac and the recording ban. However, Walker's first single as a band leader, "Mean Old World", which was recorded in July 1942, was released in 1945 by Capitol. One sessionography places the recording of "Stormy Monday" on September 13, 1947, during his third session for Black & White Records. Blues writer Jim O'Neal noted that blues discographies do not show a recording date before 1947.

The recording took place in Hollywood, California, and was produced by Black & White's Ralph Bass. "Stormy Monday" was performed in a "club combo" or West Coast-blues style with a small back-up band. The style, as heard in "Driftin' Blues" (one of the biggest hits of the 1940s), evokes a more intimate musical setting than the prevailing jump-blues dance-hall style. Accompanying Walker is pianist Lloyd Glenn, bassist Arthur Edwards, drummer Oscar Lee Bradley, and horn players John "Teddy" Bruckner (trumpet) and Hubert "Bumps" Myers (tenor saxophone). A key feature of the song's instrumentation is Walker's prominent guitar parts, including the extensive use of ninth chords, which gives the song its distinctive sound. Author Aaron Stang explained: "The real sound of this riff is based on starting each 9th chord a whole step (2 frets) above and sliding down. If we were to analyze this movement, the first chord is technically a 13th chord resolving down to a 9th chord". Guitarist Duke Robillard added

The guitar chord line, it's a little guitar ninth chord figure. That was a unique thing and it became T-Bone's signature. And that chord line seems to have grabbed everybody because everybody plays it with that line in it. And it's almost like a law, that you have to, when you play 'Stormy Monday.'

Walker also plays twelve bars of single-string guitar solo, which writer Lenny Carlson has described as "remain[ing] largely in the middle register, but it contains some gems, particularly in the use of space, phrasing, and melodic development". The horn accompaniment has been compared to that of Count Basie's 1930s Kansas City jazz bands.

Walker uses a standard I-IV-V twelve-bar blues structure for the song and it has been notated in 12/8 time in the key of G with a tempo of 66 beats per minute. The lyrics chronicle the feelings of lost love through the days of week, starting on Monday: "They call it stormy Monday, but Tuesday's just as bad". The mood improves by Friday, when "the eagle flies", a metaphor for payday, which allows for carousing on Saturday. The lyrics end with Sunday, "when the blues and spirituals converged [in] a continuation of a trend used by earlier Mississippi Delta blues singers" and conclude with a prayer asking for the Lord's help because the singer's "Crazy about my baby, yeah send her back to me".

Black & White Records released "Call It Stormy Monday (But Tuesday Is Just as Bad)" in November 1947. It entered Billboard's Most Played Juke Box Race Records chart on January 24, 1948, and reached number five during a six-week stay. It was T-Bone Walker's second highest charting single (1947's "Bobby Sox Blues" reached number three). According to an article in Billboard for April 30, 1949, the single remained a "strong seller" for Black & White, although it had been out since 1947. The article also announced Capitol Records' purchase of all of Walker's Black & White released and unreleased master recordings and with it the four-year remainder of his recording contract. Two months later in June, Capitol reissued the single on their label.

Walker made several different studio and live recordings of the song for various record companies during his career. In 1956, he recorded a version, titled "Call It Stormy Monday", with pianist Lloyd Glenn, bassist Billy Hadnott, and drummer Oscar Bradley (Glenn and Bradley had performed for the original 1947 recording). It was produced by Nesuhi Ertegun and is included on Walker's 1959 album, T-Bone Blues, for Atlantic Records. Writer Bill Dahl described the remake as "luxurious" with Walker's guitar "so crisp and clear it seems as though he's sitting right next to you". Another recording, titled "Stormy Monday", is included on the 1968 album, Stormy Monday Blues for Bluesway Records. A later recording of the song, which uses chord substitutions similar to Bobby Bland's 1961 rendition, was included on The Sounds of American Culture series on NPR in 2008.

In 1983, T-Bone Walker's original "Call It Stormy Monday (But Tuesday Is Just as Bad)" was inducted into the Blues Foundation Blues Hall of Fame in the "Classic of Blues Recording — Single or Album Track" category. Writing for the foundation, Jim O'Neal called it "one of the most influential records not only in blues history, but in guitar history". In 1991, it was inducted into the Grammy Hall of Fame which "honor[s] recordings of lasting qualitative or historical significance". The song was included as one of the "500 Songs That Shaped Rock and Roll" by the Rock and Roll Hall of Fame in 1995. The U.S. National Recording Preservation Board selected the song in 2007 for inclusion in the Library of Congress' National Recording Registry of "sound recordings that are culturally, historically or aesthetically significant".

B.B. King biographer David McGee referred to it as a "Mount Rushmore of a blues song". Singer and writer Billy Vera noted "if T-Bone had done nothing more in his career than write and record this one tune, his esteemed place in the history of American music would be guaranteed". As an early electric blues guitar soloist, Walker influenced a generation of blues musicians. In several interviews, B.B. King has stated that "Stormy Monday" inspired him to begin playing electric guitar:

My greatest musical debt is to T-Bone ...'Stormy Monday' was the first tune. 'They call it Stormy Monday', sang T-Bone, 'but Tuesday's just as bad'. Yes, Lord! The first line, the first thrilling notes, the first sound of his guitar, and the attitude in his voice was riveting. I especially loved 'Stormy Monday'—and I still sing it today.

According to music journalist Charles Shaar Murray, other musicians similarly inspired to take up the electric guitar upon hearing Walker's song include Clarence "Gatemouth" Brown, Lowell Fulson, and Albert King.

"Stormy Monday" has become a standard of the blues and also has a broader appeal. In addition to being necessary for virtually all blues musicians, the song is known to performers in several other genres, who would not otherwise play any blues. Its popularity is such that one encyclopedia entry concludes, "What bluesman does not have his own version?" Billy Vera wrote "rest assured, as you read these notes, someone somewhere is performing 'Call It Stormy Monday'".

Confusion over name

Due to its length, "Call It Stormy Monday (But Tuesday Is Just as Bad)" is shortened to "Call It Stormy Monday" or most often "Stormy Monday". Confusingly, it is also sometimes referred to as "Stormy Monday Blues", the same title as the 1942 song by Billy Eckstine and Earl Hines. According to T-Bone Walker, he specifically gave his song the longer name to set it apart. However, trouble ensued when other artists began recording it using these shortened names. Walker blamed Duke Records owner Don Robey for giving it the wrong title for his artists, including Bobby Bland's 1962 rendition, which appeared as "Stormy Monday Blues". Bland's version, which was an R&B and pop chart hit, was subsequently copied by other artists, who also used the incorrect title. As a result, Walker lost out on royalties when his song was misnamed "Stormy Monday Blues" and the payments were forwarded to Eckstine, Hines, and Crowder. Even though Latimore's 1973 hit version of the song was titled "Stormy Monday", the single incorrectly listed "Hines-Eckstine" as the composers.

Bobby Bland version

American singer Bobby Bland recorded his interpretation of the song in Nashville, Tennessee, in September 1961, during the same session that produced the song, "Turn On Your Love Light". Drummer John "Jabo" Starks recalled

T-Bone Walker's 'Stormy Monday Blues' was supposed to be a 'throwaway' tune. We had already finished the album, and Bobby [Bland] said, 'Hey, man, I want to do that tune. Let's do that tune, just for me'. We said, 'Okay', and we sat there and did it, just the rhythm section. I think it was two takes. Wayne Bennett, the guitar player, wanted to change something. Hamp Simmons out of Houston played an old Kay electric bass.

Rather than copy Walker's arrangement, Bland felt he had to do something different with the song. Most notably, his version features chord substitutions in bars seven through ten:

I7 IV9 I7 I7 IV9 IV9 I7–ii7 iii7iii7 ii7 V9 I7–IV9 I7–V9

This minor-chord progression had been used in several of Bland's songs, including his 1957 breakthrough number "Farther Up the Road", and is found in many subsequent renditions of "Stormy Monday". Guitarist Wayne Bennett commented that he had been influenced by T-Bone Walker and Pee Wee Crayton; Bennett's own playing on the recording influenced many guitarists, including Duane Allman.

When Duke Records released Bland's version, it was inexplicably re-titled "Stormy Monday Blues". The single reached number five during a thirteen-week stay on the R&B chart. It was also included on Bland's 1962 album Here's the Man!, which reached number 53 on the Billboard album chart. Additionally, "Stormy Monday" went to number 43 on the pop chart and Bland made his fourth appearance on the music variety television program American Bandstand, where he performed it to dancing teenagers.

The Allman Brothers Band version

Duane Allman at the Fillmore East, June 26, 1971 (late show)

Brothers Duane and Gregg Allman began performing "Stormy Monday" with their early group, the Allman Joys, and it later became part of the Allman Brothers Band's repertoire. A March 1971 performance of the song at the Fillmore East concert hall in New York City was recorded and released on their At Fillmore East album in 1971. Their version is based on Bobby Bland's 1961 recording, but expanded to over eight minutes with improvised soloing. In the bottom of bar 8, they substituted the ♭III7 chord. Additionally, they substituted the V9 chord in bar 10 with a IVmin7 and the one in bar 12 with a V aug.

The instrumentation of the song is typical of the group, consisting of vocals, two electric guitars, bass guitar, organ, and drums. It demonstrates a different style of music, however, from most Allman Brothers pieces, due to its slow tempo. Duane Allman takes the first solo, with Gregg Allman's organ solo shifting to a jazz-waltz feel, and Dickey Betts' guitar solo being the last before a vocal coda. By means of a careful tape edit, a harmonica solo by Thom Doucette was omitted from the issued version in 1971; it was restored to the song in the 1992 release of the Fillmore Concerts. At Fillmore East became one of the Allman Brothers Band's most popular and enduring albums; for rock audiences, their "Stormy Monday" became the definitive version of the song.

Latimore version

American singer Latimore recorded "Stormy Monday" in 1973. His rendering of the song as an uptempo, jazz-influenced piece evokes a 1962 recording by Lou Rawls that was included on Rawls' Stormy Monday album with Les McCann. However, according to music writer David Whiteis, "its propulsive, pop-tinged groove and Latimore's own jubilant vocal directness made this incarnation of the classic entirely his own". The song was not initially promoted as a potential hit single; however, radio audiences responded so positively that it became his first major hit. "Stormy Monday" eventually reached number 27 on the R&B chart as well as number 102 on the pop chart and is included on Latimore's self-titled debut album for Glades Records. The Blues Foundation, in its statement about Latimore's induction to the Blues Hall of Fame in 2017, noted the importance of "Stormy Monday" on his performing career.

  1. Woolard, Steve; Vera, Billy (2000). Blues Masters: The Very Best of T-Bone Walker (CD notes). T-Bone Walker. Los Angeles: Rhino Records. pp. 13, 10. OCLC 44970744. R2 79894.
  2. Herzhaft, Gerard (1992). "Stormy Monday". Encyclopedia of the Blues. Fayetteville, Arkansas: University of Arkansas Press. pp. 472–473, 356. ISBN 1-55728-252-8.
  3. Kelson, Jack (1999). Central Avenue Sounds: Jazz in Los Angeles. Oakland, California: University of California Press. p. 218. ISBN 978-0-520-22098-0.
  4. Shadwick, Keith (2007). "T-Bone Walker". The Encyclopedia of Jazz & Blues. London: Quantum Publishing. p. 421. ISBN 978-0-681-08644-9.
  5. Dance, Helen Oakley (1987).Stormy Monday: The T-Bone Walker Story. Baton Rouge, Louisiana: Louisiana State University Press. pp. 89–91. ISBN 978-0-8071-2458-1.
  6. Dahl, Bill (1996). "T-Bone Walker". In Erlewine, Michael (ed.). All Music Guide to the Blues: The Experts' Guide to the Best Blues Recordings. All Music Guide to the Blues. San Francisco: Miller Freeman Books. p. 261. ISBN 0-87930-424-3.
  7. Whitburn 1988, p. 191.
  8. O'Neal, Jim; van Singel, Amy (2001). The Voice of the Blues: Classic Interviews from Living Blues Magazine. New York City: Routledge. pp. 147–148. ISBN 978-0-415-93653-8.
  9. Billboard (November 3, 1945). "Advance Record Releases". Billboard. Vol. 57 no. 44. New York City. p. 77. ISSN 0006-2510.
  10. Cogdell Djedje, Jacqueline; Meadow, Eddie S. (1998).California Soul: Music of African Americans in the West. Oakland, California: University of California Press. pp. 225, 235. ISBN 978-0-520-20628-1.
  11. Hannusch, Jeff (1992). Driftin' Blues: The Best of Charles Brown (CD booklet). Charles Brown. Hollywood, California: Aladdin Records. p. 4. OCLC 35283852. CDP-7-97989-2.
  12. Stang, Aaron (1998). 21st Century Guitar Song Trax 3. Los Angeles: Alfred Music. ISBN 978-0-7692-6020-4.
  13. "T-Bone Walker's 'Stormy Monday'". NPR Music. RetrievedApril 21, 2014.
  14. Carlson, Lenny (2006). "Stormy Monday". In Komara, Edward (ed.). Encyclopedia of the Blues. New York City: Routledge. pp. 933–934. ISBN 978-0-415-92699-7.
  15. "(They Call It) Stormy Monday". Musicnotes.com. RetrievedOctober 19, 2013.
  16. Whitburn, Joel (1988). Top R&B Singles 1942–1988. Menomonee Falls, Wisconsin: Record Research. pp. 429, 45, 251. ISBN 0-89820-068-7.
  17. "Walker to Cap; [sic] Close B&W Deal for T-Bone Wax". Billboard. Vol. 61 no. 18. New York City. April 30, 1949. p. 19. ISSN 0006-2510.
  18. "Advance Race Records Releases". Billboard. Vol. 61 no. 24. New York City. June 11, 1949. p. 29. ISSN 0006-2510.
  19. "T-Bone Walker: 'Call It Stormy Monday (But Tuesday Is Just as Bad)' – Appears On". AllMusic. RetrievedApril 23, 2014.
  20. "T-Bone Walker: 'Call It Stormy Monday' – Appears On". AllMusic. RetrievedApril 23, 2014.
  21. "T-Bone Walker: 'Stormy Monday' – Appears On". AllMusic. RetrievedApril 23, 2014.
  22. T-Bone Blues (Album notes). T-Bone Walker. New York City: Atlantic Records. 1959. Back cover. OCLC 6881022. 8020-2.CS1 maint: others in cite AV media (notes) (link)
  23. "2009 Hall of Fame Inductees: T-Bone Blues (Atlantic, 1959) – T-Bone Walker". Blues.org. November 10, 2016. RetrievedFebruary 9, 2017.
  24. Dahl, Bill. "T-Bone Walker: T-Bone Blues – Album Review". AllMusic. RetrievedApril 23, 2014.
  25. T-Bone Walker: Stormy Monday Blues (Album notes). T-Bone Walker. BluesWay Records. 1968. Back cover. OCLC 7792329. BLS-6008.CS1 maint: others in cite AV media (notes) (link)
  26. O'Neal, Jim (November 10, 2016). "1983 Hall of Fame Inductees: Call it Stormy Monday (But Tuesday is Just as Bad) – T-Bone Walker (Black & White, 1947)". Blues.org. RetrievedFebruary 9, 2017.
  27. "Grammy Hall of Fame Awards – Past Recipients". Grammy.org. 1991. Archived from the original on January 22, 2011. RetrievedOctober 21, 2013.
  28. "500 Songs That Shaped Rock and Roll". Rockhall.com. 1995. Archived from the original on May 2, 2007. RetrievedOctober 21, 2013.
  29. "Complete National Recording Registry Listing". U.S. Library of Congress. RetrievedOctober 21, 2013.
  30. McGee, David (2005).B.B. King: There is Always One More Time. San Francisco: Backbeat Books. pp. 25–26. ISBN 978-0-87930-843-8.
  31. Murray, Charles Shaar (2000). Boogie Man: The Adventures of John Lee Hooker in the American Twentieth Century. New York City: St. Martin's Press. p. 105. ISBN 978-0-312-26563-2.
  32. Bland's Duke single includes a writer's credit for "A. Walker", while the LP lists Billy Eckstine and Earl Hines.
  33. Stormy Monday (Single label). Latimore. Glades Records. OCLC 24614436. 1716.CS1 maint: others in cite AV media (notes) (link)
  34. Farley, Charles (2011).Soul of the Man: Bobby "Blue" Bland. Jackson, Mississippi: University Press of Mississippi. pp. 111–115. ISBN 978-1-60473-919-0.
  35. Rubin, Dave (1998). Guitar Player Sessions: Licks & Lessons from the World's Greatest Guitar Players and Teachers. San Francisco: Backbeat Books. pp. 12–14. ISBN 978-0-87930-503-1.
  36. Poe, Randy (2006). Skydog: The Duane Allman Story. San Francisco: Backbeat Books. eBook. ISBN 978-0-87930-891-9.
  37. At Fillmore East (Album notes). The Allman Brothers Band. Nashville, Tennessee: Capricorn Records. 1971. Back cover. OCLC 4696818. SD2-802.CS1 maint: others in cite AV media (notes) (link)
  38. Brown, Robert (2006). Introducing Jazz for the Rock Guitarist. Los Angeles: Alfred Music. p. 37. ISBN 978-0-7390-2567-3.
  39. Whiteis, David (2013). Southern Soul-Blues. Champaign, Illinois: University of Illinois Press. p. 40. ISBN 978-0-252-03479-4.
  40. "Latimore – Album Overview". AllMusic. RetrievedApril 24, 2014.
  41. Blues Foundation (2017). "2017 Hall of Fame Inductees: Latimore". Blues.org. RetrievedJuly 8, 2017.

Call It Stormy Monday (But Tuesday Is Just as Bad)
Call It Stormy Monday But Tuesday Is Just as Bad Language Watch Edit 160 160 Redirected from Stormy Monday Stormy Monday redirects here For other uses see Stormy Monday disambiguation Call It Stormy Monday But Tuesday Is Just as Bad commonly referred to as Stormy Monday is a song written and recorded by American blues electric guitar pioneer T Bone Walker It is a slow twelve bar blues performed in the West Coast blues style that features Walker s smooth plaintive vocal and distinctive guitar work As well as becoming a record chart hit in 1948 it inspired B B King and others to take up the electric guitar Stormy Monday became Walker s best known and most recorded song Call It Stormy Monday But Tuesday Is Just As Bad Single by T Bone WalkerA side I Know Your Wig Has Gone ReleasedNovember 1947 1947 11 RecordedHollywood California September 13 1947 1 GenreBluesLength3 00LabelBlack amp WhiteSongwriter s Aaron Walker a k a T Bone WalkerProducer s Ralph BassT Bone Walker singles chronology Bobby Sox Blues 1946 Call It Stormy Monday But Tuesday Is Just As Bad 1947 Long Skirt Baby Blues 1947 In 1961 Bobby Blue Bland further popularized the song with an appearance in the pop record charts Bland introduced a new arrangement with chord substitutions which was later used in many subsequent renditions His version also incorrectly used the title Stormy Monday Blues which was copied and resulted in royalties being paid to songwriters other than Walker The Allman Brothers Band recorded an extended version for their first live album in 1971 with additional changes to the arrangement Through the album s popularity and the group s concert performances they brought Stormy Monday to the attention of rock audiences Similarly Latimore s 1973 hit recording made it popular with a later R amp B audience Stormy Monday is one of the most popular blues standards with numerous renditions As well as being necessary for blues musicians it is also found in the repertoires of many jazz soul pop and rock performers The song is included in the Grammy Rock and Roll and Blues Foundation halls of fame as well as the U S Library of Congress National Recording Registry Contents 1 Background 2 Recording and composition 3 Releases and charts 4 Recognition and influence 5 Other renditions 5 1 Confusion over name 5 2 Bobby Bland version 5 3 The Allman Brothers Band version 5 4 Latimore version 6 ReferencesBackground EditT Bone Walker was one of the earliest musicians to use the electric guitar 2 After moving to Los Angeles around 1936 he began performing regularly in the clubs along Central Avenue then the center of the city s jazz and blues music scene 3 He started as a singer and dancer with jazz and early jump blues bands such as Les Hite and his orchestra but by 1940 was playing electric guitar and singing in his own small combos 4 His particular style of jazz influenced blues guitar and showmanship which included playing the guitar behind his neck and while doing the splits brought him to the attention of Capitol Records In July 1942 Walker recorded Mean Old World and I Got a Break Baby as one of the first artists for the Los Angeles based record company 5 Music writer Bill Dahl described the songs as the first sign of the T Bone Walker that blues guitar aficionados know and love his fluid elegant riffs and mellow burnished vocals setting a standard that all future blues guitarists would measure themselves by 6 Shortly thereafter his recording career was interrupted by the 1942 44 musicians strike and the diversion of shellac a key material used in the manufacture of the then standard ten inch 78 rpm phonograph record for the U S war effort during World War II By 1946 Walker signed with producer Ralph Bass and Black amp White Records Although there is conflicting information regarding the recording date Call It Stormy Monday But Tuesday Is Just as Bad was released as a single in November 1947 1 Meanwhile Stormy Monday Blues a jazz single by Earl Hines and His Orchestra with Billy Eckstine on vocals had become a number one hit on Billboard magazine s Harlem Hit Parade chart in 1942 and also reached number 23 in the magazine s pop chart 7 Credited to Eckstine Hines and Bob Crowder the composition features a big band arrangement with different lyrics and does not include the words stormy or Monday The fact that both Walker s and the Eckstine Hines song include Stormy Monday in the title has led to confusion regarding the songs true titles and authorship 8 Recording and composition Edit T Bone Walker at the American Folk Blues Festival in 1972 There are conflicting accounts about the recording date for Call It Stormy Monday But Tuesday Is Just as Bad In an interview Walker claimed that he recorded the song in 1940 just before the war the U S entered World War II December 7 1941 but that it was not released because of war time material restrictions 8 Journalist Dave Dexter who worked for Capitol Records in the early 1940s believed that Walker recorded it for Capitol before the Eckstine Hines song March 1942 but that it was not released because of the unavailability of shellac and the recording ban 5 However Walker s first single as a band leader Mean Old World which was recorded in July 1942 was released in 1945 by Capitol 9 One sessionography places the recording of Stormy Monday on September 13 1947 during his third session for Black amp White Records 1 Blues writer Jim O Neal noted that blues discographies do not show a recording date before 1947 8 The recording took place in Hollywood California and was produced by Black amp White s Ralph Bass Stormy Monday was performed in a club combo or West Coast blues style 10 with a small back up band The style as heard in Driftin Blues one of the biggest hits of the 1940s 11 evokes a more intimate musical setting than the prevailing jump blues dance hall style 10 Accompanying Walker is pianist Lloyd Glenn bassist Arthur Edwards drummer Oscar Lee Bradley and horn players John Teddy Bruckner trumpet and Hubert Bumps Myers tenor saxophone 1 A key feature of the song s instrumentation is Walker s prominent guitar parts including the extensive use of ninth chords 12 which gives the song its distinctive sound Author Aaron Stang explained The real sound of this riff is based on starting each 9th chord a whole step 2 frets above and sliding down If we were to analyze this movement the first chord is technically a 13th chord resolving down to a 9th chord 12 Guitarist Duke Robillard added The guitar chord line it s a little guitar ninth chord figure That was a unique thing and it became T Bone s signature And that chord line seems to have grabbed everybody because everybody plays it with that line in it And it s almost like a law that you have to when you play Stormy Monday 13 Walker also plays twelve bars of single string guitar solo which writer Lenny Carlson has described as remain ing largely in the middle register but it contains some gems particularly in the use of space phrasing and melodic development 14 The horn accompaniment has been compared to that of Count Basie s 1930s Kansas City jazz bands 14 Walker uses a standard I IV V twelve bar blues structure for the song and it has been notated in 12 8 time in the key of G with a tempo of 66 beats per minute 15 The lyrics chronicle the feelings of lost love through the days of week starting on Monday They call it stormy Monday but Tuesday s just as bad The mood improves by Friday when the eagle flies a metaphor for payday which allows for carousing on Saturday 13 The lyrics end with Sunday when the blues and spirituals converged in a continuation of a trend used by earlier Mississippi Delta blues singers 10 and conclude with a prayer asking for the Lord s help because the singer s Crazy about my baby yeah send her back to me 13 Releases and charts EditBlack amp White Records released Call It Stormy Monday But Tuesday Is Just as Bad in November 1947 1 It entered Billboard s Most Played Juke Box Race Records chart on January 24 1948 and reached number five during a six week stay 16 It was T Bone Walker s second highest charting single 1947 s Bobby Sox Blues reached number three 16 According to an article in Billboard for April 30 1949 the single remained a strong seller for Black amp White although it had been out since 1947 17 The article also announced Capitol Records purchase of all of Walker s Black amp White released and unreleased master recordings and with it the four year remainder of his recording contract 17 Two months later in June Capitol reissued the single on their label 18 Walker made several different studio and live recordings of the song for various record companies during his career 19 20 21 In 1956 he recorded a version titled Call It Stormy Monday with pianist Lloyd Glenn bassist Billy Hadnott and drummer Oscar Bradley Glenn and Bradley had performed for the original 1947 recording 1 22 It was produced by Nesuhi Ertegun and is included on Walker s 1959 album T Bone Blues for Atlantic Records 22 23 Writer Bill Dahl described the remake as luxurious with Walker s guitar so crisp and clear it seems as though he s sitting right next to you 24 Another recording titled Stormy Monday is included on the 1968 album Stormy Monday Blues for Bluesway Records 25 A later recording of the song which uses chord substitutions similar to Bobby Bland s 1961 rendition was included on The Sounds of American Culture series on NPR in 2008 13 Recognition and influence EditIn 1983 T Bone Walker s original Call It Stormy Monday But Tuesday Is Just as Bad was inducted into the Blues Foundation Blues Hall of Fame in the Classic of Blues Recording Single or Album Track category 26 Writing for the foundation Jim O Neal called it one of the most influential records not only in blues history but in guitar history 26 In 1991 it was inducted into the Grammy Hall of Fame which honor s recordings of lasting qualitative or historical significance 27 The song was included as one of the 500 Songs That Shaped Rock and Roll by the Rock and Roll Hall of Fame in 1995 28 The U S National Recording Preservation Board selected the song in 2007 for inclusion in the Library of Congress National Recording Registry of sound recordings that are culturally historically or aesthetically significant 29 B B King biographer David McGee referred to it as a Mount Rushmore of a blues song 30 Singer and writer Billy Vera noted if T Bone had done nothing more in his career than write and record this one tune his esteemed place in the history of American music would be guaranteed 1 As an early electric blues guitar soloist Walker influenced a generation of blues musicians 4 In several interviews B B King has stated that Stormy Monday inspired him to begin playing electric guitar 30 My greatest musical debt is to T Bone Stormy Monday was the first tune They call it Stormy Monday sang T Bone but Tuesday s just as bad Yes Lord The first line the first thrilling notes the first sound of his guitar and the attitude in his voice was riveting I especially loved Stormy Monday and I still sing it today 30 According to music journalist Charles Shaar Murray other musicians similarly inspired to take up the electric guitar upon hearing Walker s song include Clarence Gatemouth Brown Lowell Fulson and Albert King 31 Other renditions Edit Stormy Monday has become a standard of the blues and also has a broader appeal 2 12 26 In addition to being necessary for virtually all blues musicians the song is known to performers in several other genres who would not otherwise play any blues 26 Its popularity is such that one encyclopedia entry concludes What bluesman does not have his own version 2 Billy Vera wrote rest assured as you read these notes someone somewhere is performing Call It Stormy Monday 1 Confusion over name Edit Due to its length Call It Stormy Monday But Tuesday Is Just as Bad is shortened to Call It Stormy Monday or most often Stormy Monday Confusingly it is also sometimes referred to as Stormy Monday Blues the same title as the 1942 song by Billy Eckstine and Earl Hines According to T Bone Walker he specifically gave his song the longer name to set it apart 8 However trouble ensued when other artists began recording it using these shortened names Walker blamed Duke Records owner Don Robey for giving it the wrong title for his artists including Bobby Bland s 1962 rendition which appeared as Stormy Monday Blues 8 32 Bland s version which was an R amp B and pop chart hit was subsequently copied by other artists who also used the incorrect title 8 As a result Walker lost out on royalties when his song was misnamed Stormy Monday Blues and the payments were forwarded to Eckstine Hines and Crowder 26 Even though Latimore s 1973 hit version of the song was titled Stormy Monday the single incorrectly listed Hines Eckstine as the composers 33 Bobby Bland version Edit American singer Bobby Bland recorded his interpretation of the song in Nashville Tennessee in September 1961 during the same session that produced the song Turn On Your Love Light 34 Drummer John Jabo Starks recalled T Bone Walker s Stormy Monday Blues was supposed to be a throwaway tune We had already finished the album and Bobby Bland said Hey man I want to do that tune Let s do that tune just for me We said Okay and we sat there and did it just the rhythm section I think it was two takes Wayne Bennett the guitar player wanted to change something Hamp Simmons out of Houston played an old Kay electric bass 34 Rather than copy Walker s arrangement Bland felt he had to do something different with the song 34 Most notably his version features chord substitutions in bars seven through ten 35 I7 IV9 I7 I7 IV9 IV9 I7 ii7 iii7 iii7 ii7 V9 I7 IV9 I7 V9 This minor chord progression had been used in several of Bland s songs including his 1957 breakthrough number Farther Up the Road and is found in many subsequent renditions of Stormy Monday Guitarist Wayne Bennett commented that he had been influenced by T Bone Walker and Pee Wee Crayton Bennett s own playing on the recording influenced many guitarists including Duane Allman 34 When Duke Records released Bland s version it was inexplicably re titled Stormy Monday Blues The single reached number five during a thirteen week stay on the R amp B chart 16 It was also included on Bland s 1962 album Here s the Man which reached number 53 on the Billboard album chart 34 Additionally Stormy Monday went to number 43 on the pop chart and Bland made his fourth appearance on the music variety television program American Bandstand where he performed it to dancing teenagers 34 The Allman Brothers Band version Edit Duane Allman at the Fillmore East June 26 1971 late show Brothers Duane and Gregg Allman began performing Stormy Monday with their early group the Allman Joys and it later became part of the Allman Brothers Band s repertoire 36 A March 1971 performance of the song at the Fillmore East concert hall in New York City was recorded and released on their At Fillmore East album in 1971 37 Their version is based on Bobby Bland s 1961 recording 35 but expanded to over eight minutes with improvised soloing In the bottom of bar 8 they substituted the III7 chord Additionally they substituted the V9 chord in bar 10 with a IVmin7 and the one in bar 12 with a V aug 38 The instrumentation of the song is typical of the group consisting of vocals two electric guitars bass guitar organ and drums 37 It demonstrates a different style of music however from most Allman Brothers pieces due to its slow tempo 36 Duane Allman takes the first solo with Gregg Allman s organ solo shifting to a jazz waltz feel and Dickey Betts guitar solo being the last before a vocal coda 36 By means of a careful tape edit a harmonica solo by Thom Doucette was omitted from the issued version in 1971 it was restored to the song in the 1992 release of the Fillmore Concerts 36 At Fillmore East became one of the Allman Brothers Band s most popular and enduring albums for rock audiences their Stormy Monday became the definitive version of the song 36 Latimore version Edit American singer Latimore recorded Stormy Monday in 1973 His rendering of the song as an uptempo jazz influenced piece evokes a 1962 recording by Lou Rawls that was included on Rawls Stormy Monday album with Les McCann 39 However according to music writer David Whiteis its propulsive pop tinged groove and Latimore s own jubilant vocal directness made this incarnation of the classic entirely his own 39 The song was not initially promoted as a potential hit single however radio audiences responded so positively that it became his first major hit 39 Stormy Monday eventually reached number 27 on the R amp B chart as well as number 102 on the pop chart 16 and is included on Latimore s self titled debut album for Glades Records 40 The Blues Foundation in its statement about Latimore s induction to the Blues Hall of Fame in 2017 noted the importance of Stormy Monday on his performing career 41 References Edit a b c d e f g h Woolard Steve Vera Billy 2000 Blues Masters The Very Best of T Bone Walker CD notes T Bone Walker Los Angeles Rhino Records pp 13 10 OCLC 44970744 R2 79894 a b c Herzhaft Gerard 1992 Stormy Monday Encyclopedia of the Blues Fayetteville Arkansas University of Arkansas Press pp 472 473 356 ISBN 1 55728 252 8 Kelson Jack 1999 Central Avenue Sounds Jazz in Los Angeles Oakland California University of California Press p 218 ISBN 978 0 520 22098 0 a b Shadwick Keith 2007 T Bone Walker The Encyclopedia of Jazz amp Blues London Quantum Publishing p 421 ISBN 978 0 681 08644 9 a b Dance Helen Oakley 1987 Stormy Monday The T Bone Walker Story Baton Rouge Louisiana Louisiana State University Press pp 89 91 ISBN 978 0 8071 2458 1 Dahl Bill 1996 T Bone Walker In Erlewine Michael ed All Music Guide to the Blues The Experts Guide to the Best Blues Recordings All Music Guide to the Blues San Francisco Miller Freeman Books p 261 ISBN 0 87930 424 3 Whitburn 1988 p 191 a b c d e f O Neal Jim van Singel Amy 2001 The Voice of the Blues Classic Interviews from Living Blues Magazine New York City Routledge pp 147 148 ISBN 978 0 415 93653 8 Billboard November 3 1945 Advance Record Releases Billboard Vol 57 no 44 New York City p 77 ISSN 0006 2510 a b c Cogdell Djedje Jacqueline Meadow Eddie S 1998 California Soul Music of African Americans in the West Oakland California University of California Press pp 225 235 ISBN 978 0 520 20628 1 Hannusch Jeff 1992 Driftin Blues The Best of Charles Brown CD booklet Charles Brown Hollywood California Aladdin Records p 4 OCLC 35283852 CDP 7 97989 2 a b c Stang Aaron 1998 21st Century Guitar Song Trax 3 Los Angeles Alfred Music ISBN 978 0 7692 6020 4 a b c d T Bone Walker s Stormy Monday NPR Music Retrieved April 21 2014 a b Carlson Lenny 2006 Stormy Monday In Komara Edward ed Encyclopedia of the Blues New York City Routledge pp 933 934 ISBN 978 0 415 92699 7 They Call It Stormy Monday Musicnotes com Retrieved October 19 2013 a b c d Whitburn Joel 1988 Top R amp B Singles 1942 1988 Menomonee Falls Wisconsin Record Research pp 429 45 251 ISBN 0 89820 068 7 a b Walker to Cap sic Close B amp W Deal for T Bone Wax Billboard Vol 61 no 18 New York City April 30 1949 p 19 ISSN 0006 2510 Advance Race Records Releases Billboard Vol 61 no 24 New York City June 11 1949 p 29 ISSN 0006 2510 T Bone Walker Call It Stormy Monday But Tuesday Is Just as Bad Appears On AllMusic Retrieved April 23 2014 T Bone Walker Call It Stormy Monday Appears On AllMusic Retrieved April 23 2014 T Bone Walker Stormy Monday Appears On AllMusic Retrieved April 23 2014 a b T Bone Blues Album notes T Bone Walker New York City Atlantic Records 1959 Back cover OCLC 6881022 8020 2 CS1 maint others in cite AV media notes link 2009 Hall of Fame Inductees T Bone Blues Atlantic 1959 T Bone Walker Blues org November 10 2016 Retrieved February 9 2017 Dahl Bill T Bone Walker T Bone Blues Album Review AllMusic Retrieved April 23 2014 T Bone Walker Stormy Monday Blues Album notes T Bone Walker BluesWay Records 1968 Back cover OCLC 7792329 BLS 6008 CS1 maint others in cite AV media notes link a b c d e O Neal Jim November 10 2016 1983 Hall of Fame Inductees Call it Stormy Monday But Tuesday is Just as Bad T Bone Walker Black amp White 1947 Blues org Retrieved February 9 2017 Grammy Hall of Fame Awards Past Recipients Grammy org 1991 Archived from the original on January 22 2011 Retrieved October 21 2013 500 Songs That Shaped Rock and Roll Rockhall com 1995 Archived from the original on May 2 2007 Retrieved October 21 2013 Complete National Recording Registry Listing U S Library of Congress Retrieved October 21 2013 a b c McGee David 2005 B B King There is Always One More Time San Francisco Backbeat Books pp 25 26 ISBN 978 0 87930 843 8 Murray Charles Shaar 2000 Boogie Man The Adventures of John Lee Hooker in the American Twentieth Century New York City St Martin s Press p 105 ISBN 978 0 312 26563 2 Bland s Duke single includes a writer s credit for A Walker while the LP lists Billy Eckstine and Earl Hines Stormy Monday Single label Latimore Glades Records OCLC 24614436 1716 CS1 maint others in cite AV media notes link a b c d e f Farley Charles 2011 Soul of the Man Bobby Blue Bland Jackson Mississippi University Press of Mississippi pp 111 115 ISBN 978 1 60473 919 0 a b Rubin Dave 1998 Guitar Player Sessions Licks amp Lessons from the World s Greatest Guitar Players and Teachers San Francisco Backbeat Books pp 12 14 ISBN 978 0 87930 503 1 a b c d e Poe Randy 2006 Skydog The Duane Allman Story San Francisco Backbeat Books eBook ISBN 978 0 87930 891 9 a b At Fillmore East Album notes The Allman Brothers Band Nashville Tennessee Capricorn Records 1971 Back cover OCLC 4696818 SD2 802 CS1 maint others in cite AV media notes link Brown Robert 2006 Introducing Jazz for the Rock Guitarist Los Angeles Alfred Music p 37 ISBN 978 0 7390 2567 3 a b c Whiteis David 2013 Southern Soul Blues Champaign Illinois University of Illinois Press p 40 ISBN 978 0 252 03479 4 Latimore Album Overview AllMusic Retrieved April 24 2014 Blues Foundation 2017 2017 Hall of Fame Inductees Latimore Blues org Retrieved July 8 2017 Retrieved from https en wikipedia org w index php title Call It Stormy Monday But Tuesday Is Just as Bad amp oldid 1035756758, wikipedia, wiki, book,

books

, library,

article

, read, download, free, free download, mp3, video, mp4, 3gp, jpg, jpeg, gif, png, picture, music, song, movie, book, game, games.