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Balanced Rock stands in Garden of the Gods park in Colorado Springs, CO.

In geology, rock or stone is a naturally occurring solid aggregate of minerals and/or mineraloids.

The Earth's outer solid layer, the lithosphere, is made of rock. Three majors groups of rocks are defined: igneous, sedimentary, and metamorphic. The scientific study of rocks is called petrology, which is an essential component of geology.

Rock classification[link]

Rock outcrop along a mountain creek near Orosí, Costa Rica.

Rocks are generally classified by mineral and chemical composition, by the texture of the constituent particles and by the processes that formed them. These indicators separate rocks into three types: igneous, sedimentary, and metamorphic. They are further classified according to particle size. The transformation of one rock type to another is described by the geological model called the rock cycle.

Sample of igneous gabbro

Igneous rocks are formed when molten magma cools and are divided into two main categories: plutonic rock and volcanic. Plutonic or intrusive rocks result when magma cools and crystallizes slowly within the Earth's crust (example granite), while volcanic or extrusive rocks result from magma reaching the surface either as lava or fragmental ejecta (examples pumice and basalt).^[1]

Sedimentary sandstone with iron oxide bands

Sedimentary rocks are formed by deposition of either clastic sediments, organic matter, or chemical precipitates (evaporites), followed by compaction of the particulate matter and cementation during diagenesis. Sedimentary rocks form at or near the Earth's surface. Mud rocks comprise 65% (mudstone, shale and siltstone); sandstones 20 to 25% and carbonate rocks 10 to 15% (limestone and dolostone).^[1]

Metamorphic banded gneiss

Metamorphic rocks are formed by subjecting any rock type (including previously formed metamorphic rock) to different temperature and pressure conditions than those in which the original rock was formed. These temperatures and pressures are always higher than those at the Earth's surface and must be sufficiently high so as to change the original minerals into other mineral types or else into other forms of the same minerals (e.g. by recrystallization).^[1]

The three classes of rocks—the igneous, the sedimentary and the metamorphic—are subdivided into many groups. There are, however, no hard and fast boundaries between allied rocks. By increase or decrease in the proportions of their constituent minerals they pass by every gradation into one another, the distinctive structures also of one kind of rock may often be traced gradually merging into those of another. Hence the definitions adopted in establishing rock nomenclature merely correspond to selected points (more or less arbitrary) in a continuously graduated series.^[2]

Igneous rocks[link]

Igneous rock (derived from the Latin word igneus meaning of fire, from ignis meaning fire) forms through the cooling and solidification of magma or lava. Igneous rock may form with or without crystallization, either below the surface as intrusive (plutonic) rocks or on the surface as extrusive (volcanic) rocks. This magma can be derived from partial melts of pre-existing rocks in either a planet's mantle or crust. Typically, the melting is caused by one or more of three processes: an increase in temperature, a decrease in pressure, or a change in composition. Over 700 types of igneous rocks have been described, most of them having formed beneath the surface of Earth's crust. These have diverse properties, depending on their composition and how they were formed.

Sedimentary rocks[link]

Sedimentary rocks are types of rock that are formed by the deposition of material at the Earth's surface and within bodies of water. Sedimentation is the collective name for processes that cause mineral and/or organic particles (detritus) to settle and accumulate or for minerals to precipitate from a solution. Particles that form a sedimentary rock by accumulating are called sediment. Before being deposited, sediment was formed by weathering and erosion in a source area, and then transported to the place of deposition by water, wind, ice, mass movement or glaciers which are called agents of denudation.

Metamorphic rocks[link]

Metamorphic rocks arise from the transformation of existing rock types, in a process calledmetamorphism, which means "change in form". The original rock (protolith) is subjected to heat and pressure, (temperatures greater than 150 to 200 °C and pressures of 1500 bars^[3]) causing profound physical and/or chemical change. The protolith may be sedimentary rock, igneous rock or another older metamorphic rock.

Human use[link]

This unreferenced section requires citations to ensure verifiability.

This section requires expansion.

Ceremonial cairn of rocks, an ovoo, from Mongolia

Uranium mine near Moab, Utah

The use of rocks has had a huge impact on the cultural and technological development of the human race. Rocks have been used by humans and other hominids for more than 2 million years. Lithic technology marks some of the oldest and continuously used technologies. The mining of rocks for their metal ore content has been one of the most important factors of human advancement, which has progressed at different rates in different places in part because of the kind of metals available from the rocks of a region.

The prehistory and history of civilization is classified into the Stone Age, Bronze Age, and Iron Age. Although the Stone Age has ended virtually everywhere, rocks continue to be used to construct buildings and infrastructure. When so used, rocks are called dimension stone.

Mining[link]

Mining is the extraction of valuable minerals or other geological materials from the earth, from an ore body, vein or (coal) seam. This term also includes the removal of soil. Materials recovered by mining include base metals, precious metals, iron, uranium, coal,diamonds, limestone, oil shale, rock salt and potash. Mining is required to obtain any material that cannot be grown through agricultural processes, or created artificially in a laboratory or factory. Mining in a wider sense comprises extraction of any non-renewable resource (e.g.,petroleum, natural gas, or even water).

Mining of stone and metal has been done since pre-historic times. Modern mining processes involve prospecting for ore bodies, analysis of the profit potential of a proposed mine, extraction of the desired materials and finally reclamation of the land to prepare it for other uses once the mine is closed.

The nature of mining processes creates a potential negative impact on the environment both during the mining operations and for years after the mine is closed. This impact has led to most of the world's nations adopting regulations to moderate the negative effects of mining operations. Safety has long been a concern as well, though modern practices have improved safety in mines significantly.

See also[link]

Wikimedia Commons has media related to: rocks

Look up rock in Wiktionary, the free dictionary.

• Geologic time scale
• Geomorphology
• List of rock types
• Oldest rock
• Quarry
• Riprap
• Rock balancing

References[link]

Bill Wyman
Wyman with Bill Wyman's Rhythm Kings Middelburg, January 2009
Background information
Birth name	William George Perks
Also known as	Lee Wyman
Born	(1936-10-24) 24 October 1936 (age 75) Lewisham, London England United Kingdom
Genres	Rock, rock and roll, swing, rhythm and blues, jazz, blues, skiffle
Occupations	Musician, composer, author, record producer, film producer, bandleader, photographer, inventor
Instruments	Vocals, bass guitar, guitar, keyboards, percussion
Years active	1962–present
Labels	Velvel, Koch International, Rolling Stones, BMG
Associated acts	The Rolling Stones, Bill Wyman's Rhythm Kings, Wilie & the Poor Boys, The Cliftons
Website	www.billwyman.com
Notable instruments
Framus Star Bass Vox Teardrop bass Fender Mustang Bass Ampeg Dan Armstrong

Bill Wyman (born William George Perks; 24 October 1936) is an English musician best known as the bass guitarist for the English rock and roll band the Rolling Stones from 1962 until 1992. Since 1997, he has recorded and toured with his own band, Bill Wyman's Rhythm Kings. He has worked producing both records and film, and has scored music for film in movies and television.

Wyman has kept a journal since he was a child after World War II. It has been useful to him as an author who has written seven books, selling two million copies. Wyman's love of art has additionally led to his proficiency in photography and his photographs have hung in galleries around the world.^[1] Wyman's lack of funds in his early years led him to create and build his own fretless bass guitar. He became an amateur archaeologist and enjoys relic hunting; The Times published a letter about his hobby (Friday 2 March 2007). He designed and markets a patented Bill Wyman signature metal detector, which he has used to find relics in the English countryside dating back to the era of the Roman Empire. As a businessman, he owns several establishments including the famous Sticky Fingers Café, a rock & roll-themed bistro serving American cuisine first opened in 1989 in the Kensington area of London and later, two additional locations in Cambridge and Manchester, England.

Early life[link]

Bill Wyman was born in Lewisham Hospital in Lewisham, South London, the son of William Perks, a bricklayer, and his wife, Molly. One of five children, Wyman spent most of his early life living in a terraced house in one of the roughest streets in Sydenham, southeast London. He describes his childhood as "scarred by poverty".^[2]

He attended Beckenham and Penge Grammar School from 1947 to Easter 1953, leaving before the GCE exams after his father found him a job working for a bookmaker and insisted that he take it.

Music career[link]

Wyman took piano lessons from age 10 to 13. A year after his marriage on 24 October 1959 to Diane Cory, an 18-year-old bank clerk, he bought a Burns electric guitar for £52 on hire-purchase, but was not satisfied by his progress.^[3] After hearing a bass guitar at the Barron Knights' concert, he fell in love with the sound of it and decided this was his instrument. He created the first fretless electric bass^[4] by removing the frets from a cheap Japanese bass guitar he was reworking and played this in a south London band, the Cliftons, in 1961. He used the stage name Lee (later Bill) Wyman, taking the surname of a friend with whom he had done national service in the Royal Air Force from 1955 to 1957.^[5]

The Rolling Stones[link]

When drummer Tony Chapman told him that a rhythm and blues band called the Rolling Stones needed a bass player, he auditioned and was hired on 7 December 1962 as a successor to Dick Taylor. The band were impressed by his instrument and amplifiers (one of which Wyman built himself), but because he was married, employed, and older, Wyman remained an outsider.^[6] In addition to playing bass, Wyman frequently sang harmony on early records, and through 1967 in concert as well. He sang lead vocals on the track "In Another Land", on the Their Satanic Majesties Request album and a single. The song is one of two Wyman compositions released by the Rolling Stones; the second is "Downtown Suzie" (sung by Mick Jagger), on Metamorphosis, a collection of Rolling Stones outtakes. The title "Downtown Suzie" was chosen by the Rolling Stones' erstwhile manager Allen Klein without consulting Wyman or the band. The original title was "Sweet Lyle Lucy", named after Lyle Street, a street in the red light district in Soho, London.

Wyman kept a journal throughout his life, beginning when he was a child, and used it in writing his 1990 autobiography Stone Alone and his 2002 book Rolling with the Stones. In Stone Alone, Wyman claims to have composed the riff of "Jumpin' Jack Flash" with Brian Jones and drummer Charlie Watts. Wyman mentions that "(I Can't Get No) Satisfaction" was released as a single only after a 3-2 vote within the band: Wyman, Watts and Jones voted for, Jagger and Richards against, feeling it not sufficiently commercial. By the 1970s, Wyman, tired of the monopolisation of songwriting and production by Jagger and Richards,^{[citation needed]} began solo projects. In the 1970s and early '80s he made three solo albums, none commercially very successful but all well received by critics.^{[citation needed]} In July 1981 his "(Si, Si) Je suis un rock star" became a top-20 hit in many countries.^[7]

Wyman also played on the London Howlin' Wolf Sessions, released 1971, with Howlin' Wolf, Eric Clapton, Charlie Watts and Stevie Winwood, and on the album Jamming with Edward, released in 1972, with Ry Cooder, Nicky Hopkins, Mick Jagger and Charlie Watts.

Wyman composed the score of the 1981 Ryan O'Neal-Omar Sharif film Green Ice; and in the mid-'80s, he composed music for two films by Italian director Dario Argento: Phenomena (1985) and Terror at the Opera (1987). He made a cameo appearance in the 1987 film Eat the Rich. He produced and managed the group Tucky Buzzard.

Wyman was close to Brian Jones; he and Watts were the only members at Jones' funeral in July 1969. Wyman was also friends with guitarist Mick Taylor. Like the Rolling Stones, he has worked with Taylor since Taylor's departure from the band.

After the Rolling Stones' 1989-90 Steel Wheels/Urban Jungle tours, Wyman left the group; his decision was announced in December 1992.^[8] The Rolling Stones have continued to record and tour with Darryl Jones on bass.

Later activity[link]

Wyman continues to tour with the Rhythm Kings, which has featured such musicians as Martin Taylor,^[9] Albert Lee, Gary Brooker, Terry Taylor (formerly with Tucky Buzzard), Mike Sanchez and Georgie Fame. Following his 70th birthday in October 2006, Wyman undertook another British tour.

On 10 December 2007, Wyman and his band appeared alongside a reunited Led Zeppelin at the Ahmet Ertegun Tribute Concert at the O2 in London.

Wyman was a judge for the 5th annual Independent Music Awards to support independent artists' careers.^[10]

In 2009, ex-Rolling Stones guitarist Mick Taylor was invited as a guest performer with Wyman's Rhythm Kings.

On 25 October 2009, Wyman performed a reunion show with Faces, filling in for the late Ronnie Lane as he had previously done in 1986 and 1993.^[11][12]

On 19 April 2011, pianist Ben Waters released an Ian Stewart tribute album titled Boogie 4 Stu. Wyman played on two tracks: "Rooming House Boogie" and "Watchin' the River Flow", the latter recorded with the Rolling Stones.

Musical instruments[link]

Wyman, on bass during the Rolling Stones' tour in 1975 - vertically holding the instrument is his trademark.

Wyman's bass sound came not only from his home-made fretless bass, but the "walking bass" style he adopted, inspired by Willie Dixon and Ricky Fenson.^{[citation needed]} Wyman has played a number of basses, including a Framus Star bass and a number of other Framus basses, a Vox Teardrop bass (issued as a Bill Wyman signature model), a Fender Mustang Bass, two Ampeg Dan Armstrong basses, a Gibson SG Bass, a Rickenbacker 4005, and a Travis Bean bass. His current favourite is a Steinberger bass. Wyman's amplifers over the years have included a Vox T-60, a piggyback Fender Bassman, a Hiwatt bass stack, and an Ampeg SVT. Wyman, especially in the early Stones' years, had a distinctive way of holding his bass - almost vertical. He stated that the reason he held a bass in this position is simply because his hands were small.

Personal life[link]

Wyman, although moderate in his use of alcohol and drugs, has stated that he became "girl mad" as a psychological crutch.^[13] Maxim magazine ranked Wyman at number 10 on its "Living Sex Legends" list, as he is reputed to have had sex with over 1,000 women.^[14]

Wyman married his first wife Dianne in 1959 and their son Stephen Paul Wyman was born on 29 March 1962. They separated in 1967 and divorced in 1969.^[15]

From 1967 to 1983 Wyman was romantically linked to Astrid Lundström.

On 2 June 1989 Wyman married 18-year-old Mandy Smith whom he had been dating since she was 13. Their relationship was the subject of considerable media attention. The marriage ended in spring 1991, although the divorce was not finalised until 1993.^[16] In 1993, while Wyman was still married to Smith, Stephen, his son from his first marriage, became engaged to Smith's mother.^[17]

In April 1993 he married Suzanne Accosta. The couple have three daughters, Katherine Noelle (September 1994), Jessica Rose (November 1995) and Matilda Mae (April 1998).^[18]

Wyman lives in a country house in Suffolk and in St. Paul de Vence in the South of France; in St. Paul de Vence his friends include numerous artists. He is a cricket supporter (as is Mick Jagger) and played in a celebrity match at the Oval against a former England XI taking a hat-trick.^[19][20]

Wyman started selling metal detectors in 2007.^[21] Treasure detecting adventures in the British Isles are detailed in his 2005 illustrated book Treasure Islands co-written with Richard Havers.^[22][23]

Wyman is a keen photographer. He has taken photographs throughout his career and in June 2010 launched a retrospective of his work in an exhibition in St. Paul de Vence. The exhibition included images of his music acquaintances as well as famous artists from the South of France including Marc Chagall.^[24]

Wyman is also a supporter of his local football team, Crystal Palace.

Wyman has supported Britain's Conservative Party.^[25]

Discography[link]

Solo albums[link]

• Monkey Grip (June 1974) UK #39 [1 wk], US #99 [11 wks]
• Stone Alone (March 1976) US #166 [5 wks]
• Bill Wyman (April 1982) UK #55 [6 wks]
• Willie & The Poor Boys (May 1985) US #96 [12 wks]
• Stuff (October 1992 in Japan and Argentina only, 2000 UK)
• A Stone Alone: The Solo Anthology 1974-2002 (2002, UK)

Bill Wyman's Rhythm Kings[link]

• Struttin' Our Stuff (October 1997)
• Anyway The Wind Blows (February 1999)
• Groovin' (May 2000) UK #52 [3 wks]
• Double Bill (May 2001) UK #88 [2 wks]
• Just For A Thrill (May 2004) UK #149 [1 wk]

Also plays on[link]

• The London Howlin' Wolf Sessions, 1971
• Jamming with Edward!, 1972

Solo singles[link]

• "In Another Land" (December 1967) Peaked US #87
• "(Si, Si) Je suis un rock star" (July 1981) UK #14 [9 wks]
• " A New Fashion" (March 1982) UK #37 [4 wks]
• "Baby Please Don't Go" (June 1985) US Mainstream Rock #35 [7 wks]

Bibliography[link]

Bill Wyman has authored or co-authored the following titles

Archaeology[link]

• Bill Wyman's Treasure Islands ISBN 0-7509-3967-2

Rolling Stones[link]

• Stone Alone ISBN 0-306-80783-1
• Rolling with the Stones ISBN 0-7513-4646-2.
• Bill Wyman's Blues Odyssey ISBN 0-7513-3442-1
• The Stones - A History in Cartoons ISBN 0-7509-4248-7

The last three books and Bill Wyman's Treasure Islands were all written in collaboration with Richard Havers.

Art[link]

• Wyman Shoots Chagall ISBN 09043516291

References[link]

External links[link]

Wikimedia Commons has media related to: Bill Wyman

• Bill Wyman's website

Muddy Waters
Muddy Waters at the opening of Peaches Records & Tapes in Rockville, Maryland
Background information
Birth name	McKinley Morganfield
Born	(1913-04-04)April 4, 1913 Issaquena County, Mississippi, United States
Died	April 30, 1983(1983-04-30) (aged 70) Westmont, Illinois, United States
Genres	Blues, Chicago blues, country blues, electric blues
Occupations	Singer, songwriter, guitarist, bandleader
Instruments	Vocals, guitar, harmonica
Years active	1941–1982
Labels	Aristocrat, Chess, Testament
Website	www.muddywaters.com
Notable instruments
Gibson Les Paul Fender Telecaster

McKinley Morganfield (April 4, 1913 – April 30, 1983), known as Muddy Waters, was an American blues musician, generally considered the "father of modern Chicago blues". He was a major inspiration for the British blues explosion in the 1960s,^[1] and was ranked No. 17 in Rolling Stone magazine's list of the 100 Greatest Artists of All Time.^[2]

Early life[link]

Although in his later years Muddy usually said that he was born in Rolling Fork, Mississippi, in 1915, he was actually born at Jug's Corner in neighboring Issaquena County, Mississippi, in 1913.^[3] Recent research has uncovered documentation showing that in the 1930s and 1940s he reported his birth year as 1913 on both his marriage license and musicians' union card. A 1955 interview in the Chicago Defender is the earliest claim of 1915 as his year of birth, which he continued to use in interviews from that point onward. The 1920 census lists him as five years old as of March 6, 1920, suggesting that his birth year may have been 1914. The Social Security Death Index, relying on the Social Security card application submitted after his move to Chicago in the mid 1940s, lists him as being born April 4, 1915. Muddy's gravestone lists his birth year as 1915.

His grandmother Della Grant raised him after his mother died shortly after his birth. Most sources wrongly cite that his fondness for playing in mud earned him the nickname "Muddy" at an early age. He then changed it to "Muddy Water" and finally "Muddy Waters" however this is a misconception that was thought to have originated as a derogatory spin on his nickname that was generally accepted amongst a non African American community during the late 1920's and early 1930's, which persisted and became the common reference.

When the Great Mississippi Flood of 1927 occurred, the majority of the African American community was neglected in regards to relief from the destruction of the natural disaster, while the community observed what they perceived as preferential treatment afforded to the Caucasian population, especially the more wealthy inhabitants.

Herbert Hoover was in charge of flood relief operations and it was during this time that the African American community in Mississippi viewed the treatment that they were given compared to Caucasian citizens unequal. Many African Americans were actually conscripted to help with the relief effort. This caused tension to run high with citizens from the community, refusing to work, in some cases, as they felt they were treated with blatant disregard to their health and civil rights. In some reported events, African Americans who refused were fired upon by supervising officials. The timing of these events occurred not long before the upcoming presidential election and the African American community as a whole looked towards political reform.

Reports from The Colored Advisory Commission were kept secret from the media by Herbert Hoover as he promised further reforms for African Americans after the presidential election. However, as the community saw no apparent change leading up to the election, the commission called for African Americans to switch allegiance from the Republican party to Franklin Roosevelt of The Democrats, as many citizens had moved north, most notably to Chicago, where the blues scene followed. Morganfield reflected on the carnage he saw in his community, saying they had nothing left but muddy waters all around them. He then took the nickname of Muddy Waters, feeling that it was a very good reflection of the music that he played. Some very notable blues musicians wrote songs specifically about the flood, such as Robert Johnson, Bessie Smith, Charlie Patton, and Muddy himself. The song, "When The Levee Breaks" that was covered by Led Zeppelin, was written about the flood.

The actual shack where Muddy Waters lived in his youth on Stovall Plantation is now located at the Delta Blues Museum at 1 Blues Alley in Clarksdale, Mississippi. He started out on harmonica, but by age seventeen he was playing the guitar at parties, emulating two blues artists who were extremely popular in the south, Son House and Robert Johnson. "His thick heavy voice, the dark coloration of his tone, and his firm, almost solid, personality were all clearly derived from House," wrote music critic Peter Guralnick in Feel Like Going Home, "but the embellishments, which he added, the imaginative slide technique and more agile rhythms, were closer to Johnson."^{[page needed]}

On November 20, 1932, Muddy married Mabel Berry; Robert Nighthawk played guitar at the wedding, and the party reportedly got so wild the floor fell in.^{[citation needed]} Mabel left Muddy three years later when Muddy's first child was born; the child's mother was Leola Spain, sixteen years old (Leola later used her maiden name Brown), "married to a man named Steven" and "going with a guy named Tucker". Leola was the only one of his girlfriends with whom Muddy would stay in touch throughout his life; they never married. By the time he finally cut out for Chicago in 1943, there was another Mrs. Morganfield left behind, a girl called Sallie Ann.^[4]

Early career[link]

In 1940, Muddy moved to Chicago for the first time. He played with Silas Green a year later, and then returned to Mississippi. In the early part of the decade he ran a juke joint, complete with gambling, moonshine, and a jukebox; he also performed music there himself. In the summer of 1941, Alan Lomax went to Stovall, Mississippi, on behalf of the Library of Congress, to record various country blues musicians. "He brought his stuff down and recorded me right in my house," Muddy recalled in Rolling Stone, "and when he played back the first song I sounded just like anybody's records. Man, you don't know how I felt that Saturday afternoon when I heard that voice and it was my own voice. Later on he sent me two copies of the pressing and a check for twenty bucks, and I carried that record up to the corner and put it on the jukebox. Just played it and played it and said, 'I can do it, I can do it.'" Lomax came back in July 1942 to record Muddy again. Both sessions were eventually released as Down On Stovall's Plantation on the Testament label.^[5] The complete recordings were re-issued on CD as Muddy Waters: The Complete Plantation Recordings. The historic 1941-42 Library of Congress field recordings by Chess Records in 1993, and re-mastered in 1997.^[6]

In 1943, Muddy headed back to Chicago with the hope of becoming a full-time professional musician. He lived with a relative for a short period while driving a truck and working in a factory by day and performing at night. Big Bill Broonzy, then one of the leading bluesmen in Chicago, helped Muddy break into the very competitive market by allowing him to open for his shows in the rowdy clubs.^[7] In 1945, Muddy's uncle, Joe Grant, gave him his first electric guitar, which enabled him to be heard above the noisy crowds.^[8]

In 1946, he recorded some tunes for Mayo Williams at Columbia but they were not released at the time. Later that year he began recording for Aristocrat Records, a newly-formed label run by two brothers, Leonard and Phil Chess. In 1947, he played guitar with Sunnyland Slim on piano on the cuts "Gypsy Woman" and "Little Anna Mae." These were also shelved, but in 1948, "I Can't Be Satisfied" and "I Feel Like Going Home" became big hits and his popularity in clubs began to take off. Soon after, Aristocrat changed their label name to Chess Records and Muddy's signature tune "Rollin' Stone" also became a smash hit.

Commercial success[link]

Initially, the Chess brothers would not allow Muddy to use his own guitar in the recording studio; instead he was provided with a backing bass by Ernest "Big" Crawford, or by musicians assembled specifically for the recording session, including "Baby Face" Leroy Foster and Johnny Jones. Gradually Chess relented, and by September 1953 he was recording with one of the most acclaimed blues groups in history: Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (a.k.a. Elgin Evans) on drums and Otis Spann on piano. The band recorded a series of blues classics during the early 1950s, some with the help of bassist/songwriter Willie Dixon, including "Hoochie Coochie Man" (Number 8 on the R&B charts), "I Just Want to Make Love to You" (Number 4), and "I'm Ready". These three were "the most macho songs in his repertoire," wrote Robert Palmer in Rolling Stone. "Muddy would never have composed anything so unsubtle. But they gave him a succession of showstoppers and an image, which were important for a bluesman trying to break out of the grind of local gigs into national prominence."^{[citation needed]}

Along with his former harmonica player Little Walter Jacobs and recent southern transplant Howlin' Wolf, Muddy reigned over the early 1950s Chicago blues scene, his band becoming a proving ground for some of the city's best blues talent. While Little Walter continued a collaborative relationship long after he left Muddy's band in 1952, appearing on most of Muddy's classic recordings throughout the 1950s, Muddy developed a long-running, generally good-natured rivalry with Wolf. The success of Muddy's ensemble paved the way for others in his group to break away and enjoy their own solo careers. In 1952 Little Walter left when his single "Juke" became a hit, and in 1955 Rogers quit to work exclusively with his own band, which had been a sideline until that time. Although he continued working with Muddy's band, Otis Spann enjoyed a solo career and many releases under his own name beginning in the mid-1950s.

England and low profile[link]

Muddy headed to England in 1958 and shocked audiences (whose only previous exposure to blues had come via the acoustic folk/blues sounds of acts such as Sonny Terry & Brownie McGhee and Big Bill Broonzy) with his loud, amplified electric guitar and thunderous beat. His performance at the 1960 Newport Jazz Festival, recorded and released as his first live album, At Newport 1960, helped turn on a whole new generation to Muddy's sound. He expressed dismay when he realized that members of his own race were turning their backs on the genre while a white audience had shown increasing respect for the blues.

However, for the better part of twenty years (since his last big hit in 1956, "I'm Ready") Muddy was put on the back shelf by the Chess label and recorded albums with various "popular" themes: Brass And The Blues, Electric Mud, etc. In 1967, he joined forces with Bo Diddley, Little Walter and Howlin' Wolf to record the Super Blues and The Super Super Blues Band pair of albums of Chess blues standards. In 1972 he went back to England to record The London Muddy Waters Sessions with Rory Gallagher, Steve Winwood, Rick Grech and Mitch Mitchell — but their playing was not up to his standards. "These boys are top musicians, they can play with me, put the book before 'em and play it, you know," he told Guralnick. "But that ain't what I need to sell my people, it ain't the Muddy Waters sound. An' if you change my sound, then you gonna change the whole man."

Muddy's sound was basically Delta blues electrified, but his use of microtones, in both his vocals and slide playing, made it extremely difficult to duplicate and follow correctly.^{[citation needed]} "When I play on the stage with my band, I have to get in there with my guitar and try to bring the sound down to me. But no sooner than I quit playing, it goes back to another, different sound. My blues look so simple, so easy to do, but it's not. They say my blues is the hardest blues in the world to play."^[9]

Comeback[link]

Muddy Waters with James Cotton; 1971

Muddy's long-time wife Geneva died of cancer on March 15, 1973. A devastated Muddy was taken to a doctor and told to quit smoking, which he did. Gaining custody of some of his "outside kids", he moved them into his home, eventually buying a new house in Westmont, Illinois. Another teenage daughter turned up while on tour in New Orleans; Big Bill Morganfield was introduced to his Dad after a gig in Florida. Florida was also where Muddy met his future wife, the 19-year-old Marva Jean Brooks whom he nicknamed "Sunshine".^[10]

On November 25, 1976, Muddy Waters performed at The Band's farewell concert at Winterland in San Francisco. The concert was released as both a record and a film, The Last Waltz, featuring a performance of "Mannish Boy" with Paul Butterfield on harmonica.

In 1977 Johnny Winter convinced his label, Blue Sky, to sign Muddy, the beginning of a fruitful partnership. His "comeback" LP, Hard Again, was recorded in just two days and was a return to the original Chicago sound he had created 25 years earlier, thanks to Winter's production. Former sideman James Cotton contributed harmonica on the Grammy Award-winning album and a brief but well-received tour followed.

The Muddy Waters Blues Band at the time included guitarists Sammy Lawhorn, Bob Margolin and Luther "Snake Boy" Johnson, pianist Pinetop Perkins, harmonica player Jerry Portnoy, bassist Calvin "Fuzz" Jones and drummer Willie "Big Eyes" Smith. On "Hard Again", Winter played guitar in addition to producing; Muddy asked James Cotton to play harp on the session, and Cotton brought his own bassist Charles Calmese. According to Margolin's liner notes, Muddy did not play guitar during these sessions. The album covers a broad spectrum of styles, from the opening of "Mannish Boy", with shouts and hollers throughout, to the old-style Delta blues of "I Can't Be Satisfied", with a National Steel solo by Winter, to Cotton's screeching intro to "The Blues Had a Baby", to the moaning closer "Little Girl". Its live feel harks back to the Chess Records days, and it evokes a feeling of intimacy and cooperative musicianship. The expanded reissue includes one bonus track, a remake of the 1950s single "Walking Through the Park". The other outtakes from the album sessions appear on King Bee. Margolin's notes state that the reissued album was remastered but that remixing was not considered to be necessary. Hard Again was the first studio collaboration between Muddy and Winter, who produced his final four albums, the others being I'm Ready, King Bee, and Muddy "Mississippi" Waters - Live, for Blue Sky, a Columbia Records subsidiary.^{[citation needed]}

In 1978, Winter recruited two of Muddy's cohorts from the early 1950s, Big Walter Horton and Jimmy Rogers, and brought in the rest of his touring band at the time (harmonica player Jerry Portnoy, guitarist Luther "Guitar Junior" Johnson, and bassist Calvin Jones) to record I'm Ready which came close to the critical and commercial success of Hard Again.

The comeback continued in 1979 with the lauded LP Muddy "Mississippi" Waters Live. "Muddy was loose for this one," wrote Jas Obrecht in Guitar Player, "and the result is the next best thing to being ringside at one of his foot-thumping, head-nodding, downhome blues shows." On the album, Muddy is accompanied by his touring band, augmented by Johnny Winter on guitar. The set list contains most of his biggest hits, and the album has an energetic feel. King Bee the following year concluded Waters' reign at Blue Sky, and these last four LPs turned out to be his biggest-selling albums ever. King Bee was the last album Muddy Waters recorded. Coming last in a trio of studio outings produced by Johnny Winter, it is also a mixed bag. During the sessions for King Bee, Muddy, his manager and his band were involved in a dispute over money. According to the liner notes by Bob Margolin, the conflict arose from Muddy's health being on the wane and consequently playing fewer engagements. The bandmembers wanted more money for each of the fewer gigs they did play in order to make ends meet. Ultimately a split occurred and the entire band quit. Because of the tensions in the studio preceding the split, Winter felt the sessions had not produced enough solid material to yield an entire album. He subsequently filled out King Bee with outtakes from earlier Blue Sky sessions and the cover photograph was by David Michael Kennedy. For the listener, King Bee is a leaner and meaner record. Less of the good-time exuberance present on the previous two outings is present here. The title track, "Mean Old Frisco", "Sad Sad Day", and "I Feel Like Going Home", are all blues with ensemble work. The Sony Legacy issue features completely remastered sound and Margolin's notes, and also hosts two bonus tracks from the King Bee sessions that Winter did not see fit to release the first time.^{[citation needed]}

In 1981, Muddy Waters was invited to perform at ChicagoFest, the city's top outdoor music festival. He was joined onstage by Johnny Winter—who had successfully produced his most recent albums—and played classics like “Mannish Boy,” “Trouble No More” and “Mojo Working” to a new generation of fans. This historic performance was made available on DVD in 2009 by Shout! Factory.

In 1982, declining health dramatically curtailed Muddy's performance schedule. His last public performance took place when he sat in with Eric Clapton's band at a Clapton concert in Florida in autumn of 1982.

Death[link]

On April 30, 1983 Muddy Waters died in his sleep from heart failure, at his home in Westmont, Illinois. At his funeral at Restvale Cemetery in Alsip, Illinois, throngs of blues musicians and fans showed up to pay tribute to one of the true originals of the art form. "Muddy was a master of just the right notes," John P. Hammond, told Guitar World magazine. "It was profound guitar playing, deep and simple... more country blues transposed to the electric guitar, the kind of playing that enhanced the lyrics, gave profundity to the words themselves." Two years after his death, Chicago honored him by designating the one-block section between 900 and 1000 E. 43rd Street near his former home on the south side "Honorary Muddy Waters Drive".^[11] The Chicago suburb of Westmont, where Waters lived the last decade of his life, named a section of Cass Avenue near his home "Honorary Muddy Waters Way".^[12] Following Waters' death, fellow blues musician B.B. King (who was hugely influenced by Waters) told Guitar World, "It's going to be years and years before most people realize how greatly he contributed to American music". Attesting to the historic place of Muddy Waters in the development of the blues in Mississippi, a Mississippi Blues Trail marker has been placed in Clarksdale, Mississippi, by the Mississippi Blues Commission designating the site of Muddy Waters' cabin to commemorate his importance.^[13]

Influence[link]

His influence is tremendous, over a variety of music genres: blues, rhythm and blues, rock 'n' roll, hard rock, folk, jazz, and country. He also helped Chuck Berry get his first record contract.

His 1958 tour of England marked possibly the first time amplified, modern urban blues was heard there, although on his first tour he was the only one amplified. His backing was provided by Englishman Chris Barber's trad jazz group. (One critic retreated to the toilets to write his review because he found the band so loud).

The Rolling Stones named themselves after his 1950 song "Rollin' Stone" (also known as "Catfish Blues", which Jimi Hendrix covered as well). Hendrix recalled "the first guitar player I was aware of was Muddy Waters. I first heard him as a little boy and it scared me to death". Cream covered "Rollin' and Tumblin'" on their 1966 debut album Fresh Cream, as Eric Clapton was a big fan of Muddy Waters when he was growing up, and his music influenced Clapton's music career. The song was also covered by Canned Heat at the legendary Monterey Pop Festival and later adapted by Bob Dylan on the album Modern Times. One of Led Zeppelin's biggest hits, "Whole Lotta Love", is lyrically based upon the Muddy Waters hit "You Need Love", written by Willie Dixon. Dixon wrote some of Muddy Waters' most famous songs, including "I Just Want to Make Love to You" (a big radio hit for Etta James, as well as the 1970s rock band Foghat), "Hoochie Coochie Man", which The Allman Brothers Band famously covered, and "I'm Ready", which was covered by Humble Pie. In 1993, Paul Rodgers released the album Muddy Water Blues: A Tribute to Muddy Waters, on which he covered a number of Muddy Waters songs, including "Louisiana Blues", "Rollin' Stone", "Hoochie Coochie Man" and "I'm Ready" (among others) in collaboration with a number of famous guitarists such as Brian May and Jeff Beck. Angus Young of the rock group AC/DC has cited Muddy Waters as one of his influences.

The song title "You Shook Me All Night Long" came from lyrics of the Muddy Waters song "You Shook Me", written by Willie Dixon and J. B. Lenoir. Earl Hooker first recorded it as an instrumental which was then overdubbed with vocals by Muddy Waters in 1962. Led Zeppelin also covered it on their debut album.

Muddy Waters' songs have been featured in long-time fan Martin Scorsese's movies, including The Color of Money, Goodfellas and Casino. Muddy Waters' 1970s recording of his mid-'50s hit "Mannish Boy" (a.k.a. "I'm A Man") was used in Goodfellas and the hit film Risky Business, and also features in the rockumentary The Last Waltz.

The song "Come Together" by The Beatles references Muddy Waters: "He roller coaster/he got Muddy Waters."

Screenwriter David Simon has written an unproduced teleplay about Muddy Waters' life.^[14]

The 2006 Family Guy episode "Saving Private Brian" includes a parody of Muddy Waters trying to pass a kidney stone; his screams of pain form a call and response with the Chicago blues band in his bathroom.

In 2008, Jeffrey Wright portrayed Muddy in the biopic Cadillac Records, a film about the rise and fall of Chess Records and the lives of its recording artists. A second 2008 film about Leonard Chess and Chess Records, Who Do You Love, also covers Muddy's time at Chess Records.

In the 2009 film The Boat that Rocked about pirate radio in the UK, the cryptic message that late-night DJ Bob gives to Carl to give to Carl's mother is: "Muddy Waters Rocks."

In 1990, the television show Doogie Howser, M.D. featured an episode called "Doogie Sings the Blues" with the main character, Blind Otis Lemon, based on Muddy Waters, with references to his influence on the Rolling Stones and Led Zeppelin, along with the performance of "Got My Mojo Working" by Blind Otis Lemon. He is also referred to as the original "Hoochie Coochie Man".

Awards and recognitions[link]

Grammy Awards[link]

Rock and Roll Hall of Fame[link]

The Rock and Roll Hall of Fame listed four songs of Muddy Waters among the 500 Songs That Shaped Rock and Roll.^[16]

The Blues Foundation Awards[link]

Inductions[link]

U.S. Postage Stamp

Partial discography[link]

Charting and notable singles[link]

Muddy Waters released approximately sixty singles (120 "sides") during his career, sixteen of which made the charts. These were issued on Chess Records, except for his 1941 recordings for the Library of Congress and his 1947 to early 1950 singles, which were issued on Aristocrat Records. The list shows the peak position the single reached on the Billboard R&B chart.^[19]

Muddy Waters also recorded several singles as a sideman with Jimmy Rogers, Little Walter, Junior Wells, Sonny Boy Williamson II, Otis Spann, and others.

Selected albums[link]

Muddy Waters released about thirty albums during his career, including compilation albums. Since his death in 1983, numerous compilation and live albums have been released by a number of record companies (allmusic lists over 200 compilations).^[21] The following lists most of the albums released during his career and the more recent and available compilations released after his death.

Notes[link]