Salt-affected soils are visible on rangeland in Colorado. Salts dissolved from the soil accumulate at the soil surface and are deposited on the ground and at the base of the fence post.

Soil salinity is the salt content in the soil; the process of increasing the salt content is known as salinization.^[1] Salt is a natural element of soils and water. Salinization can be caused by natural processes such as mineral weathering or the gradual withdrawal of an ocean. It can also be caused by artificial processes such as irrigation.

Causes of soil salinity[link]

Salt-affected soils are caused by excess accumulation of salts, typically most pronounced at the soil surface. Salts can be transported to the soil surface by capillary transport from a salt laden water table and then accumulate due to evaporation. They can also be concentrated in soils due to human activity, for example the use of potassium as fertilizer, which can form sylvite, a naturally occurring salt. As soil salinity increases, salt effects can result in degradation of soils and vegetation.

Salinization is a process that results from:

• high levels of salt in the soils.
• landscape features that allow salts to become mobile(movement of water table).
• climatic trends that favour accumulation.
• human activities such as land clearing, aquaculture activities and the salting of icy roads.^[2]

Natural occurrence[link]

Salt is a natural element of soils and water. The ions responsible for salinization are: Na⁺, K⁺, Ca²⁺, Mg²⁺ and Cl^-.
As the Na⁺ (sodium) predominates, soils can become sodic. Sodic soils present particular challenges because they tend to have very poor structure which limits or prevents water infiltration and drainage.

Over long periods of time, as soil minerals weather and release salts, these salts are flushed or leached out of the soil by drainage water in areas with sufficient precipitation. In addition to mineral weathering, salts are also deposited via dust and precipitation. In dry regions salts may accumulate, leading to naturally saline soils. This is the case, for example, in large parts of Australia. Human practices can increase the salinity of soils by the addition of salts in irrigation water. Proper irrigation management can prevent salt accumulation by providing adequate drainage water to leach added salts from the soil. Disrupting drainage patterns that provide leaching can also result in salt accumulations. An example of this occurred in Egypt in 1970 when the Aswan High Dam was built. The change in the level of ground water before the construction had enabled soil erosion, which led to high concentration of salts in the water table. After the construction, the continuous high level of the water table led to the salination of the arable land.

Dry land salinity[link]

Salinity in drylands can occur when the water table is between two to three metres from the surface of the soil. The salts from the groundwater are raised by capillary action to the surface of the soil. This occurs when groundwater is saline (which is true in many areas), and is favored by land use practices allowing more rainwater to enter the aquifer than it could accommodate. For example, the clearing of trees for agriculture is a major reason for dryland salinity in some areas, since deep rooting of trees has been replaced by shallow rooting of annual crops.

Salinity due to irrigation[link]

Rain or irrigation, in the absence of leaching, can bring salts to the surface by capillary action

Salinity from irrigation can occur over time wherever irrigation occurs, since almost all water (even natural rainfall) contains some dissolved salts.^[3] When the plants use the water, the salts are left behind in the soil and eventually begin to accumulate. Since soil salinity makes it more difficult for plants to absorb soil moisture, these salts must be leached out of the plant root zone by applying additional water. This water in excess of plant needs is called the leaching fraction. Salination from irrigation water is also greatly increased by poor drainage and use of saline water for irrigating agricultural crops.

Salinity in urban areas often results from the combination of irrigation and groundwater processes. Irrigation is also now common in cities (gardens and recreation areas).

Consequences of salinity[link]

The consequences of salinity are

• detrimental effects on plant growth and yield
• damage to infrastructure (roads, bricks, corrosion of pipes and cables)
• reduction of water quality for users, sedimentation problems
• soil erosion ultimately, when crops are too strongly affected by the amounts of salts.

Salinity is an important land degradation problem. Soil salinity can be reduced by leaching soluble salts out of soil with excess irrigation water. Soil salinity control involves watertable control and flushing in combination with tile drainage or another form of subsurface drainage.^[4][5] A comprehensive treatment of soil salinity is available from the FAO.^[6]
High levels of soil salinity can be tolerated if salt-tolerant plants are grown. Sensitive crops lose their vigor already in slightly saline soils, most crops are negatively affected by (moderately) saline soils, and only salinity resistant crops thrive in severely saline soils. The University of Wyoming ^[7] and the Government of Alberta ^[8] report data on the salt tolerance of plants.

Regions affected[link]

Renewable energy
Biofuel Biomass Geothermal Hydroelectricity Solar energy Tidal power Wave power Wind power
v t e

From the FAO/UNESCO Soil Map of the World the following salinised areas can be derived.^[9]

See also[link]

• Alkali soil
• Atriplex (saltbush) (orache) (orach)
• Desalination
• Environmental impact of irrigation
• Saline seep
• Salinity in Australia
• Salting the earth
• Soil acidification
• Soil salinity control
• Soil salinity model
• Soil salinity and groundwater model
• Spragg Bags
• Water well

References[link]

External links[link]

• http://www.waterlog.info/pdf/balances.pdf

Me Yun San (Burmese: မယ်ယွန်းစံ [mɛ̀ jʊ́ɴ sàɴ]; 1713–1771) was the chief queen of King Alaungpaya of Burma (Myanmar), and the mother of three kings of Konbaung Dynasty: Naungdawgyi, Hsinbyushin and Bodawpaya.^[1] She is known for keeping the peace between her two eldest sons, Naungdawgyi and Hsinbyushin after Alaungpaya died in 1760, allowing Naungdawgyi to succeed Alaungpaya as king.^[2] She died in 1771 during Hsinbyushin's reign.

References[link]

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]

References[link]

External links[link]

Wikimedia Commons has media related to: Muddy Waters

• Official website