How to Play I Can't Quit You Baby Gov't Mule
The story of Otis Rush's "I Tin't Quit You Baby" is inextricable from Willie Dixon, one of the most meaning songwriters in blues history. Dixon wrote classics such as "Lilliputian Ruby-red Rooster," "Hoochie Coochie Man," "I Own't Superstitious" and "Spoonful" (for stars including Little Walter, Chuck Drupe and Muddy Waters), and helped transform the career of Rush with this defining song.
In 1948, while nevertheless a teenager, Blitz had fabricated the trek from Mississippi to The Windy City to brand his mark as a guitarist and singer. Several years after, he was playing at the celebrated 708 Club in the Bronzeville neighborhood of Chicago when he met Dixon, a former heavyweight boxer turned renowned songwriter and musician.
Dixon was then working for Cobra Records – afterwards falling out with Chess – and Rush recalled, "Willie sort of helped me get started with Cobra Records. Earlier I made the starting time tape I didn't know Willie too well. Him and the owner Eli Toscano came past and asked, did I desire to tape? I said, 'Yeah!' Imagine me, hearing myself, playing back a tape on me! It was really exciting, the starting time record."
Listen to the development of "I Tin can't Quit Y'all Babe' on Spotify.
Blitz had told Dixon he was having troubles in a human relationship, and the 40-twelvemonth-old songwriter and bassist used this unhappiness to draw out an impassioned performance by Rush with the powerful and wry lyrics he had written:
Well, I can't quit you infant
But I got to put you lot downward a piffling while
Well, I can't quit you babe
Merely I got to put you down a niggling while
Well, you done made me mess up my happy home
Rush, a cardinal figure in the formation of the so-chosen "Due west side" guitar mode, has an instantly recognizable sound. His stiff playing and emotional song commitment on his debut record were helped by the driving rhythm of Big Walter Horton on harmonica, Cherry-red Holloway on tenor saxophone, Al Duncan on drums, Lafayette Leake on pianoforte and Wayne Bennett on 2nd guitar. Composer Dixon played bass guitar. This version, recorded on eight July 1956, was inducted into the Blues Foundation Hall Of Fame in 1994. It reached No.6 on the Billboardcharts.
Clarence Edwards, in 1964, was the showtime to record a cover version of the song, and blues legend John Lee Hooker as well followed the original arrangement with his 1967 version for Chess (a recording which remained in the vaults until 1991). Hooker even went so far as to apply the original pianist, Lafayette Leake, on his cover.
Blitz himself revisited "I Tin can't Quit You Baby" several times over the years, though the almost important reprisal was the i he recorded in 1966 on a compilation album for Vanguard called Chicago: The Blues Today, Vol.2. The arrangements were different from a decade earlier and included some staccato guitar fills. In fact, most modernistic cover versions are based on Rush'south longer 1966 rendition.
Rush influenced the playing of Stevie Ray Vaughan and Jimmy Page, and it is no coincidence that Folio put his unique stamp on possibly the most celebrated cover version of the song, which appeared on Led Zeppelin's 1969 eponymous debut album. That version is considered one of Folio'southward technical masterpieces, though the musician told Guitar Thespian magazine a decade later that "there are mistakes in it and the timing simply sounds off." Page is perhaps being harsh on himself. The version is a tour de force.
The song has undoubtedly proved hugely influential, and the embrace versions of the song have been eclectic, including takes by rock ring Nine Below Cypher, jazz singer Dakota Staton, reggae ring Dread Zeppelin and blues versions by Little Milton and Norwegian star Bjørn Berge. Rush, however, must have gotten a special thrill to run across it appear on The Rolling Stones' 2015 anthology Blueish & Lonesome. The alive version includes an Eric Clapton guitar solo, preceded by Mick Jagger shouting, "Yeah, go, Eric!"
Explaining why they chose to cover this classic, guitarist Keith Richards said, "Willie Dixon was probably the King Of The Chicago blues, the Large Daddy Of Chicago; head and shoulders higher up everyone."
For more dejection classics, listen to the Dejection For Beginners playlist on Spotify.
Source: https://www.udiscovermusic.com/stories/otis-rush-thrilling-cant-quit-you-baby/
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