Editing Electric blues

{{Short description|Type of blues music}}
{{Infobox music genre
| name              = Electric blues
| stylistic_origins = [[Blues]]
| cultural_origins  = Late 1930s, [[United States]]
| derivatives       = {{flatlist|
*[[Blues rock]]
*[[British blues]]
*[[hard rock]]
*[[rock and roll]]
}}
| regional_scenes   = {{flatlist|
*[[West Coast blues]]
*[[Chicago blues]]
*[[Memphis blues]]
*[[Detroit blues]]
*[[Texas blues]]
*[[New Orleans blues]]
}}
}}

'''Electric blues''' is [[blues]] music distinguished by the use of electric [[amplifier|amplification]] for musical instruments.  The [[guitar]] was the first instrument to be popularly amplified and used by early pioneers [[T-Bone Walker]] in the late 1930s and [[John Lee Hooker]] and [[Muddy Waters]] in the 1940s.  Their styles developed into [[West Coast blues]], [[Detroit blues]], and post-World War II [[Chicago blues]], which differed from earlier, predominantly acoustic-style blues.  By the early 1950s, [[Little Walter]] was a featured soloist on [[Richter-tuned harmonica|blues harmonica]] using a small hand-held microphone fed into a guitar amplifier.  Although it took a little longer, the electric [[bass guitar]] gradually replaced the stand-up bass by the early 1960s.  Keyboards, especially electric organs and electric pianos, later became widely used in electric blues.

==Early regional styles==
{{Main article|Chicago blues|Memphis blues|New Orleans blues|West Coast blues}}
The blues, like [[jazz]], probably began to be amplified in the late 1930s.<ref name=Allmusicrock1351>V. Bogdanov, C. Woodstra, S. T. Erlewine, ''All music guide to rock: the definitive guide to rock, pop, and soul'' (Backbeat books, 3rd ed., 2002), pp. 1351-2.</ref> The first star of the electric blues is generally recognized as being [[T-Bone Walker]]; born in Texas but moving to Los Angeles in the mid-1930s, he combined blues with elements of [[swing music]] and jazz in a long and prolific career.<ref name=Allmusicrock1351/> After World War II, amplified blues music became popular in American cities that had seen widespread [[African American]] migration, such as [[Chicago]],<ref>E. M. Komara, ''Encyclopedia of the blues'' (Routledge, 2006), p. 118.</ref> [[Memphis, Tennessee|Memphis]],<ref>M. A. Humphry, "Holy Blues: The Gospel Tradition," in L. Cohn, M. K. Aldin and B. Bastin, eds, ''Nothing But the Blues: The Music and the Musicians'' (Abbeville Press, 1993), p. 179.</ref> [[Detroit]],<ref name=Herzhaft1997p53>G. Herzhaft, ''Encyclopedia of the Blues'' (University of Arkansas Press, 1997), p. 53.</ref><ref>{{cite AV media notes
|title=Detroit Ghetto Blues 1948 to 1954
|last=Pierson
|first=Leroy
|publisher=[[Nighthawk Records]]
|id=104
|date=1976
|location=St. Louis
|type=Vinyl back cover
|url=http://www.wirz.de/music/nighthaw/grafik/104b4.jpg
}}
</ref> [[St. Louis]], and the [[West Coast of the United States|West Coast]]. The initial impulse was to be heard above the noise of lively [[rent party|rent parties]].<ref name=Allmusicblues694-5>V. Bogdanov, C. Woodstra, S. T. Erlewine, ''All music guide to the blues: the definitive guide to the blues'' (Backbeat Books, 3rd ed., 2003), pp. 694-95.</ref> Playing in small venues, electric blues bands tended to remain modest in size compared with larger jazz bands.<ref name=Allmusicblues694-5/> In its early stages electric blues typically used amplified [[electric guitar]]s, [[double bass]] (which was progressively replaced by [[bass guitar]]), and [[harmonica]] played through a microphone and a [[power amp]] or a [[guitar amplifier]].<ref name=Allmusicblues694-5/>

By the late 1940s several Chicago-based blues artists had begun to use amplification, including [[John Lee Williamson]] and [[Johnny Shines]]. Early recordings in the new style were made in 1947 and 1948 by musicians such as [[Johnny "Man" Young|Johnny Young]], [[Floyd Jones]], and  [[Snooky Pryor]].  The format was perfected by [[Muddy Waters]], who utilized various small groups that provided a strong rhythm section and powerful harmonica. His "I Can't Be Satisfied" (1948) was followed by a series of ground-breaking recordings.<ref>M. A. Humphry, "Holy Blues: The Gospel Tradition," in L. Cohn, M. K. Aldin and B. Bastin, eds, ''Nothing But the Blues: The Music and the Musicians'' (Abbeville Press, 1993), p. 180.</ref> [[Chicago blues]] is influenced to a large extent by the [[Delta blues|Mississippi blues]] style, because many performers had migrated from the [[Mississippi]] region. [[Howlin' Wolf]], Muddy Waters, [[Willie Dixon]] and  [[Jimmy Reed]] were all born in Mississippi and moved to Chicago during the [[Great Migration (African American)|Great Migration]]. In addition to electric guitar, harmonica, and a rhythm section of bass and drums, some performers such as [[J. T. Brown (musician)|J. T. Brown]] who played in [[Elmore James]]'s bands or [[J. B. Lenoir]]'s also used saxophones, largely as a supporting instrument. [[Little Walter]], [[Sonny Boy Williamson II|Sonny Boy Williamson (Rice Miller)]] and [[Big Walter Horton]] were among the best-known harmonica (called "[[Richter-tuned harmonica|blues harp]]" by blues musicians) players of the early Chicago blues scene and the sound of electric instruments and harmonica is often seen as characteristic of electric Chicago blues.<ref>R. Unterberger, ''Music USA: a coast-to-coast tour of American music: the artists, the venues, the stories, and the essential recordings'' (Rough Guides, 1999), p. 250.</ref> Muddy Waters and Elmore James were known for their innovative use of slide electric guitar.<ref>G. Herzhaft, ''Encyclopedia of the Blues'' (University of Arkansas Press, 1997), p. 95.</ref> Howlin' Wolf and Muddy Waters were for their deep, "gravelly" voices.<ref>G. Herzhaft, ''Encyclopedia of the Blues'' (University of Arkansas Press, 1997), p. 185.</ref> Bassist and composer Willie Dixon played a major role on the Chicago blues scene. He composed and wrote many [[blues standard|standard blues]] songs of the period, such as "[[Hoochie Coochie Man]]", "[[I Just Want to Make Love to You]]" (both penned for Muddy Waters) and, "[[Wang Dang Doodle]]", "[[Spoonful]]" and "[[Back Door Man]]" for Howlin' Wolf.<ref>G. Herzhaft, ''Encyclopedia of the Blues'' (University of Arkansas Press, 1997), p. 56.</ref> Most artists of the Chicago blues style recorded for the Chicago-based [[Chess Records]] and [[Checker Records]] labels; there were also smaller blues labels in this era including [[Vee-Jay Records]] and [[J.O.B. Records]].<ref>Victor Coelho, ''[[Cambridge Companions to Music|The Cambridge companion to the guitar]]'' (Cambridge: Cambridge University Press, 2003), p. 98.</ref>

In the late 1950s, the [[West Side, Chicago|West Side]] style blues emerged in Chicago with major figures including [[Magic Sam]], [[Jimmy Dawkins]], [[Magic Slim]] and [[Otis Rush]].<ref>E. M. Komara, ''Encyclopedia of the blues'' (Routledge, 2006), p. 49.</ref> West Side clubs were more accessible to white audiences, but performers were mainly black, or part of mixed combos.<ref>R. Unterberger, ''Music USA: a coast-to-coast tour of American music: the artists, the venues, the stories, and the essential recordings'' (Rough Guides, 1999), p. 256.</ref> West Side blues incorporated elements of [[blues rock]] but with a greater emphasis on standards and traditional blues song forms.<ref>C. Rotella, ''Good with Their Hands: Boxers, Bluesmen, and Other Characters from the Rust Belt'' (Chicago: University of California Press, 2004), pp. 68-70.</ref>  [[Albert King]], [[Buddy Guy]], and [[Luther Allison]] had a West Side style that was dominated by amplified electric lead guitar.<ref>{{cite encyclopedia
|url=http://www.encyclopedia.chicagohistory.org/pages/151.html
|title=Blues
|encyclopedia=Encyclopedia of Chicago
|access-date=2008-08-13}}</ref><ref>{{cite web
|title=West Side Chicago Blues
|url=http://www.allaboutjazz.com/php/article.php?id=11835
|work=All about Jazz
|author=C. Michael Bailey
|date=2003-10-04
|access-date=2008-08-13}}</ref>

[[File:JohnLeeHooker1997.jpg|thumb|John Lee Hooker created his own blues style and renewed it several times during his long career.]]

Memphis, with its flourishing acoustic blues scene based in [[Beale Street]], also developed an electric blues sound during the early 1950s. [[Sam Phillips]]' [[Sun Records]] company recorded musicians such as Howlin' Wolf (before he moved to Chicago), [[Willie Nix]], [[Ike Turner]], and [[B.B. King]].<ref>J. Broven, ''Record Makers and Breakers: Voices of the Independent Rock ʹnʹ Roll Pioneers Music in American Life'' (University of Illinois Press, 2009), pp. 149-54.</ref> Other Memphis blues musicians involved with Sun Records included [[Joe Hill Louis]], [[Willie Johnson (guitarist)|Willie Johnson]] and [[Pat Hare]] who introduced electric guitar techniques such as [[distortion (music)|distorted]] and [[power chord]]s, anticipating elements of [[heavy metal music]].<ref name="palmer">Robert Palmer, "Church of the Sonic Guitar", pp. 13-38 in Anthony DeCurtis, ''Present Tense'', Duke University Press, 1992, pp. 24-27. {{ISBN|0-8223-1265-4}}.</ref> These players had an influence on early rock and rollers and [[rockabilly|rockabillies]], many of whom also recorded for Sun Records. After Phillips discovered [[Elvis Presley]] in 1954, the Sun label turned to the rapidly expanding white audience and started recording mostly [[rock and roll]].<ref name=Allmusicblues690-1>V. Bogdanov, C. Woodstra, S. T. Erlewine, ''All music guide to the blues: the definitive guide to the blues'' (Backbeat Books, 3rd ed., 2003), pp. 690-91.</ref>  [[Booker T. & the M.G.'s]] carried the electric blues style into the 1960s.

Detroit-based [[John Lee Hooker]] pursued a unique brand of electric blues based on his deep rough voice accompanied by a single electric guitar. Though not directly influenced by [[boogie-woogie]], his "groovy" style is sometimes called "guitar boogie". His first hit, "[[Boogie Chillen]]", reached #1 on the R&B charts in 1949.<ref>L. Bjorn, ''Before Motown'' (University of Michigan Press, 2001), p. 175.</ref> He continued to play and record until his death in 2001.<ref>P. Buckley, ''The rough guide to rock'' (Rough Guides, 3rd ed., 2003), p. 505.</ref>

The [[New Orleans blues]] musician [[Guitar Slim]] recorded "[[The Things That I Used to Do]]" (1953), which featured an electric guitar solo with distorted overtones and became a major R&B hit in 1954.<ref>{{cite book|last=Aswell|first=Tom|title=Louisiana Rocks! The True Genesis of Rock & Roll|year=2010|publisher=[[Pelican Publishing Company]]|location=[[Gretna, Louisiana]]|isbn=978-1589806771|pages=61–5|url=https://books.google.com/books?id=BSHTGsnI8skC&pg=PA61}}</ref> It is regarded as one of [[The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll]],<ref>{{cite web|url=http://www.infoplease.com/ipea/A0150472.html|title=500 Songs That Shaped Rock|publisher=Infoplease.com|access-date=2006-11-05 }}</ref> and contributed to the development of [[soul music]].<ref name=Bogdanov2003AMLouisianBlues>R. Unterberger, "Louisiana blues", in V. Bogdanov, C. Woodstra, S. T. Erlewine, eds, ''All Music Guide to the Blues: The Definitive Guide to the Blues'' (Milwaukee, WI: Backbeat Books, 3rd edn., 2003), {{ISBN|0-87930-736-6}}, pp. 687-8.</ref>

In the 1950s, blues had a huge influence on mainstream American popular music. While popular musicians like [[Bo Diddley]]<ref name=Herzhaft1997p53/> and [[Chuck Berry]],<ref>G. Herzhaft, ''Encyclopedia of the Blues'' (University of Arkansas Press, 1997), p. 11.</ref> both recording for Chess, were influenced by the Chicago blues, their enthusiastic playing styles departed from the melancholy aspects of blues and played a major role in the development of rock and roll.<ref name=Campbell2008>M. Campbell, ed., ''Popular Music in America: And the Beat Goes on'' (Cengage Learning, 3rd ed., 2008), p. 168.</ref> Chicago blues also influenced [[Louisiana]]'s [[zydeco]] music,<ref>G. Herzhaft, ''Encyclopedia of the Blues'' (University of Arkansas Press, 1997), p. 236.</ref> with [[Clifton Chenier]]<ref>G. Herzhaft, ''Encyclopedia of the Blues'' (University of Arkansas Press, 1997), p. 35.</ref> using blues accents. Zydeco musicians used electric solo guitar and [[cajun]] arrangements of blues standards.

==British electric styles==
{{Main article|British blues|British rhythm and blues}}
British blues emerged from the [[skiffle]] and [[folk club]] scene of the late 1950s, particularly in [[London]], which included the playing of American acoustic blues. Critical was the visit of [[Muddy Waters]] in 1958, who initially shocked British audiences by playing amplified electric blues, but who was soon performing to ecstatic crowds and rave reviews.<ref name=Allmusic>V. Bogdanov, C. Woodstra, S. T. Erlewine, eds, ''All Music Guide to the Blues: The Definitive Guide to the Blues'' (Backbeat, 3rd edn., 2003), pp. 700-2.</ref> This inspired guitarist and blues harpist [[Cyril Davies]] and guitarist [[Alexis Korner]] to plug in and they began to play a high-powered electric blues that became the model for the subgenre, forming the band [[Blues Incorporated]].<ref name=Allmusic/> Blues Incorporated was something of a clearing house for British blues musicians in the later 1950s and early 1960s, with many joining, or sitting in on sessions. These included future [[Rolling Stones]], [[Mick Jagger]], [[Charlie Watts]] and [[Brian Jones]]; [[Cream (band)|Cream]] founders [[Jack Bruce]] and [[Ginger Baker]]; and [[Graham Bond]] and [[Long John Baldry]].<ref name=Allmusic/> Blues Incorporated were given a residency at the [[Marquee Club]] and it was from there that in 1962 they took the name of the first British Blues album, ''[[R&B from the Marquee]]'' for Decca, but split before its release.<ref name=Allmusic/> The model of British rhythm and blues was emulated by a number of bands including [[the Rolling Stones]], [[the Animals]], [[the Small Faces]], and [[the Yardbirds]].

[[File:Eric Clapton 1.jpg|thumb|Clapton in 2008, one of the major figures of the British blues boom in the 1960s.]]
The other key focus for British blues was around [[John Mayall]] who moved to London in the early 1960s, eventually forming the [[John Mayall & the Bluesbreakers|Bluesbreakers]], whose members at various times included, [[Jack Bruce]], [[Aynsley Dunbar]], Eric Clapton, Peter Green and [[Mick Taylor]].<ref name=Allmusic/> The ''[[Blues Breakers with Eric Clapton]] (Beano)'' album (1966) is considered one of the seminal British blues recordings.<ref>T. Rawlings, A. Neill, C. Charlesworth and C. White, ''Then, Now and Rare British Beat 1960-1969'' (Omnibus Press, 2002), p. 130.</ref> It was notable for its driving rhythms and Clapton's rapid blues licks with a full distorted sound derived from a [[Gibson Les Paul]] and a [[Marshall Amplification|Marshall]] amp, which became something of a classic combination for British blues (and later rock) guitarists.<ref>M. Roberty and C. Charlesworth, ''The Complete Guide to the Music of Eric Clapton'' (Omnibus Press, 1995), p. 11.</ref> It also made clear the primacy of the guitar, seen as a distinctive characteristic of the subgenre.<ref name=Allmusic/> Clapton left to form [[Cream (band)|Cream]] with Baker and Bruce and his replacement was [[Peter Green (musician)|Peter Green]], who in turn (with the then Bluesbreaker's rhythm section [[Mick Fleetwood]] and [[John McVie]]) left in 1967 to form Peter Green's [[Fleetwood Mac]].<ref>R. Brunning, ''The Fleetwood Mac Story: Rumours and Lies'' (Omnibus Press, 2004), pp. 1-15.</ref> Incorporating elements of rock led these bands to a hybrid form known as blues rock.

==Blues rock==
{{Main article|Blues rock}}
Blues rock combines blues with rock.<ref name=Allmusic/> With some notable exceptions, blues rock has largely been played by white musicians, bringing a rock sensitivity to blues standards and forms and it played a major role in widening the appeal of the blues to white American audiences.  In 1963, American guitarist [[Lonnie Mack]] had developed a blues rock guitar style, releasing several guitar instrumentals, the best-known of which are the hit singles "Memphis" (Billboard #5) and "Wham!" (Billboard #24).<ref>P. Prown, H. P. Newquist, J. F. Eiche, ''Legends of rock guitar: the essential reference of rock's greatest guitarists'' (Hal Leonard Corporation, 1997), p. 25.</ref> The [[Paul Butterfield Blues Band]] and [[Canned Heat]] were among the earliest exponents and "attempted to play long, involved improvisations which were commonplace on jazz records".<ref name=Allmusic/>  In the UK, blues rock was popularized by bands as [[Fleetwood Mac]], [[Free (band)|Free]], [[Savoy Brown]] and the groups formed around the three major guitarists that emerged from the [[Yardbirds]], Eric Clapton, [[Jeff Beck]] and [[Jimmy Page]].<ref name=Allmusic/>

After leaving the Yardbirds and his work with John Mayall and the Bluesbreakers, Eric Clapton  formed supergroups Cream, [[Blind Faith]] and [[Derek and the Dominos]], followed by a solo career.<ref name=Allmusic/> In the late 1960s [[Jeff Beck]] added elements heavy rock with his band, [[the Jeff Beck Group]].<ref name=Allmusic/> [[Jimmy Page]] formed ''the New Yardbirds'', which became [[Led Zeppelin]].<ref name=Allmusic/> Many of the songs on their first two albums and occasionally later in their careers, were expansions on traditional blues songs.<ref name=Allmusic/>  [[Image:Johnny Winter.jpg|thumb|200px|right|[[Johnny Winter]] in 2007.]]  [[Janis Joplin]], [[Johnny Winter]], and [[The J. Geils Band]] later popularized the style in the US.<ref name=Allmusic/> The revolutionary electric guitar playing of [[Jimi Hendrix]] with the Experience and [[Band of Gypsys]], influenced blues rock [[guitarist]]s.<ref name=Allmusic/> Blues rock bands like [[Allman Brothers Band]], [[Lynyrd Skynyrd]], and eventually [[ZZ Top]] from the American South, incorporated country elements into their style to produce [[Southern rock]].<ref name=Allmusicrock1333>V. Bogdanov, C. Woodstra, S. T. Erlewine, ''All music guide to rock: the definitive guide to rock, pop, and soul'' (Backbeat books, 3rd edn., 2002), p. 1333.</ref>

By the 1970s, blues rock had become heavier and more riff-based, exemplified by the work of Led Zeppelin and [[Deep Purple]], and the lines between blues rock and [[hard rock]] "were barely visible",<ref name="amg" /> as bands began recording rock-style albums.<ref name="amg">{{cite web|url=http://www.allmusic.com/style/blues-rock-ma0000002468 |title=Blues-Rock |website=AllMusic |date=1978-03-22 |access-date=2014-07-31}}</ref> The genre was continued in the 1970s by figures such as [[George Thorogood]] and [[Pat Travers]].<ref name=Allmusic/> Except perhaps for groups such as [[Status Quo (band)|Status Quo]] and [[Foghat]] in the UK, who moved towards a form of high energy and repetitive [[boogie rock]], bands moved towards [[Heavy metal music|heavy metal]] and blues rock began to slip out of the mainstream.<ref>P. Prown, H. P. Newquist and Jon F. Eiche, ''Legends of rock guitar: the essential reference of rock's greatest guitarists'' (Hal Leonard Corporation, 1997), p. 113.</ref>  More recently, [[the White Stripes]],<ref name=Allmusicblues600-1>V. Bogdanov, C. Woodstra, S. T. Erlewine, ''All music guide to the blues: the definitive guide to the blues'' (Backbeat Books, 3rd edn., 2003), p. 600.</ref> [[the Black Crowes]],<ref>P. Buckley, ''The rough guide to rock'' (Rough Guides, 3rd edn., 2003), p. 99.</ref> [[the Black Keys]],<ref>A. Petrusicht, '' Still Moves: Lost Songs, Lost Highways, and the Search for the Next American Music'' (Macmillan, 2008), p. 87.</ref> [[Clutch (band)|Clutch]],<ref>{{cite web|first=John|last=Bush |url=http://www.allmusic.com/artist/clutch-mn0000154417/biography |title=Clutch &#124; Biography |website=AllMusic |access-date=2014-07-31}}</ref> [[the Jon Spencer Blues Explosion]],<ref>S. Taylor, ''A to X of Alternative Music'' (Continuum, 2006), p. 242.</ref> and [[Joe Bonamassa]] have explored a more roots oriented, but edgier style.<ref>{{cite web|first=MacKenzie|last=Wilson |url=http://www.allmusic.com/artist/joe-bonamassa-mn0000118243/biography |title=Joe Bonamassa &#124; Biography |website=AllMusic |date=1977-05-08 |access-date=2014-07-31}}</ref>

==Electric Texas blues==
{{Main article|Texas blues}}
[[File:Stevie Ray Vaughan Live 1983.jpg|thumb|[[Stevie Ray Vaughan]] was the most prominent figure in Texas electric blues in the late 20th century]]
Texas had had a long history of major acoustic blues performers like [[Blind Lemon Jefferson]] and [[Lightnin' Hopkins]], but by the 1940s many Texas blues artists had moved elsewhere to further their careers, including [[T-Bone Walker]] who relocated to [[Los Angeles]] to record his most influential records in the 1940s.<ref name=Allmusicblues694-5/> His R&B influenced backing and saxophone imitating lead guitar sound would become an influential part of the electric blues sound.<ref name=Allmusicblues694-5/> [[Goree Carter]]'s "Rock Awhile" (1949) featured an [[Distortion (music)|over-driven]] [[electric guitar]] style and has been cited as a strong contender for the "[[first rock and roll record]]" title.<ref name="palmer19">[[Robert Palmer (American writer)|Robert Palmer]], "Church of the Sonic Guitar", pp. 13-38 in Anthony DeCurtis, ''Present Tense'', [[Duke University Press]], 1992, p. 19. {{ISBN|0-8223-1265-4}}.</ref>

The state R&B recording industry was based in [[Houston]] with labels like [[Peacock Records|Duke/Peacock]], which in the 1950s provided a base for artists who would later pursue the electric Texas blues sound, including [[Johnny Copeland]] and [[Albert Collins]].<ref name=Allmusicblues694-5/> [[Freddie King]], a major influence on electric blues, was born in Texas, but moved to Chicago as a teenager.<ref name=Allmusicblues694-5/> His instrumental number "[[Hide Away (instrumental)|Hide Away]]" (1961), was emulated by British blues artists including Eric Clapton.<ref>M. Roberty and C. Charlesworth, ''The complete guide to the music of Eric Clapton'' (Omnibus Press, 1995), p. 11.</ref>

In the late 1960s and early 1970s the Texas electric blues scene began to flourish, influenced by [[country music]] and blues rock, particularly in the clubs of [[Austin, Texas|Austin]]. The diverse style often featured instruments like keyboards and horns, but placed particular emphasis on powerful lead guitar breaks.<ref name=Allmusicblues694-5/> The most prominent artists to emerge in this era were the brothers [[Johnny Winter|Johnny]] and [[Edgar Winter]], who combined traditional and southern styles.<ref name=Allmusicblues694-5/> In the 1970s [[Jimmie Vaughan|Jimmie]] formed [[the Fabulous Thunderbirds]] and in the 1980s his brother [[Stevie Ray Vaughan]] broke through to mainstream success with his virtuoso guitar playing, as did [[ZZ Top]] with their brand of Southern rock.<ref>E. M. Komara, ''Encyclopedia of the blues'' (Routledge, 2006), p. 50.</ref>

==Contemporary electric blues==
Since the end of the 1960s, electric blues has declined in mainstream popularity, but retained a strong following in the US, Britain and elsewhere, with many musicians that began their careers as early as the 1950s continuing to record and perform, occasionally producing breakthrough stars.<ref name=AllmusicB703-4/> In the 1970s and 1980s, it absorbed a number of different influences, including particularly rock and soul music.<ref name=AllmusicB703-4/> Stevie Ray Vaughan was the biggest star influenced by blues rock and opened the way for guitarists including [[Kenny Wayne Shepherd]] and [[Jonny Lang]].<ref>R. Weissman, ''Blues: the basics'' (Routledge, 2005), p. 140</ref> Practitioners of soul-influenced electric blues in the 1970s and 1980s included [[Joe Louis Walker]] and most successfully [[Robert Cray]], whose ''[[Strong Persuader]]'' album  (1986), with its fluid guitar sound and an intimate vocal style, produced a major crossover hit.<ref name=AllmusicB703-4>V. Bogdanov, C. Woodstra, S. T. Erlewine, eds, ''All Music Guide to the Blues: The Definitive Guide to the Blues'' (Backbeat, 3rd edn., 2003), pp. 703-4</ref>  Veteran [[Linsey Alexander]] is known for his original Chicago blues influenced by [[soul music|soul]], [[Rhythm and blues|R&B]], and [[funk]].<ref name="Delmark">{{cite journal|last=Whiteis|first=David|title=Linsey Alexander: linear notes from his new cd Been There Done That|journal=Rhythm & News|year=2012|series=2012 Festival Issue|issue=729|page=9|url=http://delmark.com/pdfs/rn729-all.pdf|access-date=25 January 2013}}</ref><ref name="Been There Done That">{{cite web|last=Marcus|first=Richard|title=Music Review:Linsey Alexander - Been There Done That|url=http://www.seattlepi.com/lifestyle/blogcritics/article/Music-Review-Linsey-Alexander-Been-There-Done-3802620.php|publisher=Hearst Newspapers|access-date=28 January 2013}}</ref>

Since her breakthrough commercial success ''[[Nick of Time (album)|Nick of Time]]'' (1989), [[Bonnie Raitt]] has been one of the leading artists in acoustic and electric blues, doing much to promote the profile of older blues artists.<ref>R. Weissman, ''Blues: the basics'' (Routledge, 2005), pp. 131-2</ref> After the renewed success of John Lee Hooker with his collaborative album ''[[The Healer (John Lee Hooker album)|The Healer]]'' (1989),<ref>V. Bogdanov, C. Woodstra, S. T. Erlewine, ''All music guide to the blues: the definitive guide to the blues'' (Backbeat Books, 3rd edn., 2003), p. 245</ref> several artists began to return to electric blues, including [[Gary Moore]], beginning with ''[[Still Got the Blues]]'' (1990)<ref>V. Bogdanov, C. Woodstra, S. T. Erlewine, ''All music guide to the blues: the definitive guide to the blues'' (Backbeat Books, 3rd edn., 2003), pp. 410-12</ref> and Eric Clapton with ''[[From the Cradle]]'' (1994).<ref>D. Dicaire, ''More blues singers: biographies of 50 artists from the later 20th century'' (McFarland, 2001), p. 203</ref>

==See also==
* [[List of electric blues musicians]]

==Notes==
{{Reflist|colwidth=30em}}

{{Blues}}

[[Category:Blues music genres]]