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Steelin' the Slide: Hawai'i and the Birth of the Blues Guitar

Steelin' the Slide: Hawai'i and the Birth of the Blues Guitar e s s a y . . . . . . . . . . . . . . . . . . . . Steelin’ the Slide Hawai‘i and the Birth of the Blues Guitar by John W. Troutman Native Hawaiian guitarists, who slid metal bars over their strings to create sweeping glissando sounds, inundated the South in the first decades of the twentieth century and likely served as the direct inspiration for the slide guitar, the distinctive tradition originally and perhaps most beautifully expressed in the recordings of Charley Patton (here), Son House, Kokomo Arnold, Robert Johnson, and others. From the Collection of John Tefteller and Blues Images, www.bluesimages.com, used with permission. 26 lthough the work of eliminating blues myths is a hard row to hoe, scholars have successfully uprooted a few, including the persistent belief that into the early twentieth century, Missis- sippi Delta blues musicians nurtured their musical traditions  A in isolation from the sounds of the modern world. We know that they sought out the latest hits from Tin Pan Alley, enjoyed the raucous and worldly, cosmopolitan performances of traveling vaudeville singers, and often mimicked the singing (or, in the case of Jimmie Rodgers, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Southern Cultures University of North Carolina Press

Steelin' the Slide: Hawai'i and the Birth of the Blues Guitar

Troutman, John William.
Southern Cultures , Volume 19 (1) – Feb 1, 2013
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Publisher
University of North Carolina Press
Copyright
Copyright © Center for the Study of the American South.
ISSN
1534-1488

Abstract

e s s a y . . . . . . . . . . . . . . . . . . . . Steelin’ the Slide Hawai‘i and the Birth of the Blues Guitar by John W. Troutman Native Hawaiian guitarists, who slid metal bars over their strings to create sweeping glissando sounds, inundated the South in the first decades of the twentieth century and likely served as the direct inspiration for the slide guitar, the distinctive tradition originally and perhaps most beautifully expressed in the recordings of Charley Patton (here), Son House, Kokomo Arnold, Robert Johnson, and others. From the Collection of John Tefteller and Blues Images, www.bluesimages.com, used with permission. 26 lthough the work of eliminating blues myths is a hard row to hoe, scholars have successfully uprooted a few, including the persistent belief that into the early twentieth century, Missis- sippi Delta blues musicians nurtured their musical traditions  A in isolation from the sounds of the modern world. We know that they sought out the latest hits from Tin Pan Alley, enjoyed the raucous and worldly, cosmopolitan performances of traveling vaudeville singers, and often mimicked the singing (or, in the case of Jimmie Rodgers,

Journal

Southern Cultures – University of North Carolina Press

Published: Feb 1, 2013

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