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Probably no strain of blues has a more universally recognized form, feel and sound than Chicago blues. Chicago is where the music became amplified and had the big beat put to it and like Muddy Waters said, the blues had a baby and they named it rock'n'roll. As a simple point of reference, it's the music that most sounds like 50s rhythm and blues/rock'n'roll, its first notable offspring; when you hear a tv commercial with blues in it, it's usually the Chicago style they're playing. It's the sound of amplified harmonicas, electric slide guitars, big boogie piano and a rhythm section that just won't quit, with fierce, declamatory vocals booming over the top of it.

It's the genius of Muddy Waters, Howlin' Wolf, Elmore James, and Little Walter knocking an urban audience on their collective ears at some smoky, noisy South Side tavern, then transmitting that signal to the world. It's the infectious boogie of Hound Dog Taylor, John Brim, Jimmy Reed, Joe Carter mining similar turf while Robert Nighthawk and Big John Wrencher lay it down with rough and tumble combos Sunday mornings on the Maxwell Street open air market. And it's the up to date, gospel inspired vocals and B.B. King single note style of Otis Rush, Magic Sam and Buddy Guy meshing with it all.

Though there's much primitive beauty to be found in this strain of the music, there's nothing subtle about it; its rough edge ambience is the sound of the Delta, coming to terms with the various elements of city life and plugging in and going electric to keep pace with a changing world. Chicago blues was the first style to reach a mass audience and, with the passage of time, the first to reach a world wide audience as well. When the average Joe thinks of the blues, one of two musical sounds pop into their brain pan; one is the sound of Delta blues-usually slide-played on an acoustic guitar. The other-if it's played through an amplifier-is almost always Chicago blues. Although the Windy City had a burgeoning blues scene before World War II (see separate essay on Lester Melrose and Early Chicago Blues), a number of elements combined after the war to put the modern Chicago scene into motion. First, there was the societal aftermath of World War II to deal with. Blacks-after serving their country and seeing how the rest of the world was-came back home, packed up their few belongings and headed North to greener pastures, better paying jobs and the promise of a better life.

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It was a simple case of 'how ya keep 'em down on the farm;' once Blacks had left the oppressive life of Southern plantation life behind and 'had seen the world,' the prospect of toiling in a meat packing plant in Chicago looked a whole lot more upscale than standing behind a mule somewhere in Mississippi. And so they headed North. This influx of new migrants all finding new jobs and housing also infused Chicago with a lot of capital to be had and spent in these flush post-War times. The rise of the independent recording label after shellac rationing (and the development of space age plastics) also had a lot to do with the development of the sound as well. New record labels that dealt exclusively with blues for a Black market started to proliferate after 1950. Chess and its myriad subsidiaries and Vee-Jay had the lion's share of the market, but medium to tiny imprints like Ora-Nelle (an offshoot of the Maxwell Street Radio Repair Shop), JOB, Tempo Tone, Parkway, Cool, Atomic H, Cobra, Chance, Opera, United, States, Blue Lake, Parrot, C.J.

And others all helped to bring the music to a wider audience. Up to this point, John Lee 'Sonny Boy' Williamson, Big Bill Broonzy and Tampa Red were the three acknowledged kingpins of the local scene, but their hegemony was soon to be challenged and eventually relinquished to the new breed. The new migrants wanted to be citified and upscale, but still had strong down home roots that needed to be tended to. The jazzier jump blues offerings in the city were fine, but newly arrived Southerners wanted something a little more gritty, packed with a little more realism and a lot more emotional wallop. One day a train dropped a young slide guitarist from Mississippi into the city and soon the new audience had the sound and the style that suited their needs, both urban, rural and emotionally.

Muddy Waters had come to Chicago and the sound of Chicago blues as we know it was about to be born. Waters worked the house party circuit at first, driving truck by day and playing his music wherever he had the chance. He fell in with a loose group of players which included guitarists Baby Face Leroy Foster, Blue Smitty, and Jimmy Rogers. Muddy had tried to plug into the Melrose style recording scene three years after arriving, but a one-off recording session issued on Columbia under an assumed name did the singer little good. The sound was urban, but it wasn't his style, the sound that captivated his listeners at house rent parties along the South side. Muddy noticed two things about playing in Chicago.