Stormy Monday Blues

Count Basie, Billy Eckstine

About Stormy Monday Blues

"Stormy Monday Blues" is a jazz song first recorded in 1942 by Earl Hines and His Orchestra with Billy Eckstine on vocals. The song was a hit, reaching number one in Billboard magazine's "Harlem Hit Parade", making it Hines' only appearance in the charts. "Stormy Monday Blues" is performed in the style of a slow blues that "starts with Hines' piano and a walking bass for the introduction". Billy Eckstine then enters with the vocal: The lyrics "stormy" or "Monday" do not appear in the song. A trumpet solo by Maurice "Shorty" McConnell with big band backing is featured in the second half of the song. Eckstine later recorded "Stormy Monday Blues" in 1959 with Count Basie for their Basie/Eckstine Incorporated album. The song has sometimes been confused with T-Bone Walker's 1947 song "Call It Stormy Monday (But Tuesday Is Just as Bad)", which is frequently shortened to "Stormy Monday" or "Stormy Monday Blues". 


Year:
2012
3:12
54 

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It's gone and started rainin', I'm as lonesome as a man can be
It's gone and started rainin', I'm as lonesome as a man can be
'Cause every time it rains, I realise what you mean to me

If you read my letters baby, you sure must have read my mind
If you read my letters baby, you sure must have read my mind
Then you wouldn't have left me to sit alone and pine!

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Count Basie

William "Count" Basie (August 21, 1904 – April 26, 1984) was an American jazz pianist, organist, bandleader, and composer. His mother first taught him piano and he started performing in his teens. Dropping out of school, he learned to operate lights for vaudeville and improvised to accompany silent films at a local theatre in his town of Red Bank, New Jersey. By 16, he increasingly played jazz piano at parties, resorts and other venues. In 1924, he went to Harlem, where his performing career expanded; he toured with groups to the major jazz cities of Chicago, St. Louis and Kansas City. In 1929 he joined Bennie Moten's band in Kansas City, and played with them until Moten's death in 1935. more »

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Written by: Bob Crowder, Billy Eckstine, Earl Hines

Lyrics © Warner Chappell Music, Inc.

Lyrics Licensed & Provided by LyricFind


10 facts about this song

Song Creation
"Stormy Monday Blues" is not to be confused with T-Bone Walker's better-known song, "Call It Stormy Monday (But Tuesday's Just as Bad)". The song is a collaboration of Billy Eckstine, Earl Hines, and Bob Crowder, which saw light in 1942.
Genre Classification
The version of "Stormy Monday Blues" by Billy Eckstine, Count Basie, and Earl Hines is categorized under the Jazz blues genre and stands as one of the significant songs in the big band blues era.
Historical Significance
This song gained popularity during the World War II era, becoming a major hit in Race Records (label known for its production of music targeted towards African American audiences).
Popular Downloads
The song "Stormy Monday Blues" was Eckstine's first hit while partnering with Earl 'Fatha' Hines band and held a position in Billboard's Harlem Hit Parade for 15 weeks.
T-Bone Walker's version
Although credited as a cover, T-Bone Walker's "Call It Stormy Monday (But Tuesday's Just as Bad)" is a wholly different composition with just the title and subject matter being common.
Innovative Techniques
The iconic Billy Eckstine's baritone voice in "Stormy Monday Blues" helped to set a trend for future male performers in the rhythm and blues genre.
Legacy
"Stormy Monday Blues" has been recognized as one of the classic songs that firmly established the blueprint for what would become rhythm and blues, and later, rock and roll.
Count Basie's Influence
Count Basie, known for his innovative improvisations in jazz, significantly influenced the jazz elements in "Stormy Monday Blues" which provided a unique sound to the song.
Earl Hines's Contribution
Earl Hines's innovative piano playing technique infused unique harmonies in "Stormy Monday Blues" and made it distinctive in the jazz blues genre.
Cover versions
The song has been covered by many artists, showcasing its enduring popularity. Notably, Bobby Bland's version released in the 1960s has also become a classic on its own terms.

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