The Things That I Used to Do
"The Things That I Used to Do" is a blues standard written by Guitar Slim. He recorded it in New Orleans, where the young Ray Charles arranged and produced the session. Specialty Records released the song as a single in 1953 and became a bestseller the following year. Specialty founder Art Rupe believed that the appeal would be limited to the Southern U.S. rural audience. However, urban rhythm and blues radio stations in the North began airing the song and built it into a national hit. As a result, Guitar Slim became in great demand as a performer and played at venues such as the Apollo Theater in New York City.
| "The Things That I Used to Do" | ||||
|---|---|---|---|---|
 | ||||
| Single by Guitar Slim | ||||
| B-side | "Well, I Done Got Over It" | |||
| Released | 1953 | |||
| Recorded | October 16, 1953 | |||
| Studio | Matassa's J&M Studio, New Orleans | |||
| Genre | ||||
| Length | 2:57 | |||
| Label | Specialty | |||
| Songwriter(s) | Eddie Jones a.k.a. Guitar Slim | |||
| Producer(s) | Ray Charles | |||
| Guitar Slim singles chronology | ||||
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| Audio sample | ||||
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The single was one of the biggest hits in Specialty's history and stayed on the Billboard's Rhythm and Blues Records charts for 42 weeks. The song remained at number one for six weeks and was the best-selling R&B record of the year, selling more than a million copies.[1]
Composition and recording
Charles's arrangement and piano accompaniment emphasize the religious tone of intense but philosophical regret in the singer's voice, giving the song a gospel-influenced feel. Like Fats Domino, Guitar Slim had a voice with a less adult sound than that of the typical blues shouters of the time, and his lyrics are less explicitly sexual.[2]
Influence and recognition
The Rock and Roll Hall of Fame included the tune on its list of the "500 Songs That Shaped Rock and Roll".[3] Stylistically, the song also contributed to the development of soul music.[4] In addition, the song was a success, influencing rock and roll by demonstrating the commercial success of using content that appeals to white listeners and by the effectiveness of its gospel feel.[2] It has become a standard as a result of Guitar Slim's distinctive guitar figuring and the rising and falling melody.[5] The song had a major impact on the "electric sound" of rock music and featured distorted overtones on the electric guitar a full decade before Jimi Hendrix.[1] In 1964, a version by James Brown cracked the Billboard Hot 100 at number 99 (the magazine's R&B chart was suspended at the time).[6]
References
- Aswell, Tom (2010). Louisiana Rocks! The True Genesis of Rock & Roll. Gretna, Louisiana: Pelican Publishing. pp. 61–65. ISBN 978-1589806771.
- Gillett, Charlie (1996). The Sound of the City: The Rise of Rock and Roll (2nd ed.). New York City: Da Capo Press. pp. 139–140, 170. ISBN 0-306-80683-5.
- "500 Songs That Shaped Rock and Roll". Rock and Roll Hall of Fame. 1995. Archived from the original on 2007. Retrieved February 12, 2017.
- Unterberger, Richie (1996). "Louisiana Blues". In Erlewine, Michael (ed.). All music guide to the blues : The experts' guide to the best blues recordings. All Music Guide to the Blues. San Francisco: Miller Freeman Books. pp. 360–361. ISBN 0-87930-424-3.
- Watrous, Peter (August 19, 1990). "A Young Blues Guitarist Intent on Modernization". New York Times. Retrieved November 5, 2006.
- Whitburn, Joel (1988). "James Brown". Top R&B Singles 1942–1988. Menomonee Falls, Wisconsin: Record Research. p. 59. ISBN 0-89820-068-7.
