By the early Fifties, the form had mutated into three other genres it's commonly mistaken for: slowed-down and swung with a heavy backbeat, it became one of the principal components of rock and roll (see Big Joe Turner's "Shake, Rattle and Roll"), while those who ramped up the beat and simplified it found themselves playing what would come to be known as "jump blues" (see Little Richard's "Rip It Up"), and early guitar heroes who transferred the eight-bar walking rhythm of the pianist's left hand to their fretboard -- instead of to the acoustic slap bass, where other bands placed it -- played the blues that came to be known simply as "boogie" (begun by John Lee Hooker on songs like "Boom Boom" and made most famous by white blues bands like ZZ Top on "Hush").
You can also hear the boogie woogie influence on rockabilly Jerry Lee Lewis' "Whole Lotta Shakin' Goin' On," and Chuck Berry cites it as a direct influence for his gently swinging straight rock and roll, most notably in more moderate numbers like "Almost Grown" and "Little Queenie." And you can find several rewrites of early boogie standards like Ray Charles' "Mess Around," a take on Cow Cow Davenport's "Cow Cow Boogie." The real stuff, however, always features that walking piano bass, moving through the blues scale in a one-four-five progression.
- "Pinetop's Boogie Woogie," Pinetop Smith
- "Cow Cow Blues," Cow Cow Davenport
- "Roll 'Em Pete," Pete Johnson
- "Swanee River Boogie," Albert Ammons
- "Honky Tonk Train Blues," Meade Lux Lewis
- "Beat Me Daddy, Eight To The Bar," Will Bradley
- "Saturday Night Boogie-Woogie Man," Jimmy Liggins
- "Caldonia," Louis Jordan
- "Hey! La Bas," Fats Domino
- "Honey Hush," Big Joe Turner