1916 Bobo Jenkins*
1923 Joe Willie Wilkins*
1923 Larry Dale*
1939 Ironing Board Sam* 1)
1947 Peter Clayton+
1964 Cyril Davies+
1964 Joe Pullum+
1980 Larry Williams+
Happy Birthday
Bobo Jenkins *07.01.1916
Bobo Jenkins (January 7, 1916 – August 14, 1984)[2] was an American Detroit blues and electric blues guitarist, singer and songwriter. He also built and set up his own recording studio and record label in Detroit.[1] Jenkins is best known for his recordings of "Democrat Blues" and "Tell Me Where You Stayed Last Night".[2]
Biography
He was born John Pickens Jenkins in Forkland, Alabama,[2] but when less than a year old his father, a sharecropper, died and Jenkins grew up with his mother and uncle. However, he left home before the age of 12, and arrived in Memphis, Tennessee. He had a wife at the age of 14, the first of ten marriages. Jenkins took casual work in the Mississippi Delta for several years and then enrolled in the United States Army. Following his 1944 military discharge, he relocated to Detroit, working for Packard and managing a garage, before spending twenty seven years working for Chrysler.[1]
In the late 1940s Jenkins learned the guitar and starting writing songs. He penned the politically motivated "Democrat Blues" on US Election Day in 1952.[3] Therein Jenkins expressed his disquiet about Dwight D. Eisenhower becoming the first Republican in the White House for almost twenty years.[4]
With assistance from John Lee Hooker, Jenkins recorded "Democrat Blues" in Chicago in 1954, which was released by Chess Records. A further issue appeared on Chicago's Boxer Records, and then "Ten Below Zero" (1957) on Detroit's Fortune Records. In 1959 he set up his own record label, Big Star Records, whose first release was Jenkin's single "You"ll Never Understand" and "Tell Me Where You Stayed Last Night." He met and played alongside Sonny Boy Williamson II, before self-constructing his own recording studio. He recorded mainly local musicians including James "Little Daddy" Walton, Little Junior Cannady, Chubby Martin and Syl Foreman.[1]
Jenkins went on to promote the first Detroit Blues Festival in 1972, and the same year issued his first album, The Life of Bobo Jenkins. The album became known as the "red album", due to the color of the record sleeve. It included a photograph of a younger Jenkins- who was 56 years old- within a star shape. This was a tie-in with the Big Star Records name. Jenkins was one of the headline acts in the Detroit blues review part of the 1973 Ann Arbor Blues and Jazz Festival. Recordings from the festival were released by Schoolkids Records in 1995, which included two tracks by Jenkins. In 1974, Jenkins penned another song with political overtones, "Watergate Blues," which appeared on his next album Here I Am a Fool in Love Again. It boasted the same cover design as the previous release, but with a change in color was alternatively dubbed the "green album". Session musicians used included Ann Arbor based artists such as Sarah Brown, Fran Christina and Steve Nardella.[1] In 1976 Jenkins performed at the Smithsonian Institution, as part of the celebrations marking the US Bicentennial.
Detroit All Purpose Blues was issued in 1977, his so-called "yellow album", which utilised other Detroit based blues musicians such as Buddy Folks and Willie D. Warren. In 1982, he went to Europe with the American Living Blues Festival tour, but due to poor health he returned home after his first concert.[1]
Bobo Jenkins died in Detroit after a long illness in August 1984, at the age of 68.
Ironing Board Sam (eigentlich Sammie Moore; * 1939 in Rock Hill, South Carolina) ist ein US-amerikanischer Blues-Sänger, Keyboarder, Songschreiber und Entertainer. Neben seiner musikalischen Tätigkeit ist Moore als Erfinder aktiv; eine seiner Erfindungen ist das "Button Keyboard", das wie eine Gitarre, eine Orgel oder ein Klavier klingen kann.
Nachdem seine frühe Heirat bekannt wurde, musste Moore das College verlassen. Er schlug sich als Musiker in Florida durch. 1959 zog er nach Memphis. Bei seinen Auftritten in selbstgeschneiderten Kostümen stellte er sein Keyboard auf ein Bügelbrett (Ironing Board), daher sein Künstlername.
In den 1960ern versuchte Moore vergeblich, einen Plattenvertrag zu bekommen. Er lebte nacheinander in Chicago, Waterloo (Iowa), Los Angeles, wieder in Memphis und schließlich in New Orleans, wo er als das achte Weltwunder (The Eighth Wonder of the World) auftrat.
Ironing Board Sam entwickelte skurrile Konzepte der Eigenwerbung. 1978 plante er einen Auftritt in einem Heißluftballon; das Vorhaben scheiterte am stürmischen Wetter. 1979 spielte er beim New Orleans Jazz & Heritage Festival in einem gefüllten Wassertank. 1982 trat er als menschliche Jukebox (The Human Jukebox) auf, die nur nach Geldeinwurf Musik spielte. In den späten 1980ern wurde er von "Little George" begleitet, einem kleinen Spielzeugaffen, den er so modifiziert hatte, dass er synchron zur Drum Machine trommelte.
Anfang der 1990er war Ironing Board Sam in Europa auf Tour. 1995 erschien sein vielbeachtetes Debütalbum The Human Touch.
Ironing Board Sam (born 1939)[2] is an American electric blues keyboardist, singer and songwriter, who has released a small number of singles and albums.[1] Despite having several lows in his musical career, it has spanned over fifty years, and he released a new album in 2012. "I'll tell you one thing, it's the blues," stated Ironing Board Sam. "That's why I look like a blues man now."[3]
One commentator noted that Ironing Board Sam's 1996 album, Human Touch, portrays that he "has a surprisingly smooth and effective croon and his piano playing, while subdued, is still remarkable."[4]
Biography
He was born Sammie Moore in Rock Hill, South Carolina, United States.[2][5] While concentrating initially on boogie-woogie and gospel, he learned the electric organ before graduating to playing the blues in Miami, Florida. After relocating to Memphis, Tennessee in 1959,[2] Ironing Board Sam organised his own band and got his stage name from his habit of strapping his legless keyboard on top of an ironing board when performing.[1] Although he disliked his stage name he later turned it to an advantage by giving away ironing boards at some of his concerts.[2] In 1962, he was backed by a band containing a youthful Jimi Hendrix.
He moved around the United States trying to get a recording contract, eventually issuing a handful of singles with Atlantic, Styletone and Holiday Inn in the late 1960s and early 1970s.[2] He also performed on Night Train in the mid 1960s.[5]
His performing technique was unusual and he developed the eccentric personae in several directions. He invented his own 'button keyboard', which had a regular keyboard arrangement underneath which was fitted guitar strings. Rudimentary electronics gave him a three pronged sound, which he used primarily when billed as the 'Eighth Wonder of the World' while performing as a duo with his drummer Kerry Brown.[6] In 1978, his intention to perform in a hot air balloon was only aborted due to adverse weather conditions.[6] At the New Orleans Jazz & Heritage Festival a year later he played in a 1,500 gallon filled water tank. By 1982, when he had moved back to New Orleans,[2] he had developed the idea of being a human jukebox, so that he only played when people inserted coins into his jukebox styled costume. He worked the Latin Quarter and got some club work via an appearance on the television program, Real People.[2] In the late 1980s he was accompanied by a toy monkey, known as 'Little George', that was rigged to play in synchronization with a drum machine. His live sets more latterly featured a mix of blues and jazz.
In 1990, Ironing Board Sam toured Europe, and in 1996 his debut album, Human Touch was released.[2]
Ironing Board Sam joined the Music Maker Relief Foundation in 2010, and moved to Chapel Hill, North Carolina. He was provided with new musical equipment, recorded a new album and played at the New Orleans Jazz & Heritage Festival in April 2012.[5][7]
In late 2012 and 2013, Ironing Board Sam played a series of concerts across North Carolina.[5] In March 2014, he appeared at the Steel City Blues Festival.
Joe Willie Wilkins *07.01.1923
Joe Willie Wilkins (January 7, 1923[2] – March 28, 1979)[3][4] was an American Memphis blues guitarist, singer and songwriter.[1] Whilst he influenced contemporaries such as Houston Stackhouse, Robert Nighthawk, David Honeyboy Edwards, and Jimmy Rogers,[5] Wilkins' bigger impact was on up and coming guitarists, including Little Milton, B.B. King, and Albert King.[6] Wilkins' songs included "Hard Headed Woman" and "It's Too Bad."
Biography
Wilkins was born in Davenport, Coahoma County, Mississippi.[1][6] He grew up on a plantation near Bobo. His father, Papa Frank Wilkins, was a local sharecropper and guitarist, whose friend was the country bluesman, Charley Patton. Young Wilkins learned to play guitar, harmonica and accordion. His early proficiency of the guitar, and slavish devotion to learning from records, earned him the nickname of "Walking Seeburg" (Seeburg Corporation being an early manufacturer of jukebox).[1]
Becoming a well-known musician in the Mississippi Delta, by the early 1940s Wilkins took over from Robert Lockwood, Jr. in Sonny Boy Williamson II's band. In 1941, Wilkins reloacted to Helena, Arkansas, and joined both Williamson and Lockwood on KFFA Radio's "King Biscuit Time".[6][7] Through the 1940s Wilkins broadcast regularly playing alongside Williamson, Willie Love, Robert Nighthawk, Elmore James, Memphis Slim, Houston Stackhouse and Howlin' Wolf. His guitar playing appeared on several recordings by Williamson, Love and Big Joe Williams, for the latter of whom he played bass.[1]
For Muddy Waters, Wilkins was noted as the first guitarist from the Delta who played single string guitar riffs without a slide. Later on, Muddy Waters stated
“ "The man is great, the man is stone great. For blues, like I say, he's the best." ”
Forming The Three Aces with Willie Nix and Love in 1950, he rejoined Williamson at KWEM Radio, which led on to Wilkin's becoming part of the studio band at Sun Records. He was also utilised by Trumpet Records, and as a prominent sideman, Wilkins recorded with Williamson, Love, Nix, Arthur "Big Boy" Crudup, Roosevelt Sykes, Big Walter Horton, Little Walter, Mose Vinson, Joe Hill Louis, Elmore James, and Floyd Jones.[6]
Charley Booker's final recording was as a guest with Wilkins at a 1973 blues festival at Notre Dame in South Bend, Indiana.[8] The same year, Mimosa Records released a single of Wilkin's debut vocal performance. Adamo Records later issued a live album of some of his concert dates.[6]
His working relationship and friendship with Houston Stackhouse endured over the years, with Stackhouse at one time living in the same premises as Wilkins and his wife. Wilkins and Stackhouse played at various blues music festivals, and were part of the traveling Memphis Blues Caravan.[9] After undergoing a colostomy in the late 1970s, Wilkins still continued to perform.[1]
Wilkins is buried near Memphis in the Galilee Memorial Gardens.[6]
Confusion over dates
There is some confusion over both Wilkins' date of birth and death; various sources quote 1921 or 1922 as his year of birth, and some cite 1981 for his death. In the latter respect Allmusic erroneously stated "his final performances were an East Coast tour in 1981, and he died in the week following these engagements.
Larry Dale *07.01.1923
Larry Dale, eigentlich Ennis Lowery, (* 7. Januar 1923 in Wharton, Texas; † 19. Mai 2010 in New York) war ein afroamerikanischer Bluessänger und Gitarrist.
Anfang der 1950er Jahre wurde Ennis Lowery vom Gitarrespiel B.B. Kings inspiriert. Bald darauf machte er erste Plattenaufnahmen, zunächst als Begleitmusiker von Bob Gaddy und Paul Williams (auf dem Jackson/Jax Label), mit Big Red McHouston & His Orchestra sowie unter dem inzwischen angenommenen Künstlernamen "Larry Dale" (für das RCA-Sublabel Groove Records) mit einer Band, der auch der Gitarrist Mickey Baker und der Pianist Champion Jack Dupree angehörten.
Dale arbeitete mit dem Pianisten Bob Gaddy in den Clubs von New York, war aber auch ein gefragter Studiomusiker, der unter anderem bei allen vier 1956er bis 1958er Sessions von Dupree für die RCA-Sublabel Groove und Vik und auf dem bekanntesten Dupree-Album, dem 1958 für das Atlantic-Label eingespielten „Blues from the Gutter“ zum Einsatz kam. Seine Spielweise auf dieser LP hat Brian Jones (von den Rolling Stones) begeistert („Yeah! I have to play this… what a sound“).
Dale lieferte seine besten Aufnahmen zur Wende der 1950er zu den 1960er Jahren ab: Für Glover Records spielte er 1960 den Party-Blues „Let the Doorbell Ring“ und „Big Muddy“ ein, dann wiederbelebte er 1962 für Atlantic den Sticks McGhee-Hit „Drinkin' Wine-Spo-Dee-O-Dee“.
Anfang der 1950er Jahre wurde Ennis Lowery vom Gitarrespiel B.B. Kings inspiriert. Bald darauf machte er erste Plattenaufnahmen, zunächst als Begleitmusiker von Bob Gaddy und Paul Williams (auf dem Jackson/Jax Label), mit Big Red McHouston & His Orchestra sowie unter dem inzwischen angenommenen Künstlernamen "Larry Dale" (für das RCA-Sublabel Groove Records) mit einer Band, der auch der Gitarrist Mickey Baker und der Pianist Champion Jack Dupree angehörten.
Dale arbeitete mit dem Pianisten Bob Gaddy in den Clubs von New York, war aber auch ein gefragter Studiomusiker, der unter anderem bei allen vier 1956er bis 1958er Sessions von Dupree für die RCA-Sublabel Groove und Vik und auf dem bekanntesten Dupree-Album, dem 1958 für das Atlantic-Label eingespielten „Blues from the Gutter“ zum Einsatz kam. Seine Spielweise auf dieser LP hat Brian Jones (von den Rolling Stones) begeistert („Yeah! I have to play this… what a sound“).
Dale lieferte seine besten Aufnahmen zur Wende der 1950er zu den 1960er Jahren ab: Für Glover Records spielte er 1960 den Party-Blues „Let the Doorbell Ring“ und „Big Muddy“ ein, dann wiederbelebte er 1962 für Atlantic den Sticks McGhee-Hit „Drinkin' Wine-Spo-Dee-O-Dee“.
Larry Dale (January 7, 1923 – May 19, 2010)[1][2] was an American blues singer and guitarist. He was born in Wharton, Texas, United States.[1]
During the early 1950s Ennis Lowery (his legal name) took initial inspiration on guitar playing from B.B. King, soon making his first recordings as a sideman for Paul Williams & His Orchestra (on Jax Records) and for Big Red McHouston & His Orchestra, and under his then chosen moniker "Larry Dale" (for the RCA subsidiary Groove Records) with a band that included Mickey Baker and pianist Champion Jack Dupree.
Dale worked the New York club circuit with the pianist Bob Gaddy. He also was a frequent session guitarist in the New York studios, playing on all four of Dupree's 1956–58 sessions for RCA's Groove and Vik subsidiaries, and on the best known Dupree LP, 1958's Blues from the Gutter, for Atlantic. His playing on that album inspired Brian Jones of The Rolling Stones.
Dale made most of his best sides as a leader when the decade turned from the 1950s to the 1960s. For Glover Records he recorded the party blues "Let the Doorbell Ring" and "Big Muddy" in 1960, then revived Stick McGhee's "Drinkin' Wine-Spo-Dee-O-Dee" in 1962 on Atlantic.
He died in New York in May 2010, at the age of 87.
During the early 1950s Ennis Lowery (his legal name) took initial inspiration on guitar playing from B.B. King, soon making his first recordings as a sideman for Paul Williams & His Orchestra (on Jax Records) and for Big Red McHouston & His Orchestra, and under his then chosen moniker "Larry Dale" (for the RCA subsidiary Groove Records) with a band that included Mickey Baker and pianist Champion Jack Dupree.
Dale worked the New York club circuit with the pianist Bob Gaddy. He also was a frequent session guitarist in the New York studios, playing on all four of Dupree's 1956–58 sessions for RCA's Groove and Vik subsidiaries, and on the best known Dupree LP, 1958's Blues from the Gutter, for Atlantic. His playing on that album inspired Brian Jones of The Rolling Stones.
Dale made most of his best sides as a leader when the decade turned from the 1950s to the 1960s. For Glover Records he recorded the party blues "Let the Doorbell Ring" and "Big Muddy" in 1960, then revived Stick McGhee's "Drinkin' Wine-Spo-Dee-O-Dee" in 1962 on Atlantic.
He died in New York in May 2010, at the age of 87.
Larry Dale Please Tell Me (1954)
R.I.P.
Cyril Davies +07.01.1964
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Cyril Davies (* 23. Januar 1932 in Denham, England; † 7. Januar 1964 in London) war ein britischer Bluesmusiker. Er sang und spielte 12 saitige Gitarre ist aber vor allem für sein Mundharmonikaspiel bekannt. Davies gilt zusammen mit Alexis Korner und John Mayall als einer der Väter des europäischen Blues. Durch seinen frühen Tod fand seine Karriere ein abruptes Ende und er geriet mehr und mehr in Vergessenheit.
Leben
Davies wuchs in Denham auf und arbeitete zunächst als Automechaniker ehe er nach London ging. Der Bluesfan Davies betrieb dort zusammen mit Alexis Korner seit 1955 den London Blues And Barrelhouse Club der zuvor ein Skiffleclub war, laut Aussagen Alexis Korner's war der Skiffleclub immer voll, aber am ersten Abend des Bluesclubs wären nur 3 Leute gekommen., der zur Keimzelle der britischen Bluesbewegung wurde. Davies und Korner spielten auch als Duo zusammen. Mit Korner gründete Davies 1961 die Band Blues Incorporated, aus der eine ganze Reihe bekannter Blues- und Rockmusiker und -bands hervorgingen. Im Londoner Stadtteil Ealing betrieben sie den Ealing Club, wo sich die Bluesszene traf und zusammen spielte. Blues Incorporated spielte oft in dem Club, als Vorband fungierten keine geringeren als die Yardbirds oder die Rolling Stones, die damals noch sehr unbekannt waren und durch Davies und Korner an erste Auftritte kamen.
1963 verließ Davies Blues Incorporated und gründete die Cyril Davies' All Stars. Korner wollte eine Bläsersektion in die Band holen und mehr in Richtung Jazz gehen, für Blues Purist Davies ein nicht akzeptabler Schritt. Als Nachfolger kam Graham Bond zu Blues Incorporated. Davies nahm mit Blues Incorporated abgesehen von ein paar Singles nur das Studioalbum R&B From The Marquee auf, welches als erste europäische Bluesplatte gilt. Mit den All Stars veröffentlichte er grade einmal 2 Singles vor seinem Tod. Die All Stars waren größten Teils die Band von Screaming Lord Sutch gewesen.
Anfang 1964 starb Cyril Davies an Leukämie. Long John Baldry führte die Band unter dem Namen Hoochie Coochie Men weiter.
Biography
Born at St Mildred's, 15 Hawthorn Drive, Willowbank, Denham, Buckinghamshire, near London, he was the son of William Albert Davies, a labourer, and his wife Margaret Mary (née Jones). He had an elder brother named Glyn, and the family is believed to have come from Wales.
Cyril Davies began his career in the early 1950s first within Steve Lane's Southern Stompers, then in 1955 formed an acoustic skiffle and blues group with Alexis Korner.[2] He began as a banjo and 12-string guitar player before becoming a Chicago-style blues harmonica player after hearing Little Walter.[2] Working by day as a panel beater, he ran an unsuccessful skiffle club before meeting Korner, then Davies and Korner opened a London Rhythm and Blues club 'England's Firstest and Bestest Skiffle Club', later known as the 'London Blues and Barrelhouse Club'. Popular with other musicians, the club hosted gigs by blues musicians such as Muddy Waters, Sonny Terry and Brownie McGhee and Memphis Slim.[2]
During this period Davies and Korner worked as session musicians, and often backed Ottilie Patterson during her featured set with husband Chris Barber's band, using amplified instruments for the first time – which did not go down well with their blues purist audience and many fellow musicians.[2] After closing the blues club, Davies and Korner went their separate ways, and, influenced by Muddy Waters electric sound, Davies formed his own electric blues band.[2]
The Ealing Club and Blues Incorporated
In 1961, Chris Barber recruited Davies and Korner to play harmonica and electric guitar on his album Chris Barber's Blues Book. Their involvement in this project led them to start accompanying Barber's band regularly at its Wednesday and Friday night sets at the Marquee Club, a popular London jazz club. This opportunity granted Davies and Korner some exposure to the London music scene, but the duo wished to focus more on blues and R&B. The two decided to found their own rhythm and blues group, and in a show of support, Barber offered them an intermission slot at the Marquee on Wednesday nights.[3]
Korner supplied musicians for the rhythm sections, and Davies recruited Art Wood and Long John Baldry to be the vocalists. They named the group Blues Incorporated, and their initial performances at the Marquee were very well received. However, they realized the need for additional performance opportunities, and since most jazz and folk clubs in London were wary of electric guitars, Davies and Korner decided to found their own club at which they could perform. They founded the Ealing Club in 1962, which featured performances by both Blues Incorporated and other Trad jazz outfits popular in England at the time. The club proved to be a popular sensation in the burgeoning R&B scene, and attracted such far-flung admirers and future stars as Mick Jagger and Eric Burdon.[4] Jagger was in the audience for the second night at the club and got up to sing "Got My Mojo Working".[2]
Later Success
In June 1962 they recorded R&B from the Marquee,[5] actually recorded in Decca Records studio.After touring the UK and headlining a residency at The Marquee,[2] by October 1962 there was musical tension in the band as some members wanted to play crowd pleasers like Chuck Berry and Bo Diddley songs while Cyril Davies and others members were blues purists who wanted to play what they saw as only genuine Chicago-style R&B.[6][7] Following his departure from Blues Incorporated in October 1962, Davies then formed the Cyril Davies All-Stars[8] in November 1962 and recorded five tracks for Pye Records, who had announced an R&B label featuring music imported from Davies' favourite Chicago musicians ("Country Line Special", "Chicago Calling", "Preaching the Blues", "Sweet Mary" and "Someday Baby").[9] The original line-up was largely recruited from Screaming Lord Sutch's Savages,and featured both Long John Baldry and Davies on vocals to give Davies room to play harmonica. The band, later known simply as the All-Stars was subject to frequent personnel changes.[10]
After contracting pleurisy in 1963, Davies began to drink heavily to assuage the pain while undergoing a heavy touring schedule.[2] He died in January 1964.[10] The official cause of death was given as endocarditis,[11] although leukaemia is often quoted. The core band was taken over by Long John Baldry and formed the basis of his 'Hoochie Coochie Men'.
In October 2014 the compilation entitled 'Preachin' The Blues ~ The Cyril Davies Memorial Album' was finally released on GVC Records (GVC2040) in Great Britain.
Cyril Davies & His Rhythm & Blues All Stars - Country Line SpecialCyril Davies was one of the first British blues harmonica players .
In 1962 he formed Blues Incorporated with Alexis Korner along with Charlie Watts , Jack Bruce & Dick Heckstall-Smith & recorded the album R&B from the Marquee.
The band was shortlived and in November 1962 he formed Cyril Davies All Stars and recruited Long John Baldry for vocals. Occasional band members were Jeff Beck , Nicky Hopkins & Micky Waller. They recorded a handful of tracks for Pye including Country Line Special . They released two singles in 1963 -
May '63 Country Line Special/Chicago Calling
Sep '63 Preachin' The Blues/Sweet Mary
Tragically, the band proved to be short-lived when Davies succumbed to leukemia and died in January 1964 at the age of only 31.
The band was shortlived and in November 1962 he formed Cyril Davies All Stars and recruited Long John Baldry for vocals. Occasional band members were Jeff Beck , Nicky Hopkins & Micky Waller. They recorded a handful of tracks for Pye including Country Line Special . They released two singles in 1963 -
May '63 Country Line Special/Chicago Calling
Sep '63 Preachin' The Blues/Sweet Mary
Tragically, the band proved to be short-lived when Davies succumbed to leukemia and died in January 1964 at the age of only 31.
https://www.youtube.com/watch?v=lscwcKgz6J8
Peter (Doctor) Clayton +07.01.1947
Doctor Clayton (eigentlich Peter Joe Clayton; * 19. April 1898 in Georgia; † 7. Januar 1947 in Chicago, Illinois) war ein US-amerikanischer Blues-Sänger und Songschreiber.
Clayton ist wahrscheinlich 1898 in Georgia geboren, obwohl er selbst behauptete, mit seinen Eltern aus Afrika gekommen zu sein. In St. Louis heiratete Clayton und hatte vier Kinder. 1937 kam seine komplette Familie bei einem Brand ums Leben. Danach verfiel er dem Alkohol und führte ein unstetes Leben. Mit Robert Lockwood ging er nach Chicago, um dort Musik zu machen.
Die ersten Aufnahmen von Doctor Clayton stammen aus dem Jahr 1935. Er trat ausschließlich als Sänger auf und schrieb erfolgreich Songs. Zu seine bekanntesten Stücken zählen 41 Blues, Pearl Harbor Blues, Cheating And Lying Blues, Hold That Train Conductor, Gotta Find My Baby, Root Doctor, Angels in Harlem, On The Killing Floor und I Need My Baby. Einige der Stücke Claytons wurden später von B.B. King neu eingespielt.
Doctor Clayton starb 1947 an den Folgen einer Lungenentzündung. Big Bill Broonzy berichtete, dass bei der Beerdigung nur 10 Leute anwesend waren, darunter er selbst und Tampa Red.
Biography
Peter Joe Clayton was born in Georgia, though he later claimed he had been born in Africa, and moved to St. Louis as a child with his family. He had four children and worked in a factory in St. Louis, where he started his career as a singer (he could also play piano and ukelele, though he never did so on record). Clayton recorded six sides for Bluebird Records in 1935, but only two were ever issued. Clayton's entire family died in a house fire in 1937; following this Clayton became an alcoholic and began wearing outsized hats and glasses. Moving to Chicago with Robert Lockwood, he received attention from Decca Records but ultimately returned to Bluebird, recording with them again in 1941-42. He also recorded for Okeh Records at this time.
Among the songs he wrote were "Cheating and Lying Blues", frequently covered by other blues artists; "Pearl Harbor Blues", written after the Pearl Harbor bombing of 1941; and "Moonshine Woman Blues", which became a chart hit for B. B. King under the name "The Woman I Love" in 1968. He recorded again in 1946, recording the tunes "Hold That Train, Conductor" and "I Need My Baby" which were also both covered by King.[1] Most of his later recordings featured Blind John Davis on piano.[1] He was a regional sales success and played regularly in Chicago nightclubs with Lockwood and Sunnyland Slim.
Clayton died of tuberculosis in January 1947, in Chicago, shortly after his second recording session. Big Bill Broonzy and Tampa Red attended his funeral.
Document Records has released all of Clayton's output recorded between 1935 and 1942 on one CD; Old Tramp Records released the remaining 1946 recordings.
Larry Williams +07.01.1980
Larry
Williams (* 10. Mai 1935 in New Orleans, Louisiana; † 7. Januar 1980 in
Los Angeles, Kalifornien) war ein amerikanischer Rhythm and
Blues-Sänger, -Pianist und -Songschreiber.
Seine ersten Platten erschienen 1957 bei Specialty Records zu einem Zeitpunkt, als sich deren Star Little Richard für eine Karriere als Prediger entschieden hatte. Williams sollte dessen Nachfolger werden, weil er ein vergleichbar wildes Pianospiel pflegte. Seine Stimme, wie auch sein Pfeifen, waren allerdings unverkennbar und seine Texte waren schräger.
Larry Williams war seit früher Jugend auch ein Kleinganove, eine Zeit lang auch Zuhälter. Seine kleinen Tourneen nutzte er auch, um nebenbei mit Drogen zu handeln. Dies brachte ihn Ende der 1950er Jahre mehrfach ins Gefängnis. Mitte der 1960er Jahre gelang ihm ein Comeback mit leicht verändertem Sound und einer neuen Band, in der auch Johnny Guitar Watson mitspielte. Diese Phase wird heute als seine künstlerisch bedeutendste eingeschätzt; mit Mercy, Mercy, Mercy hatte die Band in Europa einen Hiterfolg. In den 1970er Jahren versuchte er sich in der damals aktuellen Disco-Welle, hatte aber keinen Erfolg.
Am 7. Januar 1980 wurde er tot neben seinem Revolver aufgefunden. Obwohl viele Fragen ungeklärt geblieben waren, wurden die Ermittlungen rasch eingestellt und der Fall auf Suizid erkannt.
Einige seiner Rock-’n’-Roll-Lieder wurden durch Coverversionen weltweit bekannt. Die frühen Beatles spielten mit Bad Boy, Dizzy Miss Lizzy und Slow Down drei seiner Stücke ein. Letzteres spielten auch Alvin Lee, Blodwyn Pig, Episode Six, Gerry & the Pacemakers und The Jam. Dizzy Miss Lizzy und Slow Down wurden auch von Casey Jones & The Governors gespielt. Von Bony Moronie, das in der populären Liste der 500 Songs, die den Rock ’n’ Roll am meisten geprägt haben,[1] geführt wird, gibt es Fassungen von John Lennon, Livin’ Blues, Johnny Burnette, Dr. Feelgood, Flying Burrito Brothers, Johnny Winter, Little Richard, Paul Jones, Showaddywaddy, The Who, Jumpin' Gene Simmons und den The Shadows. Die The Rolling Stones, The Animals, Engerling und Paul McCartney interpretierten She Said Yeah.
Seine ersten Platten erschienen 1957 bei Specialty Records zu einem Zeitpunkt, als sich deren Star Little Richard für eine Karriere als Prediger entschieden hatte. Williams sollte dessen Nachfolger werden, weil er ein vergleichbar wildes Pianospiel pflegte. Seine Stimme, wie auch sein Pfeifen, waren allerdings unverkennbar und seine Texte waren schräger.
Larry Williams war seit früher Jugend auch ein Kleinganove, eine Zeit lang auch Zuhälter. Seine kleinen Tourneen nutzte er auch, um nebenbei mit Drogen zu handeln. Dies brachte ihn Ende der 1950er Jahre mehrfach ins Gefängnis. Mitte der 1960er Jahre gelang ihm ein Comeback mit leicht verändertem Sound und einer neuen Band, in der auch Johnny Guitar Watson mitspielte. Diese Phase wird heute als seine künstlerisch bedeutendste eingeschätzt; mit Mercy, Mercy, Mercy hatte die Band in Europa einen Hiterfolg. In den 1970er Jahren versuchte er sich in der damals aktuellen Disco-Welle, hatte aber keinen Erfolg.
Am 7. Januar 1980 wurde er tot neben seinem Revolver aufgefunden. Obwohl viele Fragen ungeklärt geblieben waren, wurden die Ermittlungen rasch eingestellt und der Fall auf Suizid erkannt.
Einige seiner Rock-’n’-Roll-Lieder wurden durch Coverversionen weltweit bekannt. Die frühen Beatles spielten mit Bad Boy, Dizzy Miss Lizzy und Slow Down drei seiner Stücke ein. Letzteres spielten auch Alvin Lee, Blodwyn Pig, Episode Six, Gerry & the Pacemakers und The Jam. Dizzy Miss Lizzy und Slow Down wurden auch von Casey Jones & The Governors gespielt. Von Bony Moronie, das in der populären Liste der 500 Songs, die den Rock ’n’ Roll am meisten geprägt haben,[1] geführt wird, gibt es Fassungen von John Lennon, Livin’ Blues, Johnny Burnette, Dr. Feelgood, Flying Burrito Brothers, Johnny Winter, Little Richard, Paul Jones, Showaddywaddy, The Who, Jumpin' Gene Simmons und den The Shadows. Die The Rolling Stones, The Animals, Engerling und Paul McCartney interpretierten She Said Yeah.
Lawrence Eugene "Larry" Williams (May 10, 1935 – January 7, 1980[1]) was an American rhythm and blues and rock and roll singer, songwriter, producer, and pianist from New Orleans, Louisiana. Williams is best known for writing and recording some rock and roll classics from 1957 to 1959 for Specialty Records, including "Bony Moronie", "Short Fat Fannie", "High School Dance" (1957), "Slow Down", "Dizzy Miss Lizzy" (1958), "Bad Boy" and "She Said Yeah" (1959).[2] John Lennon was a fan, and the Beatles and several other British Invasion groups covered several of his songs.
Williams' life mixed tremendous success with violence and drug addiction. He was a long-time friend of Little Richard.[3]
Career
Williams learned how to play piano at a young age.[1] The family moved to Oakland, California when he was a teen, and there he joined the Lemon Drops, a R&B group.[1] Williams returned to New Orleans in 1954 and began working as Lloyd Price's valet[1] and played in the bands of Price, Roy Brown and Percy Mayfield. In 1955, Williams met and developed a friendship with Little Richard, who was recording at the time in New Orleans.[4] Price and Penniman were both recording for Specialty Records. Williams was introduced to Specialty's house producer, Robert Blackwell, and was signed to record.[1]
In 1957, Little Richard was Specialty's biggest star, but bolted from rock and roll to pursue the ministry. Williams was quickly groomed by Blackwell to try to replicate his success. Using the same raw, shouting vocals and piano-driven intensity, Williams scored with a number of hit singles.[1][4]
Williams' three biggest successes were "Short Fat Fannie", which was his biggest seller, reaching #5 in Billboard's pop chart, "Bony Moronie", which peaked at #14, and its flip "You Bug Me Baby" which made it to #45. "Dizzy Miss Lizzy" charted at #69 on Billboard the following year. Both "Short Fat Fannie" and "Bony Moronie" sold over one million copies, gaining gold discs.[5]
Several of his songs achieved later success as revivals, by The Beatles ("Bad Boy", "Slow Down", and "Dizzy Miss Lizzy"), The Rolling Stones ("She Said Yeah") and John Lennon ("Bony Moronie" and "Dizzy Miss Lizzy").
After 1957 Williams did not have much success selling records. He recorded a number of songs in 1958 and 1959, including "Heebie Jeebies", with band members such as Plas Johnson on tenor sax and Jewel Grant on baritone, Rene Hall on guitar, Gerald Wilson on trumpet, Ernie Freeman or Williams himself on piano, and Earl Palmer on drums. He was convicted of dealing narcotics in 1960 and served a three-year jail term, setting back his career considerably.[1]
Williams made a comeback in the mid-1960s with a funky soul band that included Johnny "Guitar" Watson, which paired him musically with Little Richard who had been lured back into secular music. He produced two Little Richard albums for Okeh Records in 1966 and 1967, which returned Little Richard to the Billboard album chart for the first time in ten years and spawned the hit single "Poor Dog".[6] He also acted as the music director for the Little Richard's live performances at the Okeh Club. Bookings for Little Richard during this period skyrocketed.[6] Williams also recorded and released material of his own and with Watson, with some moderate chart success. This period may have garnered few hits but produced some of his best and most original work.
Williams also began acting in the 1960s, appearing on film in Just for the Hell of It (1968), The Klansman (1974), and Drum (1976).[7]
In the 1970s, there was also a brief dalliance with disco, but Williams' wild lifestyle continued. By the middle of the decade, the drug abuse and violence were taking their toll. In 1977, Williams pulled a gun on and threatened to kill his long-time friend, Little Richard, over a drug debt. They were both living in Los Angeles and addicted to cocaine and heroin. Little Richard had bought drugs from Williams, arranged to pay him later, but did not show up because he was high. Williams was furious. He hunted him down but ended up showing compassion for his long-time friend after Little Richard repaid the debt.[8] This, along with other factors, led to Little Richard's return to born again Christianity and the ministry, but Williams did not escape LA's seedy underworld.
Death
Williams died in his Los Angeles, California home of a gunshot wound to the head on January 7, 1980.[1] He was 44 years old. The death was deemed suicide, though there was much speculation otherwise.[1] No suspects were ever arrested or charged.
Martin Allbritton as Larry Williams
A Southern Illinois drummer and blues singer by the name of Martin Allbritton claims to be Larry Williams, alive and well. This claim originated at about the time Larry Williams was found dead. He recorded and performed as a drummer for Bobby "Blue" Bland in the 1960s.[9] Albritton has toured the country performing under the moniker of "Big" Larry Williams, and claims that he recorded the hits "Bony Moronie" and "Dizzy Miss Lizzy". He recorded an album in 1990 called Street Party with the Mellow Fellows band, previously headed by Big Twist.[9] While touring with the Mellow Fellows in Chicago, Allbritton was confronted by Etta James, who knew Larry Williams.
Williams' family members have asked him to cease any future reference to "Larry Williams". Allbritton has so far refused, and presently continues to use the name.
Williams' life mixed tremendous success with violence and drug addiction. He was a long-time friend of Little Richard.[3]
Career
Williams learned how to play piano at a young age.[1] The family moved to Oakland, California when he was a teen, and there he joined the Lemon Drops, a R&B group.[1] Williams returned to New Orleans in 1954 and began working as Lloyd Price's valet[1] and played in the bands of Price, Roy Brown and Percy Mayfield. In 1955, Williams met and developed a friendship with Little Richard, who was recording at the time in New Orleans.[4] Price and Penniman were both recording for Specialty Records. Williams was introduced to Specialty's house producer, Robert Blackwell, and was signed to record.[1]
In 1957, Little Richard was Specialty's biggest star, but bolted from rock and roll to pursue the ministry. Williams was quickly groomed by Blackwell to try to replicate his success. Using the same raw, shouting vocals and piano-driven intensity, Williams scored with a number of hit singles.[1][4]
Williams' three biggest successes were "Short Fat Fannie", which was his biggest seller, reaching #5 in Billboard's pop chart, "Bony Moronie", which peaked at #14, and its flip "You Bug Me Baby" which made it to #45. "Dizzy Miss Lizzy" charted at #69 on Billboard the following year. Both "Short Fat Fannie" and "Bony Moronie" sold over one million copies, gaining gold discs.[5]
Several of his songs achieved later success as revivals, by The Beatles ("Bad Boy", "Slow Down", and "Dizzy Miss Lizzy"), The Rolling Stones ("She Said Yeah") and John Lennon ("Bony Moronie" and "Dizzy Miss Lizzy").
After 1957 Williams did not have much success selling records. He recorded a number of songs in 1958 and 1959, including "Heebie Jeebies", with band members such as Plas Johnson on tenor sax and Jewel Grant on baritone, Rene Hall on guitar, Gerald Wilson on trumpet, Ernie Freeman or Williams himself on piano, and Earl Palmer on drums. He was convicted of dealing narcotics in 1960 and served a three-year jail term, setting back his career considerably.[1]
Williams made a comeback in the mid-1960s with a funky soul band that included Johnny "Guitar" Watson, which paired him musically with Little Richard who had been lured back into secular music. He produced two Little Richard albums for Okeh Records in 1966 and 1967, which returned Little Richard to the Billboard album chart for the first time in ten years and spawned the hit single "Poor Dog".[6] He also acted as the music director for the Little Richard's live performances at the Okeh Club. Bookings for Little Richard during this period skyrocketed.[6] Williams also recorded and released material of his own and with Watson, with some moderate chart success. This period may have garnered few hits but produced some of his best and most original work.
Williams also began acting in the 1960s, appearing on film in Just for the Hell of It (1968), The Klansman (1974), and Drum (1976).[7]
In the 1970s, there was also a brief dalliance with disco, but Williams' wild lifestyle continued. By the middle of the decade, the drug abuse and violence were taking their toll. In 1977, Williams pulled a gun on and threatened to kill his long-time friend, Little Richard, over a drug debt. They were both living in Los Angeles and addicted to cocaine and heroin. Little Richard had bought drugs from Williams, arranged to pay him later, but did not show up because he was high. Williams was furious. He hunted him down but ended up showing compassion for his long-time friend after Little Richard repaid the debt.[8] This, along with other factors, led to Little Richard's return to born again Christianity and the ministry, but Williams did not escape LA's seedy underworld.
Death
Williams died in his Los Angeles, California home of a gunshot wound to the head on January 7, 1980.[1] He was 44 years old. The death was deemed suicide, though there was much speculation otherwise.[1] No suspects were ever arrested or charged.
Martin Allbritton as Larry Williams
A Southern Illinois drummer and blues singer by the name of Martin Allbritton claims to be Larry Williams, alive and well. This claim originated at about the time Larry Williams was found dead. He recorded and performed as a drummer for Bobby "Blue" Bland in the 1960s.[9] Albritton has toured the country performing under the moniker of "Big" Larry Williams, and claims that he recorded the hits "Bony Moronie" and "Dizzy Miss Lizzy". He recorded an album in 1990 called Street Party with the Mellow Fellows band, previously headed by Big Twist.[9] While touring with the Mellow Fellows in Chicago, Allbritton was confronted by Etta James, who knew Larry Williams.
Williams' family members have asked him to cease any future reference to "Larry Williams". Allbritton has so far refused, and presently continues to use the name.
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