A Birth of the Blues

We widely demarcate rather arbitrarily between early and modern blues from about the Swing period to about World War II. For modern blues guitar see Blues 3. For blues from their inception see either Blues 1 (guitar) or Blues 2 (vocals and other instruments). Helpful synopsis of the blues genre at SAPM.

Born in 1902 in Boonville, Missouri, Julia Lee [1, 2, 3] was raised in Kansas City. It was about 1920 when she began singing and playing piano in her brother's band, the George E. Lee Novelty Swing Orchestra. That was more a vaudeville operation than a jazz orchestra in its earlier years. George Lee's main rival in Kansas City during the twenties and thirties in Kansas City was Bennie Moten's Kansas City Orchestra. Charlie Parker would briefly play in George Lee's outfit in the thirties. Count Basie would take over Moten's operation upon the latter's death in 1935. Meanwhile Julia had long since recorded 'Waco Blues' and 'Just Wait Until I'm Gone' with the George E. Lee Novelty Swing Orchestra in June of 1923 for Okeh (matrices 8408, 8409). The fate of those is unknown. Working with her brother's orchestra to 1935, Julia made her debut recording to issue in 1927 with pianist, Jesse Stone, in George Lee's band: 'Downhome Syncopated Blues' (Meritt 2206). In 1929 George backed Julia on 'He's Tall Dark and Handsome' and 'Won't You Come Over to My House' (Brunswick 4761), Stone also in the orchestra. [See Brian Rust per above.] Lee ventured upon a solo career in 1935. In 1944 she was with Jay McShann's Kansas City Stompers for Capitol Records on 'Come on Over to My House'/'Trouble in Mind' [per BlackCatRockabilly]. 1946 witnessed 'Dream Lucky Blues'/'Lotus Blossom' for Mercury, after which she recorded by contract with Capitol Records as Julia Lee and Her Boy Friends. [See 45Worlds.] Starting with 'Gotta Gimme Watcha Got' in 1946, Lee placed eight titles on Billboard's R&B Top Ten to 'I Didn't Like It the First Time' ('Spinach Song') in 1949. 'Snatch and Grab It' reached #1 in 1947, as did 'King Size Papa' in 1948. Lee issued titles into the fifties, also performing in the film, 'The Delinquents', in 1957. She was a major figure in Kansas City until she died of heart attack on December 8 of 1958. Julia's forte had been the erotically suggestive song. 'Lotus Blossom' below, however, is clearly about marijuana. Issues documented at 45Worlds and Discogs. Further reading: 1, 2, 3. Earlier Julia Lee in Rock Development.

   Julia's Blues

     Composition: Julia Lee

   Show Me Missouri Blues

      Composition: Julia Lee/George Fathead Thomas

Julia Lee   1947

   Lotus Blossom

      Composition: Julia Lee/Titus Turner

Julia Lee   1951

   Lotus Blossom

      Composition: Julia Lee/Titus Turner

Sammy Price   1938

Sammy Price   1941

   Do You Dig My Jive

      Composition: Sammy Price

   The Goon Drag

      Composition: Sammy Price

Sammy Price   1948

   Low Down Blues

      Composition: Sammy Price

Sammy Price   1955

   Louisiana Lament

      Composition: Sammy Price

Sammy Price   1959

   One O'Clock Jump

      Composition: Count Basie

Sammy Price   1965

   2nd Time Around

      Composition: Bart Howard   1954

      Originally 'In Other Words'

      First version by Kaye Ballard   1954

Sammy Price   1975

   Please Don't Talk About Me When I'm Gone

Sammy Price   1979

   That's a Plenty

Sammy Price   1992

   Blues in My Heart

      Composition: Benny Carter/Irving Mills

      Recorded 22 July 1975

      Original LP: 'Blues and Boogie Woogie'

Born in Indianola, Mississippi, in 1904, was harmonica player, (William McKinley) Jazz Gillum [*]. In Gillum one hears early blues transitioning toward modern about the period that swing jazz was at its height. Gillum ran away from home at age seven to Charleston, Mississippi, where he began busking. He left Mississippi for Chicago in 1923 where he began his professional career with Big Bill Broonzy. Broonzy likely backed Gillum with Bob Black on June 14, 1934, to record 'Early in the Morning'/'Harmonica Stomp' (Bluebird B5565). American Music (AM) finds Gillum with the State Street Boys on January 10 of 1936 for 'She Caught the Train' (OKeh 8962) and 'Crazy About You' (OKeh 8964). Members of the band on those titles were variously Broonzy, Bill Settles, Black Bob, Carl Martin and Zeb Wright. 1936 saw the issue of the name titles 'Jockey Blues'/'Don't Scandalize My Name' (Bluebird B6409) and 'Sarah Jane'/'I Want You By My Side' (Bluebird B6445). Broonzy again assisted on all of those. Gillum traded Broonzy's guitar for Blind John Davis' piano at the Leland Hotel in Aurora, IL, on October 11, 1937 for 'My Old Lizzie'/'My Old Suitcase' (Bluebird B7253) and 'Alberta Blues'/'Birmingham Blues' (Bluebird B7341). To go by AM, Davis and an unknown drummer were Gillum's first configuration of His Jazz Boys. His next was a different kind of crew on March 14, 1938, also at the Leland Hotel. Along with Broonzy joining him again, Gillum employed Washboard Sam and jazz guitarist, George Barnes, on electric. Those would be among the first recordings of electric guitar, as well as among Barnes' first recordings at age sixteen: 'New Sail On, Little Girl'/'Sweet Sweet Woman' (Bluebird B7524), 'Gillum's Windy Blues'/'Boar Hog Blues' (Bluebird B7563) and 'Just Like Jesse James'/'Reefer Head Woman' (Bluebird B7615). Gillum continued into 1938 and into the forties on numerous tracks both with and without Broonzy. The Segar/Broonzy composition, 'Key to the Highway', was first recorded by blues pianist, Charlie Segar, on February 23, 1940. Next came Broonzy and Gillum's rendering on May 9, 1940, that to become the standard. Gillum served in the Army from 1942 to 1945. Upon discharge he attempted to return to music. But a temporary folding of the Bluebird subsidiary of RCA in the latter forties saw Gillum's musical career largely vanish as well. (The more popular artists were transitioned to Victor but Gillum didn't make the roster.) Howsoever, Gillum attempted a comeback in 1961 with the album, 'Blues by Jazz Gillum', for Folkway Records, also featuring Memphis Slim and Arbee Stidham. But the effort didn't take, such that he retired from the public a couple years later. Another direction then weaved toward finding Gillum shot in the head in Chicago during a street argument on March 29, 1966. Other than titles credited below, Gillum composed such as those at allmusic 1, 2. Discos w various credits at 1, 2. Further reading: 1, 2, 3, 4.

   Harmonica Stomp

      Composition: Jazz Gillum

Jazz Gillum   1935

   Crazy About You

      Composition: Jazz Gillum

Jazz Gillum   1938

   Reefer Head Woman

      With George Barnes

      Composition: Gillum/Lester Melrose/Joe Bennett

   New Sail On, Little Girl

      With George Barnes

      Composition: Jazz Gillum

   Sweet Sweet Woman

      With George Barnes

      Composition: Jazz Gillum

   Windy City

      With George Barnes

      Composition: Jazz Gillum

   Key to the Highway

      With Big Bill Broonzy

      Composition: Broonzy from Charlie Segar

Jazz Gillum   1946

   Go Back to the Country

      Composition: Washboard Sam

   Look on Yonder Wall

      Composition: James Clark

Jazz Gillum   1947

   All In All Blues

Jazz Gillum   1948

   Take a Little Walk With Me

      Composition: Robert Lockwood Jr.

Born in 1909 in San Antonio, Texas, pianist, Lloyd Glenn [1, 2, 3, 4], is thought have first recorded on November 18 of 1936 with the Don Albert Orchestra, contributing piano to such as 'The Sheik of Araby' and 'Liza'. He left Texas for Los Angeles in 1941, there hooking up with Walter Johnson's trio in '44, also becoming employed as a session musician. 1945 found Glenn with Red Mack and His All Stars for such as 'The Joint Is Jumpin' and 'T'ain't Me'. Working with T-Bone Walker would have been a major highlight in any musician's career, which happened in December of 1946 for Glenn, he backing Walker as one of the Al Killian Quintet in Hollywood for takes of 'Stormy Monday', 'She Had to Let Me Down', et al. Glenn would see Walker again in latter '47, '57 and 1967-68, their last occasion for Walker's 'Funky Town' in Los Angeles. Come December of 1947 for Brown's first name session with his Joymakers, coming up with such as 'Joymakers Boogie' and 'Advice to a Fool'. He took residence in the band of another major figure in 1949, that being trombonist, Kid Ory, joining him for dates such as an AFRS radio broadcast of 'Kid Ory' yielding the likes of 'Wang Wang Blues' and 'Tuxedo Junction'. Glenn would see numerous sessions with Ory's Creole Jazz Band to July 17 of 1953 for titles that would eventually see issue on Ory's 'The Kid's Greatest!' in 1962. [All session data: Lord's Disco.] Others with whom Glenn had occasion to work, either recording or touring, were Lowell Fulson, BB King, Clarence Gatemouth Brown and Big Joe Turner. Compositions by Glenn include those below in alphabetical:

Glenn's most popular compositions had been 'Old Time Shuffle' (Billboard's R&B #3 '50) and 'Chica Boo' (Billboard's R&B #1 '51). He died of heart attack on May 3, 1985, in Los Angeles. Catalogs w various credits for Glenn at 45worlds and discogs. More Lloyd Glenn.

   Blues Hangover

      The Lloyd Glenn Trio

      Composition: Lloyd Glenn

   Call It Stormy Monday

      With T-Bone Walker

      Composition: T-Bone Walker

   Old Time Shuffle

      Composition: Lloyd Glenn

Lloyd Glenn   1951

   Chica Boo

      Composition: Lloyd Glenn

Lloyd Glenn   1956

   Blue Ivories

      Composition: Lloyd Glenn

   Southbound Special

      Composition: Lloyd Glenn

Lloyd Glenn   1957

   Ballroom Shuffle

      Composition: Lloyd Glenn

   Black Fantasy

      Composition: Lloyd Glenn

Lloyd Glenn   1959

   Honky Tonk Train

      Composition: Meade Lux Lewis

Lloyd Glenn   1984

   How Long Blues

      Composition: See Wikipedia

At the verge of modern blues (about World War II) is vocalist, Lillian Green [1, 2, 3], who was eighteen when she first recorded in 1937 (unfound). Born in Mississippi in 1919, per Wikipedia she went to Chicago as a teenager upon the death of parents, there to fall in with guitarist, Big Bill Broonzy, with whom she partnered in nightclub performances in the thirties. American Music (AM) begins its discography of Green with Broonzy, Simeon Henry (piano) and Ransom Knowling (bass) on May 9 of 1940 for 'Cherry Tree Blues'/'Just Rockin' (Bluebird B8464) and 'Romance in the Dark'/'What Have I Done?' (Bluebird B8524). It was the same combo through numerous titles in '41 and '42. She would also perform with Tiny Bradshaw's outfit. Green was something unique among blues musicians in that she neither drank nor smoked. But pneumonia didn't care about that, killing her on April 14, 1954, at only age thirty-four [*]. Recordings by Green with songwriting credits at 45worlds, allmusic 1, 2, 3 and discogs 1, 2.

   Romance in the Dark

      With Big Bill Broonzy

      Composition: Lillian Green

   What Have I Done

      With Big Bill Broonzy

      Composition: George Curry

Lillian Green   1941

   Knockin' Myself Out

      With Big Bill Broonzy

      Composition: Lillian Green

   Why Don't You Do Right

      With Big Bill Broonzy

      Composition: Kansas Joe McCoy

Lillian Green   1946

   It's Bad With My Man And Me

      Composition: Don Redman/Freddy Jenkins

Much like his early partner, Blind Boy Fuller, harmonica player, Sonny Terry (Saunders Terrell) [1, 2, 3, 4], was forced to perform music due to losing his eyesight, one by accident at age eleven, the other by accident at age sixteen. Sources differ as to whether he was born to a farmer in 1911 in Greensboro, Georgia, or Greensboro, North Carolina. He got transferred to Shelby, North Carolina, sometime as a child, he also learning harmonica from his father (Reuben Terrell). Honing old tunes like 'Camptown Races', Terry soon learned blues in the Piedmont fashion as well. Upon the death of his father (another accident, this time between a mule-drawn wagon and truck-drawn trailer) Terry began to perform at medicine shows, then fell in with his first major partner, Blind Boy Fuller, with whom he performed streets in the Wadesboro region, and at tobacco warehouses. Bruce Bastin ('Red River Blues' '95) notes that warehouses were particularly lucrative. Showing up when the day's shift was letting out, they could earn as much as $10. If you think $10 is a lot now . . . Bastin has Terry leaving the Piedmont region for New York City with Fuller and Floyd Council in 1937. American Music has Terry's first recordings with Fuller on December 15, 1937, for 'Looking for My Woman'/'Ten O'Clock Peeper' (Vocalion 04054, Conqueror 9038). Council (Dipper Boy Council) contributed guitar to 'Ten O'Clock Peeper'. Numerous titles with Fuller ensued in 1938 to Fuller's death in 1941. In the meanwhile Terry had performed at Carnegie Hall for the first time in 1938, playing 'Mountain Blues' in the presentation of 'Spirituals to Swing'. That was due to another accident, this time a crash between Fuller, his wife and the law. Having shot her in the leg, good thing or not that he was blind, Fuller went to jail, Terry thus taking his place at Carnegie. Recordings by Fuller and Terry with compositional credits at allmusic and discogs. Terry recorded his first name titles for Okeh (Columbia) on March 5, 1940: 'Harmonica Blues'/'Harmonica and Washboard Breakdown', followed the next day by 'Harmonica Stomp'/'Harmonica and Washboard Blues' with Oh Red (George Washington) [honkingduck]. He put down 'Blowing the Blues' and '44 Whistle Blues' (Okeh 05684) on June 18 that year. Terry's next major partner was guitarist, Brownie McGhee, with whom Terry formed a famous lifetime relationship, their first track together in New York City in 1941 for 'Workingman's Blues' (Okeh 6698). Along their early path together they were taped by Alan Lomax for the Library of Congress in Washington D.C. on May 11, 1942, such as 'How Long' (composition) alongside Lead Belly. McGhee and Terry parted paths in the latter forties, McGhee to form a group and work as a studio musician, Terry to join the musical, 'Finian's Rainbow' (Burton Lane/Yip Harburg). In 1951 they collaborated with Coyal McMahan on 'Get On Board: Negro Folksongs by The Folkmasters'. Terry then issued his album 'Harmonica & Vocal Solos' in 1952. He released 'Folk Blues' in 1954, 'Sonny Terry's Washboard Band' in '55. Others with whom Terry collaborated during that period were Blind Gary Davis and Alec Stewart. McGhee and Terry got back together again in '55 to accompany the play, 'Cat on a Hot Tin Roof' (Tennessee Williams), after which they remained partners until the mid seventies, they no longer getting along together. Of note during that latter period was their '73 album, 'Sonny & Terry', on which young bluesman, John Mayall, joined the crew. McGhee and Terry managed to issue collaborations into the eighties. Setlist has them touring internationally in '80 and '81. Of note in 1984 was Alligator's issue of 'Whoopin'', Terry paired with (not so young anymore) Johnny Winter. Terry died of natural causes on March 11, 1986, in Mineola, New York. Discographies w various credits at 1, 2. Terry w McGhee in visual media.

   Lost John

      Composition: Sonny Terry

   The New John Henry

      Composition: Traditional

Sonny Terry   1940

   Precious Lord

      Guitar: Blind Boy Fuller

      Composition: Thomas Dorsey

   Crow Jane Blues

      Composition: Sonny Terry

Sonny Terry   1960

   My Baby Done Gone

      Guitar: Stick McGhee

      Composition: Sonny Terry

   Blues Ain't Nothing But a Woman

   Burnt Child

      Guitar: Brownie McGhee

      Composition: Sonny Terry/Brownie McGhee

   Stranger Blues

      Guitar: Brownie McGhee

      Composition:

      Robert Ellen/Brownie McGhee

      Terry McGhee/Sonny Terry

Being born in Horn Lake, Mississippi, circa 1918, placed harmonica player, Big Walter Horton (Shakey) [1, 2, 3, 4, 5, 6, 7, 8, 9], just south of Memphis, major hub of the Mississippi Delta blues. His earlier career included time with the Memphis Jug Band. He recorded his initial tracks in Memphis for Columbia on July 1, 1939, supporting Little Buddy Doyle on 'Hard Scufflin' Blues' (OKeh 05771) and 'Grief Will Kill You' (Vocalion 05111) [see also *]. 'Slick Capers Blues' went unissued. Titles following on the 14th were 'Renewed Love Blues' (OKeh 05771), 'Bad In Mind Blues' (Vocalion 05111) and 'Three-Sixty-Nine Blues'/'She's Got Good Dry Goods' (Vocalion 05246). Other tracks went unissued. Due to poor health Walter dropped out of the music scene for several years in the forties. Later resuming his career, circa January 1951 he recorded 'Walter's Instrumental' to go unissued. Circa February several titles went down as Mumbles, two issued as 'Little Boy Blue'/'Now Tell Me Baby' (Modern 20-809). Backing are thought to have been Billy Red Love (piano) and Joe Hill Louis (percussion). Of tracks gone down in June as Mumbles two were released: 'Black Gal'/'Jumpin' Blues' (RPM 338). Phineas Newborn Jr. (piano) Calvin Newborn (guitar) and Phineas Newborn Sr. (drums) supported him on those. February 25 of '52 found him recording 'Blues in My Condition'/'Selling My Whiskey' as Little Walter with Jackie Boy (Jack Kelly), those (Sun 174) canceled. He was back to recording as Walter Horton again on April 25, 1952, to back Willie Nix on 'Truckin' Little Woman/'/Just One Mistake' (Checker 756) June 18 witnessed him supporting Joe Hill Louis on 'Dorothy Mae' (Checker 763). If to go by American Music's discography, Horton left Memphis for Chicago in latter 1952, he putting down his first titles in Chicago on January 9, 1953, for Chess, those unissued: 'Cold Love', 'Mean and Evil' and 'Eight Ball'. January 9, however, also saw several titles backing Muddy Waters, 'She's Allright'/'Sad, Sad Day' issued per Chess 1537 with Jimmy Rogers (guitar) and Willie Nix (drums). January 22 saw Horton behind Johnny Shines on 'Evening Sun'/'Brutal Hearted Woman' (JOB 1010). February 25 saw 'Easy' (Sun 180) issued as Jimmy & Walter, that with Jimmy DeBerry on guitar and Houston Stokes at drums. Later on December 1 Horton backed Tampa Red on 'Big Stars Falling Blues' (RCA Victor 20-5594). Horton published as Big Walter and his Combo from a session on November 1, 1954: 'Hard-Hearted Woman'/'Back Home to Mama' (States 145). 1956 saw titles with Arbee Stidham in June and Tommy Brown in August, he also recording as Shakey Horton that summer: 'Have a Good Time'/'Need My Baby' (Cobra 5002). Titles followed later that year for Otis Rush in October and Jimmy Rogers in December. He had also backed Sunnyland Slim and Lee Jackson on unidentified dates that year. Other personnel with whom Horton recorded from '51 to '56 at discogs. Continuing as a studio musician with Chess into the sixties, he supported several titles by Jessie Fortune in '63, as well as Johnny Shine's 'Evening Sun' and 'Brutal Hearted Woman' (JOB 1010). Horton recorded his first album in January of 1964 as Shakey Horton: 'The Soul of Blues Harmonica' (Argo 437). June 30 of '64 saw 'I Got What It Takes'/'What Kind of Man Is This' (Checker 1092) for Koko Taylor. Albeit Walter was largely an accompanist, he thereby came to no little prestige in the blues business. Four years later he issued 'Chicago Blues' with Johnny Young. 1972 saw 'Walter Shakey Horton with Hot Cottage', Kim Humphreys at vocals, as well as 'An Offer You Can't Refuse' with Paul Butterfield. His 'King of the Harmonica Players' was issued as well. 1973 found him on 'Big Walter Horton with Carey Bell' followed by 'Do Nothing Til You Hear from Us' in 1976 with Floyd Jones. Come 'Fine Cuts' in '77. 1980 brought 'Little Boy Blue' and 'Looka Here'. He then contributed several tracks to the 1981 issue of 'Old Friends Together for the First Time' with Kansas City Red and Sunnyland Slim. Horton died relatively young in his early sixties of heart failure in Chicago on December 8, 1981. Among his compositions in alphabetical order were 'Can't Hold Out Much Longer', 'Christine', 'Everything's Gonna Be Alright', 'Hard Hearted Woman', 'I Got the Blues', 'I Need Your Love', 'Last Night' and 'South Indiana'. Disco of Horton with various credits: *.

      Composition: Little Buddy Doyle

      Composition: Walter Horton

   Evening Sun

      With Johnny Shines

      Composition: Johnny Shines

   St. Louis Blues

      Live performance

      Composition: WC Handy

   Walter's Slow Blues

      Live performance

      Composition: Walter Horton

   That Aint It/Down Yonder

       Live with Ronnie Earl

       'That Ain't It' written by James Lane

       'Down Yonder' written by Louis Wolfe Gilbert

Born Joseph Vernon Turner Jr. in Kansa City, Missouri, in 1911, vocalist Big Joe Turner (Boss of the Blues) [1. 2, 3, 4, 5], first recorded on December 23 of 1938 at Carnegie Hall with pianist, Pete Johnson, putting out 'It's All Right Baby' and 'Low Down Dog'. December 30 saw 'Going Away Blues' and 'Roll Em Pete' to be issued by Vocalion (4607). Turner had quit school at age fourteen to busk and sing in Kansas City nightclubs, becoming known as the Singing Barman (singing bartender). During that period he also partnered with boogie woogie pianist, Pete Johnson. Turner made his first appearances on the West Coast in 1941 in Los Angeles. His first session there is thought to have been on September 1 contributing vocals with Duke Ellington on piano to 'Rocks in My Bed' for the 'Salute to Labor' broadcast by KFI Radio. He layed his first golden egg on Billboard's Top Ten in R&B with 'SK Blues' in 1945, nesting it at #3. Since his nest was only big enough for one egg it had to hatch and fly off before the rest could follow, including two rock tunes that reached #1: 'Honey Hush' in '53 and 'Shake, Rattle and Roll' in '54. Music VF shows his last of sixteen Top Ten titles in 1956 with 'Corrina Corrina' at #2. Turner released his debut album in 1956: 'The Boss of the Blues'. Turner began performing internationally in 1965, recording in France and Yugoslavia with trumpeter, Buck Clayton, that year, Mexico City (with Bill Haley) and Berlin the next. He would also record with Count Basie in Europe, 'Flip, Flop & Fly' made in Paris and Frankfurt in April of 1972. His final albums were 'Kansas City Here I Come' recorded on February 14, 1984, and 'Patcha, Patcha, All Night Long', made on April 11 of 1985 with Jimmy Witherspoon. Turner was inducted into the Blues Hall of Fame in 1983, died of heart failure in California on November 24, 1985, then was included in the Rock and Roll Hall of Fame in 1987. Other than those listed below, Turner composed such as (alphabetically) 'Blues on Central Avenue', 'Low Down Dog', 'Nobody in Mind', 'Rebecca', 'SK Blues' and 'Well Oh Well'. Discogs has him writing every title on the Czech compilation, 'Rocks in My Bed', issued in 2000. Production and songwriting credits for Turner titles at 1, 2, 3. More Big Joe Turner.

   Going Away Blues

      Composition: Pete Johnson

Big Joe Turner   1941

   Rocks in My Bed

      Composition: Big Joe Turner

Big Joe Turner   1956

   How Long Blues

      Composition: See Wikipedia

      Filmed live in London w Humphrey Lyttelton

Not known just when or where pianist Champion Jack Dupree [1, 2, 3, 4, 5] was born, he was orphaned at age two and so named because he had been a Golden Gloves boxer. It was at the New Orleans Home for Colored Waifs that he taught himself piano. (Louis Armstrong had been a young resident there as well.) As a young adult Dupree supported his blues career as a cook and would favor that art the rest of his life. He first recorded in Chicago on May 9, 1940, backing vocalist, Lillian Green on 'Cherry Tree Blues', 'Just Rockin'', et al. Dupree would support Green to 1942 when World War II found his career interrupted by service in the Navy, during which he was a Japanese prisoner of war for a couple years. Back to recording in 1945, he would find a constant partner in Brownie McGhee to 1953. In 1955 Dupree alighted at #6 on Billboard's Top Ten R&B with 'Walking the Blues'. 1958 found him recording 'Blues from the Gutter'. Dupree moved to Europe for the remainder of his life in 1960, where he hopped from nation to nation, eventually to settle in Germany. He at first only sang 'Careless Love' (written by William Handy in 1926) for Papa Bue's 1962 rendition, but a later piano solo in 1991 (below) reveals his beautiful command of the keyboard. Highlighting the eighties were titles with clarinetist, Monty Sunshine, contributing to the latter's 'Freedom' in '80, '25 Jahre Old Merrytale Jazz Band' in '81 and 'Live' in '84. He began a partnership with pianist, Axel Zwingenberger, per the Mojo Blues Band in the latter eighties, he contributing vocals to 'Champs Housewarming' in 1988. Zwingenberger and Dupree recorded on several occasions in '88 and '90. Dupree died in Hanover, Germany, on January 21, 1992, at least 82 years of age. Songwriting credits are given in compilations at discogs 1, 2. Various credits also at 1, 2. Dupree in visual media.

   Angola Blues

      Composition: Jack  Dupree

   Black Woman Swing

      Composition: Jack  Dupree

   Cabbage Greens

      Composition: Lucille Dupree

   Junker's Blues

      Composition: Willie Hall

Champion Jack Dupree   1954

   Shim Sham Shimmy

      Composition: Bobby Robinson

      Composition: Jack Dupree/Teddy McRae

Champion Jack Dupree   1962

   Careless Love

      Vocal for Papa Bue

      Composition: Traditional   See Wikipedia

   Weed Head Woman

      Composition: Jack Dupree/Teddy McRae

Champion Jack Dupree   1971

   Everything's Gonna Be All Right

      Live performance   Saxophone: King Curtis

      Composition: Jack Dupree/King Curtis

   Junker's Blues

      Live performance   Saxophone: King Curtis

      Composition: Willie Hall

   Poor Boy Blues

      Live performance   Saxophone: King Curtis

      Composition: Jack Dupree/King Curtis

   Careless Love

      Piano solo

      Composition: Traditional   See Wikipedia

Born in Memphis, Tennessee, in 1915, Memphis Slim (John Chatman, Peter Chatman, LC Frazier) [*] first signaled the cosmos via recordings on August 6, 1940, upon moving to Chicago in 1939. Among those titles were 'The Jive Blues' and 'Blues at Midnight'. Among Slim's many esteemed compatriots was bassist/vocalist, Willie Dixon, who joined Slim in Chicago in time to record titles like 'Kilroy's Been Here' and 'Rockin' the House' in 1946. They would reunite in 1959-60 and 1962-63, their final sessions together are thought to been in Germany in October of 1963 to bear such as 'Jamboree Boogie', 'Wish Me Well' and 'In the Evening'. Slim dressed in high fashion with his House Rockers in 1948 with 'Messin' Around', that topping Billboard's R&B. Five more of his titles saw the Top Ten to as late as 'The Come Back' in 1953, that reaching #3. Slim recorded 'Every Day I Have the Blues' as 'Nobody Loves Me' in 1947. By popular association with the song he became erroneously credited with composing it, though there is an earlier release of it in 1935 by Henry Townsend and the Spark Brothers in Blues 3. Wikipedia has him altering most of the lyrics. Skipping numerous sessions in the decade to come, we arrive to Slim recording the live album, 'At the Gate of Horn', in Chicago on August 18, 1959. His first tour to Europe in 1960 resulted in 'Travelling With The Blues', recorded in Copenhagen, Denmark, on August 25 and 26. He next showed up in Europe in London to put down 'Alone with My Friends' on April 17, 1961. Europe quickly became a favorite venue for Slim. In '62 and '63 he would tour there with Dixon per the American Folk Festival concerts that Dixon organized to take the blues to Europe. Upon that tour Slim decided to leave the United States for Paris, France, permanently. One of the most highly regarded pianists in American music, Slim died of renal failure on February 24, 1988, in Paris [*]. His most recently recorded album, 'The Paris Sessions', was released posthumously in July of 1989. The much later CD issued in 2009, 'Fip, Fil and Fim', included titles from that. Discographies w various credits at 1, 2. Slim in visual media. Further references: 1, 2, 3, 4. Further reading: 1, 2.

   Beer Drinking Woman

      Composition: Memphis Slim

   Grinder Man Blues

Memphis Slim   1946

   Don't Ration My Love

Memphis Slim   1954

   She's Alright

       Composition: Memphis Slim

Memphis Slim   1958

Born in 1916 in Muscogee, Oklahoma, bandleader and pianist, Jay McShann [1, 2, 3, 4], left Oklahoma for the Kansas City music scene in 1936, forming his own orchestra that same year. He was with his band in Wichita, Kansas, when he was recorded live at the Trocadero Ballroom on August 9, 1940: 'Jumpin' at the Woodside' and 'Walkin' and Swingin'. Those aren't thought to have been issued until several decades later. More broadcasts followed in November and December from KFBI Radio to be issued by Onyx, 'I've Found a New Baby' and 'Body and Soul' from November. McShann won a contract with Decca in 1941, his first recordings for that label in Dallas, Texas, on April 30, 1941: 'Swingmatism', 'Hootie Blues' 'Dexter Blues', 'Vine Street Boogie', 'Confessin' the Blues' and 'Hold 'Em Hootie'. McShann's 'Get Me on Your Mind' sat at #7 on Billboard's R&B in 1943. McShann and/or his orchestra were giant magnets in support of other musicians. Significantly so was vocalist, Jimmy Witherspoon, with whom he began to work after World War II, having been drafted in 1944. McShann backed Witherspoon in 1945-48, later in '57 and '59. His first titles with Witherspoon had been in July of '45 with his Jazz Men: 'Confessiin the Blues' and 'Hard Working Man Blues'. His last in circa January of 1959 were such as 'Goin' Down Slow' and 'I'll Get By'. We back up to 1949 for McShann's second Top Ten R&B title, 'Hot Biscuits', that reaching #9. In 1955 McShann backed Kansas City rocker, Priscilla Bowman, on titles like 'Hands Off' and 'Hootie Blues'. The former topped Billboard's R&B at #1. Highlighting the sixties came saxophonist/vocalist, Eddie Cleanhead Vinson, for numerous recordings in Paris in 1969, later at the 1973 Newport Jazz Festival (at Lincoln Center in NYC) and, finally, the Montreux Jazz Festival in Switzerland in 1974 to bear Vinson's 'Jamming the Blues'. Highlighting the seventies were dual pianos with Ralph Sutton in December of 1979, those to be found on Vol 1 & 2 of 'The Last of the Whorehouse Players'. McShann and Sutton would put two pianos to use again in 1989 for a third issue of 'The Last of the Whorehouse Players'. Dual pianos would come into play again with Axel Zwingenberger at the Jazzland in Vienna, Austria, in March of 1990 for titles that would see issue on 'Swing the Boogie' and 'Blue Pianos'. McShann followed those with June sessions which titles would appear on 'Stride Piano Summit' in 1991. McShann also appeared on 'Eastwood After Hours' released in 1997, an album by various artists in honor of actor, Clint Eastwood, recorded at Carnegie Hall in 1996. McShann is thought to have made his last recordings in Toronto, Ontario, in February 2001 for an album that would be issued as 'Hootie Blues' in 2006 a couple months before his death on Dec 7 that year [1, 2], his career spanning more than six decades. Discogs proffers this list of titles by McShann with songwriting credits. See also 45Worlds and recordings w Charlie Parker. McShann in visual media. Further reading: 1, 2, 3, 4. More Jay McShann in Big Band Swing.

   Confessin' the Blues

       Composition: Jay McShann/Walter Brown

   Hootie Blues

       Composition: Charles Parker/Jay McShann

       Composition: Jay McShann

Jay McShann   1942

   Lonely Boy Blues

      Vocal: Walter Thomas

       Composition: Jay McShann

       Arrangement: Skippa Hall

Jay McShann   1945

  McShann's Boogie Blues

      Bass: Raymond Taylor

      Drums: Albert Wichard

      Composition: McShann

   Strange Woman Blues

       Composition: Jay McShann/Jimmy Witherspoon

Jay McShann   1949

       Composition: Jay McShann

Jay McShann   1983

   Once Upon a Time

       Composition: Charles Strouse/Lee Adams

Jay McShann   1990

   I'm Just a Lucky So and So

      Bass: Milt Hinton   Tenor sax: Plas Johnson

       Composition: Mack David/Duke Ellington

   Tain't Nobody's Bizness If I Do

       Composition:

       Porter Grainger/Grahm Prince

       Everett Robbins/Clarence Williams

Jay McShann   2006

   I'll Catch The Sun

      Recorded 2001

       Composition: Rod McKuen

   Can't You Read

   County Jail Blues

   Poor Kelly Blues

   So Long Baby

   Worried Life Blues

Big Maceo Merriweather   1945

   Kid Man Blues

  Things Have Changed

   Winter Time Blues

Big Maceo Merriweather   1946

   Chicago Breakdown

Born in Houston, Texas, in 1917, alto saxophonist and vocalist Eddie Cleanhead Vinson [1, 2, 3, 4, 5] learned his lesson about using hair straightening products when one containing lye left him nary a strand. Though his hair grew back he decided he liked the more elegant look which that accident had brought him, so kept his head shaved thereafter. Vinson joined the Milton Larkin Orchestra in the latter thirties, toured with Big Bill Broonzy shortly thereafter, then joined the Cootie Williams Orchestra, with which he first recorded 'When I Left My Baby' on April 1, 1942. Vinson stuck with Williams into 1945 when he formed his own orchestra to record his debut titles as a leader on an unidentified date in 1945. Be Bop Wino would indicate his first issue to have been 'I’ve Been So Good'/'It’s a Groovy Affair' (Mercury 2030). 'The Billboard' magazine has that released by December 1, 1945. 45Cat and 45Worlds have 'Juice Head Baby'/'Mr. Cleanhead Steps Out' (Mercury 2031) released as Mercury's next plate in December 1945. A session on December 11 yielded the issued titles, 'Cherry Red Blues/Somebody's Got to Go' (Mercury 8003) and 'Too Many Women Blues/Just a Dream' (Mercury 8009) [Michel Ruppli/Ed Novitsky]. Vinson placed two titles on Billboard's R&B Top Ten in 1947 per 'Kidney Stew' at #5 and 'Old Maid Boogie' at #1. 'Somebody Done Stole My Cherry Red' found the #6 spot in 1949. His first album as a leader was 'Clean Head's Back in Town' in 1957, followed by 'Back Door Blues' in 1962. His third of several more arrived in 1967: 'Cherry Red'. John Coltrane had been a member of Vinson's band in 1952-53. Vinson himself was a member of Count Basie's operation from the mid fifties into the seventies, that a nonstop outfit touring and recording prolifically in addition to Vinson's career otherwise. The sixties found him working variously with such as Johnny Otis ('Johnny Otis Show'), Cannonball Adderley and Jay McShann. 1987 saw his album with Etta James, 'The Night Show'. He had toured Europe several times, including the Montreux Jazz Festival in Switzerland. Among Vinson's numerous compositions were 'Mr. Cleanhead Steps Out', 'King For a Day Blues' and 'Home Boy'. He also wrote 'Tune Up' and 'Four' for Miles Davis. Other songwriting credits to Vinson's recordings at allmusic 1, 2. Vinson died of heart attack on July 2, 1988, in Los Angeles [*]. Production and songwriting credits at 1, 2.

   Somebody's Got to Go

      With the Cootie Williams Orchestra

       Composition: Bob Haggart

   When My Baby Left Me

      With the Cootie Williams Orchestra

       Composition: Vinson/Cootie Williams

   Kidney Stew Blues

       Composition: Vinson/Leona Blackman

   Wait a Minute Baby

       Composition: Vinson

Eddie Vinson   1961

   Bright Lights Big City

      With Cannonball Adderley

       Composition: Jimmy Reed

   Alimony Blues

       Composition: Vinson/Lou Zito

   Cherry Red

       Composition: Pete Johnson/Big Joe Turner

   I Wonder

       Composition: Gant

Cecil Gant   1946

   I'll Remember You

Cecil Gant   1948

   I'm a Good Man But a Poor Man

       Composition: Gant

Cecil Gant   1950

   Another Day, Another Dollar

   I Ain't Gonna Cry No More

       Composition: Gant

Born Mabel Louise Smith in 1924 in Jackson, Tennessee, rhythm and blues vocalist, Big Maybelle [1, 2, 3, 4, 5], sang gospel before picking up R&B a child. Wikipedia has her beginning her career at age twelve with Dave Clark's Memphis Band in 1936. She sang with the International Sweethearts of Rhythm from '36 to '44. In the early forties Maybelle became study to Christine Chapman at piano and vocals. She first recorded on April 6, 1944, with the Christine Chapman Orchestra for Decca Records: 'Bottin' the Boogie' and 'Hurry, Hurry'. She then hooked up with the Tiny Bradshaw Orchestra in Cincinnati in winter of '47 for such as 'Indian Giver' and 'Foolin' Blues' (King). Maybelle's first recordings with King Records didn't do well. But her first recording for Okeh Records on October 8 of 1952, 'Gabbin Blues', rose to No. 3 on the charts in January of '53, launching a highly successful career as she followed that later in the year with 'Way Back Home' at No. 10 in June and 'My Country Man' at No. 5 in November. She was given the name, Big Maybelle, by producer, Fred Mendelsohn, of Okeh Records. 'Candy Man' reached No. 11 in June of 1956. Maybelle appeared in the documentary, 'Jazz on a Summer's Day', in 1959 [IMDb/WorldCat], that filmed at the Newport Jazz Festival on July 5 the prior year. Sadly, Maybelle died young (not quite fifty years old) of diabetic coma, in 1972 in Cleveland. Her last recordings were released the next year on an album titled, 'Last of Big Maybelle'. See allmusic for songwriting credits to some of her titles. See also 45worlds and discogs. More Big Maybelle in Rock Development.

   Bad Dream Blues

       Composition: Leona Blackman

   Sad and Disappointed

       Composition: Leona Blackman

Big Maybelle   1952

   Gabbin' Blues

       Composition: Leroy Kirkland/Robert Lee McCoy

Big Maybelle   1954

   Maybelle's Blues

       Composition: Mabel Smith (Big Maybelle)

   The Blues

      Live at Newport Jazz Festival

      Issued '59 on 'Jazz on a Summer's Day'

Big Maybelle   1967

   Maybelle Sings the Blues

       Composition: Smith/Taylor/Briggs

Big Maybelle   1973

   The Masquerade Is Over

      Album: 'Last of Big Maybelle'

       Composition: Herbert Magidson/Allie Wrubel

Inheriting Mamie Smith's title of Queen of the Blues, jazz singer Dinah Washington [1, 2, 3, 4] released her first recording, 'Evil Gal Blues', in 1944 with Lionel Hampton. 'Choo Choo Baby' and 'Arkansas' were recorded on an uncertain date about the same time (December 29, 1943). Her first recording of 1944 was for an AFRS (Armed Forces Radio Service) broadcast of 'One Night Stand' (#152): 'A Slip of the Lip'. Born Ruth Lee Jones in 1924 in Alabama, Washington was very much the gospel singer as a child raised mostly in Chicago. She had begun singing in clubs at age fifteen. Her career was made when Hampton visited one of her shows at the Garrick, her first performance with him at the Chicago Regal Theatre. Washington kept with Hampton until venturing upon a solo career in 1946. Washington's brief career saw a remarkable 35 titles reach Billboard's Top Ten in R&B. The first to gain #1 was 'Am I Asking Too Much in 1948, followed by 'Baby Get Lost' in '49. 'This Bitter Earth' found #1 in 1960, as well as two songs with Brook Benton, 'Baby (You've Got What It Takes)' and 'Rockin' Good Way'. Among the most beloved jazz vocalists of the 20th century, Washington died of an accidental drug overdose (diet pills) on December 14, 1963, only 39 years of age. Lord's discography lists her final sessions on October 15 that year, the last three tracks of which were 'Lingering', 'Lord You Made Us Human' and 'They Said You'd Come Back Running'. A brief account of Washington's recordings with songwriting credits. See also 1, 2. Washington in visual media. More Washington in Modern Jazz Song.

   Evil Gal Blues

      With Lionel Hampton

   Salty Papa Blues

      With Lionel Hampton

       Composition: Leonard Feather/Sammy Price

   Long John Blues

       Composition: Tommy George/Washington

Dinah Washington   1953

   No Hard Feelings

       Composition: Kenny Jacobson/Rhoda Roberts

Dinah Washington   1955

   Birth Of The Blues

       Composition: 1926

       Music: Ray Henderson

       Lyrics: Buddy DeSylva/Lew Brown

Dinah Washington   1958

   Back Water Blues

       Composition: Bessie Smith   1927

Dinah Washington   1963

   How Long, How Long Blues

       Composition: Leroy Carr   1928

       From 'How Long Daddy' by Ida Cox   1925

   Nobody Knows the Way I Feel This Morning

       Composition: Pearl Delaney/Tom Delaney

Born in 1922, pianist Charles Brown [1, 2, 3, 4, 5] was classically trained and already had a degree in chemistry when he left Texas for Los Angeles in 1943 where he played the local blues clubs which led to his first recordings with Johnny Moore & the Three Blazers in late 1944: 'Nightfall and 'Maureen'. Brown recorded with the Blazers until 1948 when he decided to go solo with Aladdin Records to record such as 'Get Yourself Another Fool' 'Ooh! Ooh! Sugar'. Brown placed four titles on Billboard's Top Ten in R&B in 1949 alone, 'Trouble Blues' finding #1. Other titles for Aladdin included such as 'Again' and 'One Never Knows Does One' on January 17, 1950. Black Night' reached Billboard's #1 spot in 1951. Brown would join the Blazers again in 1952 for such as 'In the Day' and 'Strange Love'. Taking quite a leap ahead to the the sixties, Brown began that decade with tenor saxophonist, Clifford Scott, in the winter of 1960 for such as 'Shy-33' and 'Hang Out'. He recorded the album, 'Boss of the Blues', circa 1964. Highlighting the seventies was opportunity to participate in titles to T-Bone Walker's 'Very Rare' in 1973. Among the more highly underrated blues musicians, Lord's disco has latest recordings by Brown per vocals with Maria Muldaur in 1998 to be found on 'Meet Me Where They Play the Blues'. Brown died of heart failure on January 21, 1999, in Oakland, California [1, 2]. A brief compilation of Brown's recordings with compositional credits at discogs. See also 1, 2 for various credits. Further reading: 1, 2, 3. Several of the recordings below are pretty worn and there are few more at YouTube. All tracks below through 'Don't Get Salty, Sugar' are Brown with the Blazers. 'My Last Affair' per 1952 was also recorded in 1948.

   Blazer's Boogie

       Composition: Three Blazers

   Driftin' Blues

       Composition: Brown

Charles Brown   1946

   Groovy

       Composition:

       Brown/Eddie Williams/Johnny Moore

   You Are My First Love

Charles Brown   1947

   Gloria

       Composition: Leon René

Born in Gurdon, Arkansas, in 1920, vocalist Jimmy Witherspoon (aka Spoon) [1, 2, 3, 4, 5, 6, 7], was one of blues' shouters, able to sing with an orchestra unamplified. Performing largely jump blues, Witherspoon ran away from home sometime in the thirties to Los Angeles. He there worked as a dishwasher and such, eventually gigging with local bands until he joined the Merchant Marine in 1941. He was stationed in Calcutta, India, when he climbed aboard Teddy Weatherford's jazz outfit to sing on radio for the Armed Forces Network (AFN). Released from tour in '43, he fell in with jazz pianist and bandleader Jay McShann and His Jazz Men in San Francisco in 44. First recording with McShann in '45, he appeared on 'Confessin' the Blues' and 'Hard Working Man Blues'. McShann and Witherspoon would see a lot of each other one way or another to 1948, to reunite in the latter fifties a couple of times. Witherspoon placed four titles on Billboard's R&B Top Ten in 1949 alone: 'Ain't Nobody's Business' (#1), 'Big Fine Gal' (#4), 'In the Evening' (#5) and 'No Rollin' Blues' (#4). 'The Wind Is Blowin'' reached #7 in 1952. Witherspoon is thought to have issued his first album in 1956 in France with Wilbur De Paris at trombone, that a 10" titled 'Blues Blues Blues' (Atlantic 332007), released the next on LP: 'Wilbur De Paris Plays & Jimmy Witherspoon Sings New Orleans Blues'. 1957 also saw the LP, 'Goin' to Kansas City Blues', with McShann. Recording prolifically throughout his career, Wikipedia has Witherspoon issuing above sixty albums to the year of death. Among the many orchestras with which he worked was Buck Clayton's per his first tour to Europe in 1961, that resulting in 'Olympia Concert'. Upon a career of well above 150 sessions [Lord's Disco], Witherspoon is thought to have put down his last per a concert in Vancouver, B.C., circa 1996, that coming to 'Jimmy Witherspoon with the Duke Robillard Band'. Witherspoon died of throat cancer in 1997 in Los Angeles [*]. Among Witherspoon's numerous compositions were, alphabetically, 'Bags Under My Eyes', 'Big Fine Girl', 'Blue Monday', 'I Made a Lot of Mist', 'Money Is Getting Cheaper', 'Pillar to Post', 'Rain Is Such a Lonesome Sound' and 'Skid Row Blues'. Songwriting credits to Witherspoon's recordings at 45Cat, Allmusic 1, 2 and Discogs 1, 2. Witherspoon in visual media. Witherspoon also listed in A Birth of Rock and Roll.

   Shipyard Woman Blues

      With Jay McShann

   Backwater Blues

       Composition: Bessie Smith   1927

Jimmy Witherspoon   1949

   Ain't Nobody's Business

       Composition: Porter Grainger/Everett Robbins

Jimmy Witherspoon   1953

   Back Door Blues

       Composition: Jerry Leiber/Mike Stoller

Jimmy Witherspoon   1956

   Still In Love

       Composition: Doc Pomus

Jimmy Witherspoon   1959

   No Rollin' Blues

       Composition: Jimmy Witherspoon

Jimmy Witherspoon   1961

Jimmy Witherspoon   1964

   S.K. Blues

Born in Houston in 1927, pianist Amos Milburn [1, 2, 3, 4, 5, 6] was playing piano by age five. Much of his work is exemplary of jump blues (up-tempo blues). He enlisted in the Navy during World War II at age fifteen and earned thirteen battle stars in the Philippines before returning to Houston to form his first band. It was 1946 when Milburn released his first recordings gone down in Los Angeles: 'After Midnight'/'Amos's Blues' (Aladdin 159), 'Darling How Long'/'My Baby's Boogie' (Aladdin 160) and 'Don't Beg Me'/'Down the Road Apiece' (Aladdin 161). From 1948 to 1954 Milburn placed no less than 19 titles on Billboard's R&B Top Ten. Four of those reached #1: 'Bewildered' ('48), 'Chicken-Shack Boogie' ('48), 'Roomin' House Boogie' ('49) and 'Bad Bad Whiskey' ('50). Milburn died on January 3, 1980. Compositional credits to recordings by Milburn at 45Cat, 45Worlds, Allmusic 1, 2, 3, 4 and Discogs 1, 2. Milburn in visual media. More Amos Milburn in Boogie Woogie.

   Amos Blues

       Composition: Lola Anne Cullum/Amos Milburn

Amos Milburn   1947

   Blues at Sundown

       Composition: Lola Anne Cullum/Amos Milburn

   Empty Arms Blues

       Composition: John Erby

   Hard Driving Blues

       Composition: Frank Haywood/Micky Tucker

   Operation Blues

       Composition: Lady Riese

Amos Milburn   1948

   Bewildered

       Composition: Leonard Whitcup/Teddy Powell

Amos Milburn   1949

   In the Middle of the Night

       Composition: Jessie Mae Robinson

   It Took a Long, Long Time

       Composition: Jesse Cryor

Amos Milburn   1950

   Bad, Bad, Whiskey

      Television performance

       Composition: Maxwell Davis

   Hard Luck Blues

       Composition: Roy Brown

   Two Years of Torture

       Composition: Lola Anne Cullum/Amos Milburn

Amos Milburn   1952

   Thinkin' and Drinkin'/Trouble In Mind

Amos Milburn   1953

   Let Me Go Home, Whiskey

       Composition: Shifty Henry

   One Scotch, One Bourbon, One Beer

       Composition: Rudy Toombs

Amos Milburn   1963

   My Baby Gave Me Another Chance

       Composition: Amos Milburn/Clarence Paul

   Broke and Hungry

   Illinois Central

   Down Home Child

   Mary Lee

   When I Was Young

Sunnyland Slim   1953

   The Devil Is A Busy Man

   Worried About My Baby

Sunnyland Slim   1960

   The Devil Is A Busy Man

Sunnyland Slim   1964

   Brownskin Woman

      Guitar: Mike Bloomfield

   Come Home Baby

      Guitar: Hubert Sumlin

       Composition: McKinley Morganfield

   It's You Baby

   Sunnyland's Jump

      Guitar: Mike Bloomfield

   Bye, Bye Bye Baby, Goodbye

      With Muddy Waters

   Tin Pan Alley

       Composition: Curtis Jones

Sunnyland Slim   1969

   I Am the Blues

       Composition: Willie Dixon

Born in 1920 or 1925 in Linder, Louisiana, Roy Brown [1, 2, 3, 4] left home for Los Angeles in the forties where he held 18 matches as a professional boxer [see Marion 1, 2]. He did some gigs in L.A. before some restless traveling about as a vocalist, first back to Shreveport, Louisiana, then Houston, then Galveston where he sang 'Good Rockin' Tonight' on radio. Come his initial recording session in 1947 to issue Deep Sea Diver'/'Bye Baby Bye' (Gold Star 636). It's said Brown won his contract to record 'Good Rockin' Tonight' by singing it over the phone to DeLuxe Records president, Jules Braun. That was released with 'Lolly Pop Mama' flip side in 1947, reaching #13 on Billboard's R&B. But 'Long About Midnight' rose to #1 four months later in October. Fourteen of Brown's titles penetrated the Top Ten in the next nine years. 'Hard Luck Blues' became another #1 title in 1950. His last Top Ten was 'Let the Four Winds Blow' in 1957 at #5. Brown's titles were largely composed by himself, a few of the numerous in alphabetical being: 'Beautician Blues', 'Boogie at Midnight', 'Lolly Pop Mama', 'Long About Midnight', 'Love Don't Love Nobody', 'Mighty, Mighty Man', 'Miss Fanny Brown' and 'Train Time Blues'. Songwriting credits to other of his recordings at 45Worlds, 45Cat, Allmusic and Discogs. Brown died of heart attack in 1981 in California, only 55 years of age. More Roy Brown in Fifties American Rock.

   The Blues Got Me Again

       Composition: Roy Brown

Roy Brown   1950

   Hard Luck Blues

       Composition: Roy Brown

   Judgment Day Blues

       Composition: Roy Brown

Roy Brown   1951

   Bar Room Blues

       Composition: Roy Brown

   Wrong Woman Blues

   Two Years of Torture

       Composition: Percy Mayfield

Percy Mayfield   1950

   Please Send Me Someone to Love

       Composition: Percy Mayfield

Percy Mayfield   1951

   Life Is Suicide

       Composition: Percy Mayfield

Percy Mayfield   1964

   My Jug and I

       Composition: Percy Mayfield

Born Marion Walter Jacobs in 1930 in Marksville, Louisiana, harmonica player (also guitar), Little Walter (Marion Walter Jacobs) [1, 2, 3, 4, 5, 6, 7, 8, 9], was the first-known harp player to amplify harmonica, holding the instrument to the microphone. Walter quit school at age twelve to busk the streets of New Orleans. He headed for Chicago at age fifteen where he met Bernard Abrams who operated Ora Nelle Records in the rear room of a record shop. His first recordings, 'Ora-nelle Blues'/'Just Keep Loving Her', were released in 1947 per Ora Nelle 711. He was accompanied by Jimmy Rogers on the former, Othum Brown on the latter. He also recorded a couple unissued takes of 'Little Store Blues' with Rogers on an unidentified date in '47. The next year found Walter working with Muddy Waters. He backed Waters and Sunnyland Slim on 'Blue Baby'/'I Want My Baby' (Tempo-Tone 1002) on May 14 of '49 with Leroy Foster (guitar) and Elga Edmonds (drums). Wirz notes a discographical breakdown per 'Steelin' Boogie' on an unidentified date in 1950 with Gene Pierce at steel guitar, either Robert Jenkins or Walter at harmonica. Walter is otherwise found backing Leroy Foster in January that year with Rogers and Waters on 'Red Headed Woman'/'Boll Weevil' (Parkway 104). Parts 1 & 2 of 'Rollin' and Tumblin' went down with Rogers out. January also saw Foster(?) and Waters supporting the Little Walter Trio on 'Just Keep Lovin' Her'/'Moonshine Blues' (Parkway 502) and 'Muskadine Blues'/'Bad Actin' Woman' (Regal 3296). 'Muskadeen Blues' was possibly with Rogers. 1950 also saw Walter backing Rogers on several titles with Big Crawford at bass in August and October: 'That's All Right'/'Ludella' (Chess 1435) and 'Going Away Baby'/'Today, Today, Blues' (Chess 1442). Those three would support Johnny Shines as Shoe Shine Johnny in October as well: 'Joliet Blues'/'So Glad I Found You' (Chess 1443). July 11 of 1951 saw Walter backing Rogers ('Money, Marbles and Chalk'/'Chance To Love' Chess 1476) and Waters ('My Fault'/'Still a Fool' Chess 1480). December of '51 witnessed Walter supporting Floyd Jones' ('Dark Road'/'Big World' Chess 1498). Come May 12 for Walter's 'Juke'/'Can't Hold Out Much Longer' with his Night Cats consisting of Rogers and Elga Edmonds on drums. October of '52 saw 'Mean Old World/Sad Hours' and two takes of 'Blue Midnight' with a crew of Louis and Dave Myers on guitar and Fred Below at drums. March of '53 saw Walter's first titles with his Jukes: 'Don't Have to Hunt'/'Tonight with a Fool' and 'Off the Wall'/'Tell Me Mama'. Among Walter's most important sidemen in the Jukes were bassist/composer, Willie Dixon, and Fred Below at drums. Walter, Dixon and Below remained fast well into the sixties although Walter also employed Odie Payne, Francis Clay, George Hunter and Billy Stepney on drums. Guitarists who supported Walter along the way were Robert Lockwood Jr. ('My Babe' July '54 unissued and January '55 released), Luther Tucker, Jimmy Lee Robinson, Freddy Robinson and Buddy Guy. He also acquired the assistance of Otis Spann at piano and Billy Emerson at organ on recordings. Walter placed 14 titles on Billboard's Top Ten in R&B from 1952 to 1958 beginning with 'Juke' (Walter) at #1. 'My Babe' (Dixon) alighted at #1 in 1955. His last Top Ten was 'Key to the Highway' (Segar/Broonzy) in 1958 at #6. Walter toured Europe twice, first in 1964, then in 1967 with the American Blues Festival. Walter was simply royalty on a harmonica, with the caveat that alcohol made him unreliable on occasion, he also having a tendency for fisticuffs. Which is how he died in 1968, after a violent encounter while taking a break during a performance at a club in Chicago [Wikipedia]. Walter and Dixon's 'My Babe' has been covered by such as Bo Diddley ('62), the Ravers ('65), Elvis Presley ('69) and Chuck Berry ('75). In 2016 the Rolling Stones covered his compositions, 'Hate to See You Go' and 'I Got to Go'. They also put down Buddy Johnson's 'Just Your Fool' ('53) recorded by Walter in 1960. Songwriting credits to Walter's recordings at Discogs, 45Worlds, 45Cat and Allmusic 1, 2, 3, 4, 5. Walter in visual media.

   Ora-Nelle Blues

       Composition: Othum Brown

   Juke

    Blue Midnight

       Composition: Little Walter

   Last Night

       Composition: Little Walter

   My Babe

       Composition: Willie Dixon

   Boom, Boom Out Go the Lights

       Composition: Stan Lewis

Little Walter   1957

   Key to the Highway

       Composition: Charles Segar/Big Bill Broonzy

Little Walter   1967

   Little Walter's Jump

      American Folk Festival

      Guitar: Hound Dog Taylor

   Wild About You Baby

      American Folk Festival

       Guitar: Hound Dog Taylor

      Composition: Elmore James/Joe Josea

Born in 1919 or 1921 in Lambert, Mississippi, harmonica player Snooky Pryor [1, 2, 3], left the Delta region for Chicago about 1940. Wikpedia finds him giving bugle calls in the Army in the early forties before discharge in 1945 back to Chicago. American Music (AM) begins its account of Pryor recording as Snooky & Moody on 'Stockyard Blues'/'Keep What You Got' (Marvel 702) with Moody Jones and Floyd Jones. Floyd is out in 1948 for 'Telephone Blues'/'Boogie' (Planet 101/102). Pryor recorded as Snooky & Johnny that year as well with Johnny Williams and Man Young (Johnny Young): 'My Baby Walked Out On Me'/'Let Me Ride Your Mule' (Planet 103/104). It was Pryor in his Trio in 1949 for 'Boogy Fool'/'Raisin' Sand' (J.O.B. 101) with Leroy Foster (guitar) and Moody Jones (bass). AM has Pryor in Sunnyland Slim's Trio in 1950 with Foster for 'Back to Korea Blues'/'It's All Over Now' (Sunny 101). Come '52 Slim and Moody backed Pryor on 'I'm Getting Tired'/'Going Back On the Road' (J.O.B. 115). Slim, Moody and Floyd Jones would be Pryor's more important collaborators into the fifties, they backing each other variously (Moody's titles unissued). Pryor released his initial LP in 1970: 'Snooky Pryor', recorded in England. Discogs wants him leading or co-leading 15 more albums to his live 'Mojo Ramble' in 2003. Pryor was never to claim a lot commercial success before his death on October 18, 2006, in Cape Girardeau, Missouri [*]. Discos for Pryor w various credits at 1, 2.

   Boogie Twist

      Composition: Snooky Pryor

Snooky Pryor   1956

   Judgment Day

      Composition: Snooky Pryor

   Someone to Love Me

      Composition: Snooky Pryor

Snooky Pryor   1994

   Can I Get a Witness?

      Composition: Snooky Pryor

      Album: 'In This Mess Up to My Chest'

   She Tried To Ruin Me

      Album: 'In This Mess Up to My Chest'

      Composition: Snooky Pryor

Snooky Pryor   2003

   Dirty Rat

      Composition: John Mooney/James Edward Pryor

      Album: 'Mojo Ramble'

Ray Charles Robinson in 1930 in Albany, Georgia, it was 1949 that R&B pianist Ray Charles released his first songs, recording as a member of the Maxim Trio consisting of GD McKee (guitar) and Milton Garred (bass): 'I love You, I Love You' and 'Confession Blues' per Swingtime #171. Charles began losing his sight of glaucoma at age five and was completely blind by age seven. His father died when he was age 10, his mother when he was fifteen. He learned classical and played at school assemblies as a child. Upon his mother's death in 1946, friends of his mother took Charles with them to Jacksonville, Florida, where he began to play professionally at the Ritz Theater for four dollars a night. It was in Tampa that he made his first three unissued recordings in 1947: 'Guitar Blues', 'Walkin' and Talkin'' and 'I'm Wonderin' and Wonderin''. About that time Charles asked a friend what city was furthest away, which is why he went to Seattle the same year, there to form a friendship with boxer, Sugar Ray Robinson, who was a couple years younger. He then took the coastline south to Los Angeles where 'Confession Blues' was recorded, that to rise to the No. 2 spot on the charts. Charles was in like Flint from that point onward. By the time he switched from Atlantic Records to ABC ten years later in 1959 he was worth a $50,000 advance. From '49 to 1993 Charles placed no less than 45 titles on Billboard's Top Ten in R&B, Adult Contemporary and Dance. Fourteen alone rose to #1:

   I've Got a Woman   1955
   A Fool for You   1955
   Drown in My Tears   1956
   What'd I Say   1959
   Georgia on My Mind   1960
   One Mint Julip   1961
   Hit the Road Jack   1961
   Unchain My Heart   1961
   I Can't Stop Loving You   1962
   You Are My Sunshine   1962
   You Don't Know Me   1962
   Crying Time   1965
   Together Again   1966
   Let's Go Get Stoned   1966

Though his heydays were the fifties and sixties, Charles scored a #9 spot in AC as late as 1993 with 'A Song for You'. Of the 149 sessions which Lord's disco ascribes to Charles, the high majority of them were his own projects. Among his more important musical associates was saxophonist, Hank Crawford, who first backed Charles in July of 1958 at the Newport Jazz Festival for titles like 'Hot Rod' and 'The Blue Waltz'. Crawford would support Charles to 1964, Charles also arranging a few titles for Crawford during that time. 1965 saw them backing Percy Mayfield on such as 'Life Is Suicide'. They would reunite in Montreax, Switzerland, in 1978 for a concert with Dizzy Gillespie. Among others with whom Charles worked on projects were Billy Eckstine ('56) and trumpeter/producer, Quincy Jones ('59, '60, '65, '88, '89). Charles' use of heroin, begun as a teenager in Florida, seems to have had relatively little destructive consequence beyond his third arrest in 1965, after which he sought rehabilitation more to stay out of jail than due to need. (Heroin is a sleepy time substance which people averse to living somnolently may find a nice sleeping aid, but less than pleasantly addictive as a functional mode. Unlike cocaine, a "go" drug which is often a sign of having prospered, heroin is more oft a sign of things altogether hopelessly broken down for the leaving.) In 1979 the state of Georgia made Charles' version of 'Georgia On My Mind' its state song. In 1985 he performed at Reagan's second inauguration, then at Clinton's first in 1993. (President Clinton was himself a saxophone player.) Among Charles' favorite pursuits beyond music was chess. He played Grand Master, Larry Evans, in 2002, and lost. Lord's disco has Charles' last recordings in 2003 with Poncho Sanchez for the latter's 'Out of Sight!'. His final performance was in 2004 at the dedication of his music studio in Los Angeles, built in 1964, as an historic landmark. Charles died the same year on June 10 of liver disease. His final studio release was in August, his posthumous 'Genius Loves Company', garnering the Album of the Year Grammy Award in 2005. Compositional credits to some of Charles' recordings at australiancharts. A sessions discography for Charles at Praguefrank's. Discographies of issues at 1, 2, 3. Lyrics at AZ. References encyclopedic: 1, 2, 3. Musical: 1, 2, 3, 4, 5, 6, 7. Visual media: *. Tribute sites: 1, 2, 3. The Ray Charles Foundation: 1, 2. See also 'Ray Charles; The Birth of Soul' ('07/'09) by Mike Evans. See Rock & Roll 1 for more of the master, Ray Charles.

Ray Charles   1949

   Confession Blues

      Composition: Ray Charles

  Going Down Slow

      Composition: Jimmy Oden

   How Long Blues

      Composition: Leroy Carr   1928

      From 'How Long Daddy' by Ida Cox   1926

   You'll Always Miss the Water

      Composition: William York

Born Jay Riggins, Jr. in 1929 in Marshall, Texas (home of boogie woogie), pianist, Floyd Dixon (aka Mr. Magnificent) [1, 2, 3, 4, 5], picked up piano as a child, exposed to all variety of music. He got moved to Los Angeles with family when he was about 13. Dixon might have taken any of a variety of paths upon graduating from high school: golf, hotel management, football [*]. He also recorded 'Dallas Blues' (Hart Wand) around that time ('47) for Supreme Records. That wasn't issued, but the next year he hooked up with pianist and mentor, Charles Brown, resulting in his membership in the Brown Buddies run by Eddie Williams and his first issues with that group in 1949: 'Houston Jump'/'Broken Hearted' (Swing Time 261) and 'You Need Me Now'/'Worried' (Swing Time 287). Striking out on his own in 1949, among titles recorded that year was 'Dallas Blues' (Wand) again, that by accident, not knowing an audition at Modern Records was being taped. Modern liked what he'd already done, payed him for his time, then bought his membership in the musician's union [*]. This time the song got issued to the tune of #10 on Billboard's R&B. Dixon joined the Top Ten again in 1950 at #8 with his composition, 'Sad Journey Blues'. He was with Johnny Moore and his Three Blazers (replacing Charles Brown) for #4 in 1951 per 'Telephone Blues'. He followed that with 'Call Operator 210' in 1952 to alight at #4, that also written by him. Though Dixon was supposed to retire to Paris, Texas, in the early seventies he revived his career in 1975 with a tour to Europe resulting in 'Live in Sweden'. He continued to tour, recording sporadically for a period, until his death of kidney failure in 2006. Songwriting credits to Dixon's early 78s and 45s. See also Discogs. See also Dixon in Rock n Roll 4.

   Broken Hearted

      With Eddie Williams

      Composition: John Hogg/Mark Hurley

   Sad Journey Blues

      Composition: Floyd Dixon

Floyd Dixon   1951

   Telephone Blues (Long Distance)

      Composition: Floyd Dixon

Floyd Dixon   1952

   Call Operator 210

      Composition: Floyd Dixon

Born in 1935 in Galveston, Texas, Little Esther Phillips [1, 2, 3, 4, 5, 6, 7] was a bluesy R&B vocalist whose repertoire included jazz, country and soul music. She was discovered by Johnny Otis, with whom she made her first recordings in 1949. (Otis is the pianist on tracks below.) Born Esther Washington, She was 13 and living with her divorced mother in Watts (Los Angeles) when she won a singing contest to the attention of Otis. When she needed a last name to add to Little Esther she noted the name of a gas station. According to vocalgroupsharmony her initial record release was in October of 1949: 'I Gotta Gal' (Modern 20-715) with 'Thursday Night Blues', an instrumental, on Side A. That later got reissued in early 1950 as 'I Gotta Guy' (same Modern 20-715). (Cecil Gant had issued 'I Gotta Gal' in '47 per Gilt Edge 514.) On December 1 of 1949 Phillips recorded 'Double Crossing Blues' (Savoy 731) for issue in January. Three of her titles reached Billboard's Top Ten that year: 'Deceivin' Blues' (#4), 'Misery' (#9) and 'Mistrustin' Blues' (#1). In 1950 Philips left Otis for a solo career but didn't do so well. 'Ring-a-Ding-Doo' charted at '#8 in 1952, but none of the other of above thirty Federal sides received much attention. It was during that period that heroin entered her life, a monkey that would haze her off and on through the years. She spent the fifties working clubs in Houston where her father lived, then soared to Billboard's #1 spot in 1962 with 'Release Me', her first LP by the same title issued in '63. That became Billboard's #1 album in R&B in October. Her second LP, 'And I Love Him!', followed in '65. She maintained presence in the sixties, though her star considerably dimmed behind Dinah Washington's brighter luminance, her main rival in those years. 1970 saw her reunite with Johnny Otis to the result of the double live LP, 'The Johnny Otis Show Live at Monterey'. 1975 saw 'What a Diff'rence a Day Makes' reach #2 on Billboard's Dance chart (#10 in R&B). The next year 'Magic's in the Air'/'Boy, I Really Tied One On' reached #5 in Dance. Phillips died in Carson, California, at the relatively young age of 49 on August 7 of 1984 upon kidney and liver failures due to drug use. She had created her last album, 'A Way to Say Goodbye', in 1983, released posthumously in 1986. See australiancharts for composers to some of her recordings. Various credits also at 1, 2. Phillips in visual media. More of bandleader, Johnny Otis, in Rock Development.

   Double Crossing Blues

      With the Johnny Otis Orchestra

      Composition: Johnny Otis

   Deceivin' Blues

      With the Johnny Otis Orchestra

      Composition: Johnny Otis

      Issued as 'I Gotta Gal' in October 1949

   Lost Dream Blues

      With the Johnny Otis Orchestra

      Composition: Johnny Otis

   Mistrustin' Blues

      With the Johnny Otis Orchestra

      Composition: Johnny Otis

   Wedding Boogie

      With the Johnny Otis Orchestra

      Composition: Johnny Otis

   The Storm

   Summertime

      Music: George Gershwin

      Lyrics: DuBose Heyward

Esther Phillips   1953

      Composition: Jerry Leiber/Mike Stoller

Esther Phillips   1965

   And I Love Him

      Live performance

      Composition: John Lennon/Paul McCartney

   Release Me

      Composition:

      Robert Yount/Dub Williams/Eddie Miller

   A Taste of Honey

      Composition: Bobby Scott/Ric Marlow

   When a Woman Loves a Man

      Composition: Calvin Lewis/Andrew Wright

Esther Phillips   1971

   A Beautiful Friendship

      Music: Donald Kahn

      Album: 'From a Whisper To a Scream'

   One Night Affair

      Composition: Leon Huff/Kenny Gamble

Esther Phillips   1972

   Home Is Where the Hatred Is

      Composition: Gil Scott-Heron

Esther Phillips   1975

   What a Difference a Day Makes

      Television performance

      Composition: Stanley Adams/Maria Grever

   A Beautiful Friendship

      Album: 'Capricorn Princess'

Esther Phillips   1983

   A Way to Say Goodbye

      Composition: David Matthews

   We Are Through

   Bald Head

      As Roy Byrd and His Blues Jumpers

      Composition: Longhair (Henry Roland Byrd)

   Mardi Gras in New Orleans

      Composition: Longhair

Professor Longhair   1957

   No Buts No Maybes

      Composition: Longhair

Professor Longhair   1964

   Big Chief

      Earl King

      Composition: Earl King/Wardell Quezergue

   There Is Something On Your Mind

      Composition: Big Jay McNeely

Professor Longhair   1975

   Philadelphia Folk Festival

      Issue unknown

   Tell Me Pretty Baby

      Composition: Big Joe Turner

      Album: 'Live On the Queen Mary'

   Big Town Playboy

      With Muddy Waters

      Composition: Johnny Jones/Eddie Taylor

   Shelby County Blues

      With Muddy Waters

      Composition: Johnny Jones

   Where's My Woman Been

      With Muddy Waters

      Composition: Muddy Waters

   Dirty By the Dozen

      Composition: Traditional

   I May Be Wrong

      Composition: Johnny Jones

Little Johnny Jones   1954

   Chicago Blues

   Hoy Hoy

      Composition: Johnny Jones/Mona Conrad

   She's Alright

   Wait Baby

Little Johnny Jones   1963

   Early In the Morning

      Composition: Sonny Boy Williamson I

Little Johnny Jones   1973

   More Dub

      Composition: Joe Gibson (Joe Gibbs)

Little Johnny Jones   1979

   Worried Life Blues

      Composition: Big Maceo Merriweather

Born Robert Calvin Brooks in Rosemark, Tennessee, in 1930, soul singer Bobby Bland [1, 2, 3, 4, 5, 6] released his first single ('Booted' with 'I Love You Til the Day I Die' flip side) in 1951. He produced several more singles in 1952, one among them below. Abandoned by his father shortly after birth, Bland never went to school and was illiterate his entire life. Following his mother to Memphis in 1947, he started hanging on famous Beale Street, there to make his circle what would come to be referred to as the Beale Streeters: Johnny Ace, BB King, Rosco Gordon, Earl Forrest and Junior Parker. Bland's initial recordings were with that outfit, 'Booted'/'Love You Til the Day I Die' (Chess 1487), issued in '51 [*]. Circa August of '52 Bland held his debut sessions with Duke Records toward 'Lovin' Blues'/'I.O.U. Blues' in '52 (Duke 105) and 'Army Blues'/'No Blow, No Show' in '53 (Duke 115). Duke was then absconded into the military for a couple of years. Wikipedia has Bland not knowing how to read getting him shorted by Duke Records upon his return in 1954, which contract stipulated half a cent per record sold rather than the industry standard of two cents. How long that nonsense went on isn't known, but Bland released an extensive list of several top titles while at Duke into the early seventies. It took a few years for Bland to come around, but when he did he did it huge for decades to come. His first title to reach #1 on Billboard's R&B chart was 'Farther Up the Road' in August of '57. 'I Pity the Fool' rose to #1 on February of '61, 'That's the Way Love Is' in January of '63. No less than 27 titles charmed the Top Ten in R&B to as late as 'I Wouldn't Treat a Dog (The Way You Treated Me)' in November of '74. Bland pumped out Top Forty songs until 'Recess in Heaven' in August of '82 at #40. Despite Bland's success Wikipedia has him ceasing to tour in 1968 due to financial pressures. He recorded for Dunhill, distributed by ABC, in 1972-73. When ABC bought Duke Records in '73 Bland signed on toward the sale of a few successful albums followed by his first for MCA in 1979: 'I Feel Good, I Feel Fine'. Bland hung with MCA until upping with the Malaco label in 1985 for 'Members Only', remaining with Malaco ever since. Wikipedia has him leading 30 albums, three of them live, to 'Blues at Midnight' in 2003. Bland died at his home on June 23, 2013, in Germantown (Memphis suburb), Tennessee [1, 2, 3]. Discos w various credits at 1, 2. Bland in visual media. Further reading: 1, 2. More Bobby Bland in Rock & Roll 9.

   Crying

   Dry Up Baby

      Composition: Bland

   Good Lovin'/Drifting from Town to Town

      Compositions: Bland/Jules Taub

Bobby Bland   1963

   Farther On Up the Road

      Composition: See Wikipedia

Bobby Bland   1967

   Shoes

      Composition: Deadric Malone (Don Robey)

Bobby Bland   2006

   Ain't No Sunshine

      Composition: Bill Withers   1971

      Compositions: Willie Love

   Eyesight to the Blind/Crazy About You Baby

      With Sonny Boy Williamson II

      Compositions: Sonny Boy Williamson II

Born Alex Miller in 1912 in Tallahatchie County, Mississippi, mouth harp player, Sonny Boy Williamson II (also known as Rice Miller) [1, 2, 3, 4, 5, 6, 7, 8] was yet another Delta blues musician, 'Eyesight to the Blind' among his first recordings in 1951. Williamson began his career as an itinerate bluesman, traveling Arkansas and Mississippi, picking up the name, Rice Miller, due to his taste for rice with milk. He was also called Little Boy Blue. In 1941 Williamson and Robert Lockwood were the first to appear on King Biscuit Time, the longest running daily radio program, broadcast by KFFA out of Helena, Arkansas. (The longest running radio show, period, is the Grand Ole Opry, which began broadcasting as the Barn Dance in 1925, before getting changed to the Grand Ole Opry in 1927.) It was then that he began to be called Sonny Boy Williamson II, to capitalize on the fame of Sonny Boy Williamson I, who was still alive and with whom there was no familial relation. From that time until the death of Williamson I in 1948 there were, for several years, two Sonny Boy Williamsons playing blues harmonica [1, 2]. From 1948 to 1950 Williamson ran his own radio show on KWEM out of West Memphis, Arkansas. ODP (Online Discographical Project) would indicate that he recorded his compositions, 'Eyesight to the Blind' and 'Crazy About You Baby', on January 4, 1951, in Jackson, Mississippi, those issued in Feb that year on Trumpet 129 [disco]. Come Canton, Mississippi, later that year where he performed on radio with Elmore James. In August of 1951 he joined Leonard Ware (bass) and Frock O’Dell (drums) on James' 'Dust My Broom' (Trumpet), that to rise to Billboard's #9 spot in R&B [see Library of Congress]. Williamson's own composition, 'Don't Start Me Talkin'', arrived to Billboard's #3 tier in 1955. He issued his first LP, 'Down and Out Blues', in 1959. Come 'A Portrait in Blues' and 'The Blues of Sonny Boy Williamson' in 1963. Williamson toured Europe several times. One of those ventures found him at the Crawdaddy Club in Surrey, UK, on December 8 of 1963 to record 'Sonny Boy Williamson and the Yardbirds', issued in '65. That had been preceded by the release of 'Sonny Boy Williamson and Memphis Slim' in 1964. Others with whom he recorded in Europe were the Animals (UK), Roland Kirk (Copenhagen '63) and Hubert Sumlin (UK '64). Williamson composed numerously, also in collaboration with Willie Dixon, performing other of Dixon's compositions as well. Songwriting credits at 45worlds, 45cat, discogs, allmusic and australiancharts. Williamson's was an untimely death on May 24, 1965, of heart attack in his sleep [*]. He was elected into the Blues Hall of Fame in 1980, the Rock and Roll Hall of Fame in 1992 and the Memphis Music Hall of Fame in 2012.

   Eyesight to the Blind

      Composition: Williamson

Sonny Boy Williamson II   1953

   Clownin' with the World

      Composition: Williamson

   Shuckin' Mama

      Composition: Williamson

Sonny Boy Williamson II   1954

   Goin’ In Your Direction

      Composition: Williamson

Sonny Boy Williamson II   1963

   Bring It On Home

      Composition: Willie Dixon

  Help Me

      Composition: Williamson

Screamin' Jay Hawkins   1954

   Baptize Me In Wine

      Composition: Jay Hawkins

Screamin' Jay Hawkins   1956

   I Put a Spell On You

      Composition: Jay Hawkins

Screamin' Jay Hawkins   1957

   Frenzy

      Composition: Augustus Stevenson/David Hess

Screamin' Jay Hawkins   1958

   Alligator Wine

      Composition: Leiber & Stoller

   Deep Purple

      Composition: Peter DeRose

   You Made Me Love You

      Composition: James Monaco/Joseph McCarthy

Screamin' Jay Hawkins   1964

   Strange

      Composition: Walter Hawkins

Screamin' Jay Hawkins   1970

   Constipation Blues

      Composition: Jay Hawkins

Screamin' Jay Hawkins   1973

   Monkberry Moon Delight

      Composition: Paul & Linda McCartney

Screamin' Jay Hawkins   1991

   Heart Attack and Vine

Screamin' Jay Hawkins   1994

   Constipation Blues

      Live performance

      Composition: Jay Hawkins

Screamin' Jay Hawkins   1995

   I Am the Cool

      Composition: Robert Duffey

   Whistling Past The Graveyard

Junior Parker   1952

   Bad Women, Bad Whiskey

      Composition: Lil Son Jackson   1948

Junior Parker   1953

   Feel So Bad/Sittin' At The Bar

   Mystery Train

      Composition: Junior Parker

Junior Parker   1954

   Sittin' Drinkin' and Thinkin'

      Composition: Junior Parker

Junior Parker   1957

   My Dolly Bee

      Composition: Oscar Wills

   Next Time You See Me

      Composition: Bill Harvey/Earl Forest

   That's Alright

      Composition: Junior Parker

Junior Parker   1958

   Sweet Home Chicago

      Composition: Robert Johnson

Junior Parker   1959

   Dangerous Woman

      Composition: Deadric Malone

Junior Parker   1961

   Annie Get Your Yo-Yo

      Composition: Deadric Malone/Joe Scott

   Driving Wheel

      Composition: Roosevelt Sykes

Junior Parker   1964

   Jivin' Woman

      Composition: Deadric Malone/Junior Parker

   Strange Things Happening

      Composition: Percy Mayfield

Junior Parker   1965

   These Kind of Blues

      Composition: Deadric Malone/Junior Parker

Junior Parker   1970

   Lady Madonna

      Composition: John Lennon/Paul McCartney

Junior Parker   1971

   Don't Throw Your Love On Me So Strong

      Composition: Albert King

   I Need Love So Bad

      Composition: Percy Mayfield

   Love Ain't Nothin' But a Business Goin' On

      Composition: Bobby Adams

   River's Invitation

      Composition: Percy Mayfield

Born in the (West) Memphis area in 1934 as Amos Wells Blakemore Jr., mouth harp player, Junior Wells [1, 2, 3, 4, 5], was taken by his mother to Chicago about 1947, there to begin his career at parties and bars. Bill Dahl at allmusic has Wells early forming the Deuces with Dave and Louis Myers on guitars, renamed the Aces upon the addition of Fred Below on drums. It was during that period that Leonard Chess had assumed ownership of young Aristocrat Records in Chicago, then formed Chess with his brother, Phil, in 1950, Aristocrat to issue its last titles in 1951. Wells began his recording career the next year in a session for Chess with Muddy Waters, replacing Little Walter. (Pianist, Otis Spann, would join Waters' band for his initial recordings the same year.) Waters' 'Standing Around Crying'/'Gone to Main St.' saw issue per Chess 1526 in November 1952. 'Who's Gonna Be Your Sweet Man' saw release later in March of '53. 'Iodine in My Coffee' eventually got issued in 1984 per Chess 9180. Wells' first name session date was June 8 of '53, backed variously by his comrades from the Aces (above) along with Johnnie Jones (piano), Elmore James (guitar), Willie Dixon (bass) and Odie Payne (drums). Those included 'Cut That Out'/'Eagle Rock' issued that year per States 122. Campbell et al have what's famously shortened to 'Hoodoo Man' w guitar by Elmore James issued erroneously titled as 'Hodo Man' per States 134, later corrected to 'Somebody Hoodooed the Hoodoo Man' (same 134), both issued in '54 with 'Junior's Wail'. Muddy Waters contributed to 'So All Alone' and 'Lawdy! Lawdy!' issued in 1955. Wells saw small exposure on Billboard's charts, not reflecting his otherwise heavyweight prestige in Chicago blues. In 1960 he issued 'Galloping Horses a Lazy Mule'/'Blues in D Natural' (Chief 7016) w Earl Hooker and 'Messing with the Kid'/'Universal Rock' (Chief 7021) w John Lee Hooker. Another of Well's more famous versions of 'Hoodoo Man' was per his debut LP, ''Hoodoo Man Blues', with guitarist, Buddy Guy, recorded and issued in '65 [see Delmark, LOC, Wikipedia]. That brought about one of the more enduring and popular partnerships in blues, they to record numerous albums together [@ 15 per Wikipedia] to what is thought their last collaboration in March of 1993 at Guy's own nightclub in Chicago for 'Last Time Around - Live at Legends'. Allmusic has his final sessions in April and May of 1996 for 'Come on in This House' ('97). Wells died on January 15, 1998, in Chicago. Songwriting credits for early recordings by Wells on 78 and 45. See also Discogs. Wells in visual media. The bottom three edits below are live performances.

   Gone to Main Street

      Composition: Muddy Waters

   Messin' With the Kid

      Composition: Mell London

   You Don't Care

      Composition: Willie Cobbs

Junior Wells   1961

   It Hurts Me Too

      Composition: Hudson Whittaker (Tampa Red)

Junior Wells   1966

   Vietcong Blues

   The Hoodoo Man

      Composition: Junior Wells

   Look On Yonder's Wall

Junior Wells   1974

   Got My Mojo Working

      Live with Muddy Waters

      Composition: Preston Red Foster

Junior Wells   1987

   Trouble No More

   Baker Shop Boogie

      Vocal: Willie Nix   Discogs credits vocals as Joe Hill Louis

      Composition: Willie Nix

   Cotton Crop Blues/Hold Me In Your Arms

      Compositions: James Cotton

   My Baby/Straighten Up Baby

      Compositions: James Cotton

James Cotton   1966

   Got My Mojo Working

      With Muddy Waters

      Composition: Preston Red Foster

James Cotton   1968

   Fallin' Rain

      Composition: Luther Tucker

James Cotton   1995

   Dealing With The Devil

       Composition: Sonny Boy Williamson II

King Curtis   1953

   Tenor In the Sky

King Curtis   1959

   Heavenly Blues

       Composition: Jerry Leiber/Mike Stoller

King Curtis   1960

   Jeep's Blues

       Composition: Duke Ellington/Johnny Hodges

King Curtis   1961

   Nobody Knows You When You're Down and Out

       Composition: Jimmy Cox   1923

King Curtis   1964

   Harlem Nocturne

       Composition: Earle Hagen

   Melancholy Serenade

       Composition: King Curtis

King Curtis   1968

   Sweet Inspiration

       Composition: Lindon Dewey Oldham/Wallace Pennington

King Curtis   1971

   Junker's Blues

        Live   Piano: Champion Jack Dupree

      Composition: Willie Hall

   Poor Boy Blues

   A Whiter Shade of Pale

      Gary Brooker/Keith Reid/Matthew Fisher

        Album: 'Live at Fillmore West'

Born in 1924 in Jackson, Mississippi, pianist, Otis Spann, began performing locally as a teenager. It was 1946 when pianist, Big Maceo Merriweather, became host to Spann's arrival in Chicago. Per Wikipedia and Bill Dahl at allmusic, he gigged in the ensuing period at the Tic Tac Lounge with guitarist, Morris Pejoe. He replaced Merriweather (having suffered a stroke) in Muddy Waters' band in 1952. His first recording session was September 24 the next year with Waters to yield 'Blow Wind, Blow'/'Mad Love' (Chess 1550). (Junior Wells had begun his recording career with Waters only briefly before.) His first name session arrived on October 25 of '54 for his compositions, 'Five Spot' and 'It Must Have Been the Devil' (Checker 807). Backing him on guitar were BB King and Jody Williams. Spann's early claim to fame was as a session pianist, backing such as Chuck Berry, Big Walter Horton and Robert Lockwood. He issued his debut LP, 'Otis Spann Is the Blues', in 1960, the same year he performed at the Newport Jazz Festival, he now beginning to make a name for himself. Other festivals following in the sixties, including Europe. His first of numerous titles with future wife ('69), Lucille Spann [*], appears to have gone down as early as some time in 1966 in New York City for 'Wonder Why', that released in 1968 on Volume 2 of 'Spivey Presents the Bluesmen of the Muddy Waters Chicago Blues Band' (Spivey LP 1010) [*]. Discogs has Spann leading or co-leading about 16 more albums to his death n 1970, most in the latter sixties, yet more released posthumously. Notable in '69 were Volumes 1 & 2 of 'Blues Jam at Chess' with Fleetwood Mac, Willie Dixon, Shakey Horton (Big Walter), JT Brown, Guitar Buddy (Buddy Guy), David Honeyboy Edwards and SP Leary. Among others with whom Spann can be heard on recordings were Howlin' Wolf, Little Walter, Bo iddley, Eric Clapton, James Cotton, Lightnin' Hopkins and Jimmy Oden. Spann passed away of liver cancer in Chicago on April 24, 1970, only 46 years old [*]. Among Spann's later compositions were 'The Bible Don't Lie', 'Los Angeles Midnite Groove', 'T-99', 'Love', 'Hungry Country Girl', 'Walkin'', 'Bloody Murder', and 'Blues for Hippies'. See songwriting credits to some of Spann's recordings at australiansharts, 45cat and discogs 1, 2. Spann in visual media. References encyclopedic: 1, 2. Musical: 1, 2, 3, 4.

   Five Spot

      Composition: Otis Spann

   It Must Have Been the Devil

      Composition: Otis Spann

Otis Spann   1963

   Good Morning Mr. Blues

      Composition: Wynonie Harris/Otis Spann

   Sad Day In Texas

      Composition: Otis Spann

Otis Spann   1964

   Keep Your Hand Out Of My Pocket

      Composition: Otis Spann

Otis Spann   1966

   Blues Don't Like Nobody

      Live performance

      Composition: Otis Spann

   Blues Jam

      Live with Muddy Waters

   Divin' Duck

      Composition: Otis Spann

   Nobody Knows My Troubles

      Live with Muddy Waters

   Got My Mojo Mojo Working

      Composition: Preston Red Foster

   Spann's Stomp

      Composition: Otis Spann

Born Willie Mae Thornton in 1926 in Arlton, Alabama, Big Mama Thornton began her career at age fourteen, upon her mother's death, by joining the Hot Harlem Revue, with which she traveled the South for seven years. In 1948 she settled in Houston, where she signed on to Peacock Records in 1951. Marion has her first shellac in 1950 per 'All Right Baby'/'Bad Luck Got My Ma' (E&W 100) with the Harlem Stars [see also wangdangdula]. Three plates as Willie Mae Thornton ensued for Peacock Records in '51 and '52 with the orchestras of Joe Scott and Bill Harvey before her first issue as Big Mama (300 plus pounds at the time) in 1953: 'Hound Dog'/'Night Mare' (Leiber/Stoller Peacock 1612). Peacock's investment payed off with 'Hound Dog' reaching Billboard's #1 tier that year in R&B. (Elvis Presley repeated that in 1956.) Gerri Hirshey ['We Gotta Get Out of This Place'] has Thornton being payed one check for $500, though that recording would eventually sell more than two million copies. With 'Hound Dog' her only title to chart at all during those years, she relocated from Houston to San Francisco in the early sixties, there to play clubs until 1965 when Thornton toured Europe with the American Folk Blues Festival, during which she recorded her first album, 'Big Mama Thornton - In Europe'. Backing her on that were Buddy Guy (guitar), Fred Below (drums), Eddie Boyd (keyboards), Jimmy Lee Robinson (bass), Walter Shakey Horton (harmonica) and Fred McDowell (slide). Thornton's composition, 'Ball & Chain', brought greater fame to Janis Joplin in '68 than her own renditions would. Thornton had first recorded the song in 1961 for Bay-Tone, gone unissued though Bay-Tone retained copyright as part of the deal. Joplin heard Thornton perform the song at a club in San Francisco in 1967, performed it herself at the Monterey Jazz Festival that year, then at Fillmore West to release it on 'Cheap Thrills' in '68. Some sources have Bay-Tone, retaining copyright, receiving royalties rather than Thornton upon that LP reaching Billboard's #1 spot on the LP chart (despite Thornton credited on the album). Thornton would tour with the American Folk Blues Festival again in 1972, the Newport Jazz Festival in '73 and again in 1980. Despite a highly active career and several albums engaging a faithful audience, Thornton never regained the national exposure that 'Hound Dog' had brought in 1960 or that 'Ball & Chain' had transferred to Joplin in '67. Marion wants her final album recorded in England by Ace in 1982: 'Quit Snoopin' Round My Door' ('86). Her last performance was on April 14 of '84 in Los Angeles, she become a frail 120 pounds by then. She died three months later financially gaunt as well, of heart attack on July 25, 1984, in Los Angeles. Others instrumental to her career had been Johnny Otis, Johnny Ace and Muddy Waters. Songwriting credits for recordings in the fifties at Discogs 1, 2. Credits also at 45Worlds. References encyclopedic: 1, 2, 3, 4, 5. Musical: 1, 2, 3, 4. Thornton in visual media. More of Thornton, including, 'Hound Dog', in Fifties Rock.

   Down Home Shakedown

      Television performance

      Composition: Thornton

   Little Red Rooster

      Composition: Willie Dixon/Thornton

   Your Love Is Where It Ought to Be

      Guitar: Buddy Guy

      Composition: Thornton

   Feeling Alright

      Composition: Thornton

   Life Goes On

      With Muddy Waters

      Composition: EH Morris/Paul Williams

   Summertime

      Composition: George Gershwin

Big Mama Thornton   1968

   Ball and Chain

      With Muddy Waters

      Composition: Thornton

   Watermelon Man

      Composition: Herbie Hancock

Big Mama Thornton   1971

   Rock Me

      Composition: Joe Josea/BB King

Big Mama Thornton   1975

   Jail

      Composition: Thornton

      Final performance

      Composition: Thornton

Aretha Franklin was a a blues pianist before becoming the Queen of Soul. She released her first recordings in 1956 for JVB Records. Per below, a touch of blues and gospel, intimate siblings, from back then and later. Fuller profile of Franklin at R&B.

   Yield Not To Temptation

    Love Is the Only Thing Blues

      Composition: John Leslie McFarland

   Today I Sing The Blues

      Composition: Curtis Lewis

Aretha Franklin   1961

   All Night Long

      Composition: Curtis Lewis

   Sweet Lover

      Composition: John McFarland/Sidney Wyche

Aretha Franklin   1964

   Evil Gal Blues

      Composition: Leonard Feather/Lionel Hampton

Aretha Franklin   1995

   It Hurts Like Hell

      Composition: Kenneth Edmonds (Babyface)

Aretha Franklin   2005

   Amazing Grace

      Composition: See Wikipedia

   I'm a King Bee

      Composition: Slim Harpo (James Moore)

   I've Got Love If You Want It

      Composition: Slim Harpo

   Strange Love/Wondering and Worryin'

      Compositions: Slim Harpo/Jerry West

Slim Harpo   1959

   One More Day

      Compositions: Slim Harpo/Jerry West

   You'll Be Sorry Some Day

      Compositions: Slim Harpo/Jerry West

Slim Harpo   1961

   Moody Blues

      Composition: Slim Harpo/Jerry West

Slim Harpo   1966

   Baby Scratch My Back

      Composition: Slim Harpo

   Shake Your Hips

   Hoo Doo Blues

      Composition: Lightnin' Slim/Jay D Miller (Jerry West)

   I'm Gonna Leave You Baby

      Composition: Lightnin' Slim/Jay D Miller (Jerry West)

   Go Ahead

      Composition: Lightnin' Slim/Jay D Miller (Jerry West)

   I Told My Little Woman

      Composition: Lazy Lester/Jay D Miller (Jerry West)

   Tell Me Pretty Baby

      Composition:

      Lloyd Price/Big Joe Turner/Jerry West

Lazy Lester   1958

   I'm a Lover Not a Fighter/Sugar Coated Love

      Compositions: Jay D Miller (Jerry West)

Lazy Lester   1959

      Composition: Dave Bartholomew

   I Love You, I Need You

      Composition: Jay D Miller (Jerry West)

   Late in the Evening

      Composition: Jay D Miller (Jerry West)

   Through the Goodness of My Heart

      Composition: Jay D Miller (Jerry West)

Lazy Lester   1960

   A Real Combination for Love

      Composition: Jay D Miller (Jerry West)

Lazy Lester   2011

   Scratch My Back

      Live performance

      Composition: Jay D Miller (Jerry West)

   Sugar Coated Love

      Live performance

      Composition: Audrey Butler/Jay D Miller (Jerry West)

   That's Alright

      Live performance w Elvin Bishop & Johnny Vernazza

      Composition: Slim Harpo/Jay D Miller (Jerry West)

      Composition: Little Sonny (Aaron Willis)

   I Gotta Find My Baby

      Composition: Little Sonny

   I'll Love You Baby (Until the Day I Die)

      Composition: Little Sonny

   Love Shock

      Composition: Little Sonny

Little Sonny   1962

   The Mix Up

      Composition: Probably Little Sonny

Little Sonny   1967

   Latin Soul

      Composition: Little Sonny

      Composition: Little Sonny

Little Sonny   1972

   Eli's Porkchop

      Composition: Little Sonny

   Memphis B-K

      Composition: Little Sonny

Born in Port Arthur, Texas, in 1943, it was 1962 when blues rock singer Janis Joplin [1, 2, 3, 4, 5, 6, 7, 8, 9, 10] recorded her first blues song: 'What Good Can Drinkin' Do'. She joined the group, Big Brother and the Holding Company [1, 2, 3, 4, 5], in 1966, which debut album, 'Big Brother and the Holding Company', was released in August of '67. Their second album, 'Cheap Thrills', was released the following year. Joplin last performed with the group in December of '68, after which she formed the Kozmic Blues Band. In 1969 she performed at Woodstock, then put together the Full Tilt Boogie Band in 1970. Her last public appearance was with that band at Harvard Stadium in Boston in August 1970. Her album, 'Pearl' (on which appeared her last recording, the folk song, 'Mercedes Benz' on October 1, 1970), was released in 1971 posthumously. Three days after recording 'Mercedes Benz' Joplin was discovered dead in her hotel room at the Landmark in Hollywood (October 4, 1970). Joplin was a woman with enormous potential. But she vanished young, only 27 years old, of heroin overdose, perhaps in combination with alcohol. (Joplin liked her Southern Comfort, once commenting that she drank before performances because she was otherwise too shy.) Also associated with acid rock (a couple examples of psychedelic below), Joplin's most popular release was the more simple folk song, 'Me & Bobby McGee', that reaching Billboard's #1 spot in January of '71 (posthumously). Songs composed by Joplin. Discos w various credits for Joplin and the Holding Company at 1, 2, 3, 4. See also *. Joplin in visual media. Reviews. Several live performances below.

   Black Mountain Blues

      Composition: JC Johnson

      First version by Bessie Smith   1930

   What Good Can Drinkin' Do

      Composition: Joplin

Janis Joplin   1965

   Apple of My Eye

   Zip Train (219 Train)

Janis Joplin   1967

   Combination of the Two

      Composition: Sam Andrew

Janis Joplin   1968

   Easy Once You Know How

      Composition: Peter Albin/Sam Andrew

      David Getz/James Gurley/Joplin

   Piece of My Heart

      Composition: Jerry Ragovoy/Bert Berns

   Turtle Blues

      Composition: Joplin

Janis Joplin   1969

   Ball and Chain

      Composition: Willie Mae Thornton (Big Mama)

   Dear Landlord

      Composition: Bob Dylan

   Little Girl Blue

      Live on 'This Is Tom Jones'

      Composition: Richard Rodgers   1935

   Summertime

      Composition: George & Ida Gershwin/DuBose Hayward

   Try (Just a Little Bit Harder)

      Composition: Jerry Ragovoy/Chip Taylor

   Cry Baby

      Filmed live

      Composition: Jerry Ragovoy/Bert Berns

Janis Joplin   1971

   Me & Bobby McGee

   Mercedes Benz

      Composition: Joplin/Bob Neuwirth/Michael McClure

       Composition: ZZ Hill (Arzell Hill)

ZZ Hill   1965

   That's It

       Composition: ZZ Hill

ZZ Hill   1966

   Set Your Sights Higher

       Composition: ZZ Hill

ZZ Hill   1968

   Don't Make Promises

       Composition: Tim Hardin

ZZ Hill   1972

   It Ain't No Use

       Composition: Denise LaSalle

   Don't Leave Me Baby

       Composition: Jerry West/Smith

   Hound Dog Twist

       Composition: Jerry West/Smith

   Mean Woman Blues

       Composition: Jerry West/Smith

Moses Whispering Smith   1973

   It's All Over

       Composition: Smith

   Why Am I Treated So Bad

       Composition: Pops Staples

Born Cora Walton in 1928 in Tennessee, Koko Taylor [1, 2, 3/Soundtracks], a Chicago blues vocalist, was discovered by Willie Dixon, who produced Taylor's first recordings issued in 1963: 'Like Heaven to Me'/'Honky Tonky' (USA 745). ['Goldmine Standard Catalog of American Records' 9th Ed. Dave Thompson. See also *.] Dixon then helped Taylor acquire a contract with Chess Records, her debut name recordings issued in 1964: 'I Got What It Takes'/'What Kind of Man Is This' (Checker 1092). Among her more cited recordings was 'Wang Dang Doodle' released in 1966. Taylor issued her first name album in 1969 with Chess, titled simply, 'Koko Taylor'. Taylor issued several sides for Yambo in 1970 before the issue of her 2nd LP, 'Basic Soul' in '72, also issued by Chess. Her next album was recorded in Europe for Black And Blue in '73: 'Southside Lady'. The major label that had been Chess since its founding in 1950 sank in 1975. Bruce Iglauer's founding of the Alligator label in 1971 was nigh as if to anticipate Chess' vacant place in the recording and distribution of Chicago blues. Discogs was Taylor's first LP for Alligator issued in '74: 'I Got What It Takes'. In 1982 Taylor recorded 'Wang Dang Doodle' at the Montreus Jazz Festival in Switzerland, that to win her a Grammy per the album by various, 'Blues Explosion' ('84). Among other honors are 29 Blues Music Awards and election into the Blues Hall of Fame in 1997. She won the Blues Foundation Lifetime Achievement Award in 1999 and a NEA National Heritage Fellowship in 2004. Wikipedia has her issuing 15 albums to 'Old School' in 2007. Her final performance was at the Blues Music Awards in Memphis on May 7, 2009, singing 'Wang Dang Doodle'. Taylor died on June 3, 2009, in Kildeer, Illinois [*]. Songwriting credits for some of Taylor's early 45 rpm issues. See also Discogs. Taylor in visual media.

   Honky Tonky

       Composition: Buck Peddy/Mel Tillis

       Composition: Koko Taylor

   I Got What It Takes

       Composition: Willie Dixon

       Composition: Koko Taylor

Koko Taylor   1966

Koko Taylor   1968

   Insane Asylum

   Love You Like a Woman

Koko Taylor   1973

   I'm a Little Mixed Up

       Composition: Elmore James

Koko Taylor   1975

   I'd Rather Go Blind

       Composition: Ellington Jordan/Billy Foster

       Composition: Samuel Maghett/Magic Sam

Koko Taylor   1993

   Bad Case of Loving You

       Composition: John Moon Martin

       Album: 'Force of Nature'

   Can't Let Go

       Composition: Koko Taylor

Koko Taylor   2007

   I'm a Woman

       Composition: Koko Taylor

   Dimples

       Composition: John Lee Hooker   1956

   The Spencer Davis Group

      First album

   Dust My Broom

       Composition: Robert Johnson   1936

   Nobody Knows You When You're Down and Out

   The Second Album

   Sittin' and Thinkin'

   Somebody Help Me

       Composition: Jackie Edwards