A Birth of the Blues

Both a guitarist (acoustic, electric) and pianist, Henry Townsend (Henry Jesse James Townsend aka the Mule), [1, 2, 3, 4, 5] managed to record during eight consecutive decades, from 1929 to 2006, the year he died. Born in Shelby, Mississippi, in 1909, Townsend left home for St. Louis at age nine, said due to an abusive father. St. Louis would become his main domicile the rest of his life. He spent his early career performing with such as Walter Davis and J.D. Short. It was 1929 when Townsend traveled to Chicago to make his first plates on November 15: 'Mistreated Blues', 'Poor Man Blues', 'Henry's Worry Blues' and 'Long Ago Blues', those released per Columbia 14491-D and Columbia 14529-D. His first LP was recorded by music historian, Sam Charters, in St. Louis in 1961: 'Tired of Bein' Mistreated' (Prestige Bluesville BVLP 1041 '62 ). That was issued again in 1984 by Folkway Records as 'The Blues in St. Louis Vol. 3'. Townsend published more than 350 compositions during his career. Titles recorded by Townsend with compositional credits at discogs, australiancharts and allmusic 1, 2, 3, 4. Songs below were written by Townsend except as noted. * = undetermined. Per 1980, except as otherwise annotated titles were recorded live in Linz, Austria, and issued in 2015 on the album, 'Original St. Louis Blues Live'.

   Henry Worry Blues

   Jack Of Diamonds

   Every Day I Have the Blues

       Piano: Pinetop Sparks

   I Don't Love That Woman

   She's Got a Mean Disposition

Henry Townsend   1962

  Cairos' My Baby's Home

       From Henry Spaulding's 'Cairo Blues'   1929

   The Train Is Coming*

Henry Townsend   1974

   Buz Buz Buz

   Do You Remember Me?

Alike numerous early blues musicians, Reverend Gary Davis [1, 2, 3, 4, 5, 6/cultural influence/musical influence] expresses the intimate interweaving relationship between folk blues and folk gospel. Also alike many other blues musicians, Davis was blind, himself since an infant. Born in 1896 in Laurens, South Carolina, Davis was the only one of eight children to survive to adulthood. His father had been shot and killed by a Birmingham sheriff when he was ten. But before his death his father had arranged that Davis be given to the care of his paternal grandmother, as his mother treated him poorly. Alike Reverend Robert Wilkins (Blues 1), Davis became an ordained Christian minister (Baptist, in 1933) and experienced a turning away from secular blues to gospel. His first record release followed two years later (1935) with the American Recording Company (ARC). Davis died of heart attack in Hammonton, NJ, on May 5, 1972 [*]. Partial lists of Davis' recordings with songwriting credits at discogs and allmusic 1, 2. He composed all titles below except as noted. Per 1962 below, all songs were recorded in NYC in June 1957. They were issued on the album, 'Pure Religion and Bad Company'.

   I Am the Light of the World

   I Saw the Light

   You Got to Go Down

Reverend Gary Davis   1961

  Death Don't Have No Mercy

      Album: 'Harlem Street Singer'

   Keep Your Lamp Trimmed and Burning

      Recorded 1956

      Album: 'American Street Songs'

      Composition:

      Traditional/Blind Willie Johnson   1928

Born in Cotton Plant, Arkansas, in 1915, gospel singer and guitarist, Sister Rosetta Tharpe, has since her day become a major figure in the annals of 20th century music. She is documented as densely as widely both in audio and print. References encyclopedic: 1, 2, 3, 4, 5. Musical influence: 1, 2, 3, 4, 5, 6, 7. 8, 9. Cultural influence: 1, 2, 3, 4. Timeline. Tharpe released her first recordings in 1938 per discogs on both Decca 2243 (US) and Brunswick 02737 (UK): 'The Lonesome Road'/'Rock Me'. 45worlds lists Brunswick in 1938. Rateyourmusic doesn't have the Decca plate released until 1939. That was followed by her compositions, 'I Looked Down the Line'/'God Don't Like It' (Decca 2325). She wrote 'My Man and I' for issue flip side of 'That's All' on Decca 2503. Tharpe had begun her guitar and singing career as a young child tagging along behind her mother who was a traveling evangelist and gospel singer. Like other musicians who had difficulty reconciling religion with secular music, Tharpe had the same trouble, but blended the twain, not without controversy, nevertheless. The same year she released her first recordings Tharpe was hired by Cab Calloway. She would next record with Lucky Millender. Albeit Tharpe was religiously sincere and would have preferred to perform strictly gospel music, success upon need of a paycheck found her in a compromised "situation" in which the performance of secular music, or gospel amidst a secular atmosphere, got her ostracized by some of the religious community. A stroke in 1970 put an end to Tharpe's performing career, after which she had to have a leg amputated due to diabetes. She died in Philadelphia on October 9, 1973 [*]. In 1998 Frémeaux & Associés began issuing what would become seven volumes of 'Complete Recorded Works' covering the years 1938 to 1960. Tharpe had composed such as 'Strange Things Happening Every Day' ('45) and 'Nobody Knows, Nobody Cares' ('47). See australiancharts, 45worlds, 45cat and discogs for production and songwriting credits. See also allmusic 1, 2, 3, 4. Tharpe in visual media. Other profiles at Swing Song and Birth of Rock and Roll.

   My Man and I

      Composition: Rosetta Tharpe

Sister Rosetta Tharpe   1941

   Stand By Me

      Composition: Charles Albert Tindley   1905

Sister Rosetta Tharpe   1961

   Lonesome Road

      Composition: Nathaniel Shilkret/Gene Austin   1927

Sister Rosetta Tharpe

Source: Roq n Rol

Willie Dixon

Source: Darius

Born in 1915 in Vicksburg, Mississippi, Willie Dixon [1, 2, 3, 4], double bass, was a boxer before turning to music in 1938/39, the result of meeting Leonard Caston at a gym, who built him his first bass, consisting of a tin can with one string. Mitsutoshi Inaba ['Willie Dixon: Preacher of the Blues' *] lists Dixon's initial session as a vocal quintet in '38 or '39 w Caston, Gene Gilmore, Lionel Douglas Turner and brother, Arthur Dixon. Among multiple titles they recorded 'Beat Her Out Bumpin' Boys'. Inaba and others sources next have Dixon in session w the Five breezes for eight tracks on November 15 of 1940, their initial issue from that being 'Sweet Louise'/'Minute and Hour Blues'' on Bluebird 8590 on December 20 that year [John Bolig's 'Bluebird Label Discography' *]. The Five Breezes consisted of Gilmore at piano, Caston at guitar and Dixon at upright w Joseph Bell and Willie Hawthorne adding vocals. Dixon's budding career, however, would be interrupted by incarceration for ten months as a conscientious objector (World War II). Inaba doesn't have him session again until Sep 12 of 1945 w Gilmore in a band called the Four Jumps of Jive w Bernardo Dennis and Ellis Hunter at guitars. That came to 'Satchelmouth Baby'/'It's Just the Blues' (Mercury 2001) and 'Boo Boo Jelly'/'Streamline' (Mercury 2015). Dennis and Dixon then got together with Caston to form the Big Three Trio. Dennis would be replaced a year later by Ollie Crawford. Honking Duck [*] has the Big Three in session as early as March of 1947 for such as 'Signifying Monkey' and 'If the Sea Was Whiskey' (Columbia 30019). For much of Dixon's career he doubled as a record producer, working for various labels, most notably Chess, until he brought forth his own, Yamba Records. In 1987 Dixon settled out of court with the rock band, Led Zeppelin, concerning a couple of his songs, 'Bring It On Home' (royalties long gone unpaid by Arc Music) and 'You Need Love'. Dixon had long-term diabetes which would eventually necessitate the amputation of a leg. He died of heart failure in Burbank, California, January 19, 1992. Among the major composers of blues standards, Dixon wrote or co-wrote more than 500 titles [*]. Included among them at secondhandsongs are such as 'No More Sweet Potatoes' in '48 for the Big Three Trio and '29 Ways' released by himself in 1956. Songs he wrote for others include such as 'Jump Sister Bessie' (Otis Rush '57), 'You Need Love' (Muddy Waters '62) and 'I Got What It Takes' (Koko Taylor '64). Recordings by Dixon with compositional notation at australiancharts, discogs and allmusic 1, 2, 3, 4. See also 45worlds and 45cat. Big Three Trio recordings with songwriting credits at 45worlds and discogs. Further reading encyclopedic: 1, 2. Other profiles: 1, 2, 3, 4, 5, 6, 7. Timeline. Interview w Jas Obrecht. Dixon in visual media. Dixon composed all titles below except as noted, * indicating undetermined. Tracks by the Big Three Trio begin in '46.

      Composition: Mary Lou Williams

   The Signifying Monkey

   You Sure Look Good to Me*

   Just Can't Let Her Be*

   What Am I to Do

      Composition: Mike Taylor

Willie Dixon   1948

   I Keep on Worrying*

      With Rosetta Howard

   The Right Time*

      Drums: Jump Jackson   Piano: T-Bone Walker

      Guitar and vocal: John Lee Hooker

   I Ain't Superstitious

   The Little Red Rooster

   Spoonful

   You Shook Me

Willie Dixon   1988

   Blues You Can't Lose

Born in Knoxville, Tennessee, in 1915, Brownie McGhee [1, 2, 3] was elder brother to Stick McGhee. He decided to become a traveling minstrel at age 22. His career took a decided turn upward upon going to New York City in 1942 to partner with Sonny Terry, whom he'd met on the road a couple years earlier. His partnership with Terry would last throughout their lives. Among the highlights of their partnership were recordings with British trombonist, Chris Barber, in 1958 in England. Their first at Free Trade Hall in Manchester on April 26, McGhee performing guitar and vocals on 'This Little Light of Mine' and 'Glory'. Their last session with Barber was on May 12 in London for the BBC broadcast, 'MBB', McGhee performing on 'Midnight Special' and 'John Henry'. Terry plays harmonica on many of the tracks below. Among examples of recordings by McGhee not involving Terry were those at a concert at Oakdale Musical Theatre in Wallingford, Connecticut, on September 26, 1958, getting issued on an album by various in 1959 titled 'The Seven Ages of Jazz'. In addition to garnering high regard as a blues musician easy to appreciate, McGhee was also an actor on Broadway, as well in film and television. Among titles McGhee wrote were 'Lose Your Money', 'Pawnshop Blues', 'Brownie's Guitar Blues' and 'Twelve Gates to the City', the last with partner, Terry. He died of stomach cancer on February 16, 1996 [*]. Discogs has every track on 'The Complete Brownie McGhee' ('94)written by McGhee. Various credits also at 45worlds and 45cat. McGhee w Terry in visual media. Further reading: 1, 2, 3. All titles below were composed by McGhee except as noted.

   Dealing With the Devil

   Not Guilty Blues

Brownie McGhee   1941

   Death of Blind Boy Fuller

Brownie McGhee   1946

   Mean Old Frisco

      Composition: Robert Ellen

Brownie McGhee   1947

   Baseball Boogie

Brownie McGhee   1958

   Guitar Highway

   Livin' with the Blues

Brownie McGhee   1960

   I've Been Buked & I've Been Scorned

      With Lightnin' Hopkins and Big Joe Williams

      Composition: Lightnin' Hopkins

   Key to the Highway

      Composition: Big Bill Broonzy   1940

      From Charles Segar's 'Key to the Highway'  1940

   Born and Livin' with The Blues

   Cornbread, Peas & Black Molasses

Brownie McGhee   1976

   Hootin' the Blues

      Composition: Sonny Terry

Brownie McGhee   1992

   Death of Blind Boy Fuller

      Composition: J.B. Lang

Brownie McGhee

Source: Blues Everyday

Arthur Crudup

Source: Original People

Born in 1905 in Forest, Mississippi, Arthur Crudup [1, 2, 3, 4, 5, 6] was an early progenitor of rockabilly, though didn't see a lot of credit for that during his lifetime. He began his adult life as a migrant worker. He began singing gospel with a group called the Harmonizing Four, with which he made his way from Mississippi to Chicago [*]. There opting for a solo career, he was busking on the streets, living in a packing crate, when he was introduced to Tampa Red by Lester Melrose of RCA Bluebird, who also signed him to Crudup's first recording contract [*]. American Music (AM) has Crudup's first name sessions in Chicago on September 11, 1941, with Joe McCoy: 'If I Get Lucky'/'Death Valley Blues' (Bluebird B8858) and 'Kind Lover Blues'/'Black Pony Blues' (Bluebird B8896). Among Crudup's more important partners were Ransom Knowling (bass) and Judge Riley (drums). AM has their initial tracks together on September 6, 1946, for six sides including 'Crudup's After Hours'/'That's All Right' (RCA Victor 20-2205). AM has that trio recording numerously to as late as April 24, 1951, for such as 'I'm Gonna Dig Myself a Hole', 'Pearly Lee', et al. Despite Crudup's endeavors he had to support his music as a bootlegger and laborer, unable to obtain royalty payments even after Elvis Presley released Crudup's composition, 'That's Alright Mama'. Litigation would eventually see him acquire about $10,000 in overdue royalties, more than three million to go to his family after his death [*] in Nassawadox, Virginia, on March 28, 1974. More Arthur Crudup at Rockabilly. Songwriting credits for Crudup at discogs and allmusic 1, 2, 3, 4. See also 45worlds/45cat. Further reading: 1, 2, 3, 4, 5. All titles below were composed by him.

   Black Pony Blues

   Death Valley Blues

   If I Get Lucky

Arthur Crudup   1942

   My Mama Don't Allow

      Composed w Ransom Knowling

Arthur Crudup   1944

   Rock Me Mama

      Composed w Melvin Draper

Arthur Crudup   1951

   I'm Gonna Dig Myself a Hole

Arthur Crudup   1952

   Gonna Find My Baby

      Composed w Lillian Shedd McMurry

Born in 1915 in Turkey Scratch, Arkansas, guitarist Robert Lockwood Jr. [1, 2, 3, 4, 5], spent his youth in the Helena region. His mother is said to have been romantically involved with Robert Johnson who taught him guitar and with whom he first performed in public. With Robert Johnson as something of a stepfather, Lockwood became known as Robert Junior, hence Robert Lockwood Jr.. Wikipedia has them performing together with Johnson on one side of the Sunflower River and Lockwood on the other for some of their Clarksdale audience on the bridge between. Via Johnson, Lockwood spent his formative years as a professional musician playing with such as Johnny Shines and Sonny Boy Williamson II. He spent his early career performing at juke joints and such in the Delta region largely around Clarksdale, Mississippi. The latter thirties saw him working there with such as Elmore James. Lockwood had transitioned from acoustic to electric guitar in 1938, the year Johnson was murdered. American Music (AM) places Lockwood's first recordings in Chicago on July 1, 1941, backing vocalist, Peter Cleighton (Doctor Clayton), with Blind John Davis on several tracks like ''41 Blues'/'Love Is Gone' (OKeh 06375) and 'Roaming Gambler'/'Something Going on Wrong' (OKeh 06514), et al. Lockwood's first name titles followed 30 days later, four of his own compositions with Alfred Elkins: 'Little Boy Blue'/'Take A Little Walk With Me' (Bluebird B8820) and 'I'm Gonna Train My Baby'/'Black Spider Blues' (Bluebird B8877). Lockwood partnered with Williamson II in the early forties at KFFA Radio in Helena, Arkansas. Lockwood lived the itinerate lifestyle common to blues musicians during the forties, eventually to settle in Chicago in 1950, there to record numerously with pianist, Sunnyland Slim, in '51 and '54. The first of those sessions were in the Sunnyland Trio with drummer, Alfred Wallace, on March 22, backing Baby Face (Leroy Foster) on titles like 'Pet Rabbit'/'Louella' (J.O.B. 1002). November of '51 saw Slim, Wallace and Ernest Crawford (bass) supporting Lockwood on 'I'm Gonna Dig Myself a Hole'/'Dust My Broom' (Mercury 8260), with 'Glory For Man'/'My Daily Wish' unissued. It was Slim, Wallace and Ernest Cotton (tenor sax) in Lockwood's Combo in 1954 for 'Aw Aw'/'Sweet Woman from Maine' (J.O.B. 1107, Fury 500). He was still in Chicago when he backed J.B. Lenoir with Cotton, Willie Dixon (bass), et al, on 'Daddy Talk to Your Son'/'She Don't Know' (Checker 901), the rest unissued. AM has Lockwood backing Otis Spann's 'Otis Spann Is the Blues' in NYC in 1960 before moving to Cleveland in 1961, there to gig at local bars whilst recording variously as might. Lockwood's last recordings were with Cleveland Fats and Billy Branch in 2006, on the album, 'The Way Things Go'. He died November 1 the same year in Cleveland, Ohio, age ninety-one [*]. Production and songwriting credits at 1, 2. Further reading: 1, 2. Lockwood in visual media. Lockwood composed all titles below except as noted.

   Black Spider Blues

      With Doctor Clayton

   I'm Gonna Train My Baby

Robert Lockwood   1951

   I'm Gonna Dig Myself a Hole

Robert Lockwood   1996

   I Gotta Find Me a Woman

Robert Lockwood Jr.

Born Connie Curtis Crayton in Rockdale, Texas, in 1914, Pee Wee Crayton [1, 2, 3, 4, 5, 6] was among the earliest fathers of rock and roll. He left Texas for Los Angeles in 1935, where he became employed at a shipyard. In the meantime he honed his skills at guitar, then formed a trio and turned professional about year 1945. Crayton may have first shown up on record per a session in Oakland in 1946 in the band of Ivory Joe Hunter, putting down such as 'Seventh Street Boogie' (Pacific 601) and 'Tavern Swing' (Pacific 609) among others. Several plates followed with Hunter into '47 when Crayton ventured upon a solo career mid-year with 'After Hours Boogie'/'Why Did You Go' (Four Star 1304), not issued until '49. Come sessions in '47 for 'Don't Ever Fall in Love'/'Pee Wee Special' (Gru-V-Tone 217), not issued until '49. 'Blues After Hours' (Pee Wee Crayton) and 'I'm Still in Love with You' (T-Bone Walker) went down some time in 1948 (Modern 624). 'Blues After Hours' climber to Billboard's No 1 spot in R&B in October that year. His composition, 'Texas Hop', reached No 5 in December. 'I Love You So' reached No 13 in July of '49, also his own composition. Others among numerous titles written by Crayton were 'Blues Before Dawn', 'California Women', 'Dedicated to the Blues' (with Jules Taub), 'Don't Break My Heart', 'I Got News for You', 'Phone Call from My Baby', 'Win-O', et al. He issued his first of several LPs, 'Pee Wee Crayton', in 1960. His next followed a decade later: 'Things I Used to Do' ('71). Crayton performed throughout much of the States until his death on June 25, 1985, at his home base in Los Angeles. He had recorded 'Early Hour Blues' in December of 1984. Among highlights in his latter career were appearances on four Big Joe Turner albums from 1975 to 1978: 'Everyday I Have the Blues', 'Nobody In Mind', 'In the Evening' and 'Have No Fear Joe Turner Is Here'. His recording of 'Stormy Monday' in '74 with Turner didn't show up until 1991 on the album 'Stormy Monday'. Crayton on 78 rpm and 45 rpm. At Discogs. Further reading: 1, 2. Crayton composed all titles below except as indicated.

   Blues After Hours

     Composition: Pee Wee Crayton

   I'm Still In Love With You

      Composition: T-Bone Walker

Pee Wee Crayton   1950

   Change Your Way of Loving

     Composition: Pee Wee Crayton/Jules Taub

Pee Wee Crayton   1951

   Daybreak

     Composition: Pee Wee Crayton

   When It Rains It Pours

     Composition: Pee Wee Crayton

Pee Wee Crayton   1954

   Every Dog Has a Day

      Composition: Dave Bartholomew

Pee Wee Crayton   1956

   My Baby's On the Line

     Composition: Pee Wee Crayton

   The Telephone Is Ringing

     Composition: Pee Wee Crayton

Pee Wee Crayton   1983

   The Things I Used to Do

      Live performance

      Composition: Guitar Slim (Eddie Jones)

Pee Wee Crayton

Source: Elsewhere

      Composition: Jack Traylor & Steelwind

      Composition: Casady/Covington/Kaukonen

      Album

      Composition: Craig Chaquico/Jerry Gallup

      Album

Born in 1921 in Tulsa, Oklahoma, Lowell Fulson [1, 2, 3, 4, 5] began to play professionally in 1939 or 1940 with Texas Alexander. Part Choctaw Cherokee, Fulson was drafted in 1943. Upon release in 1945 he briefly returned to Oklahoma before heading to Oakland, California, where he made his first recordings in 1946. His early band was staffed at one time or another with both pianist, Ray Charles, and sax player, Stanley Turrentine. It was 1950 when his composition with pianist, Lloyd Glenn, 'Blue Shadows', reached Billboard's No 1 spot in R&B. Fulson put nine titles in the Top Ten from 1948 to 1967. Among the most serious contenders to T-Bone Walker's prestige as a blues guitarist, Fulson would record and tour for the next four decades. His last recording was 'Everyday I Have the Blues', a duet with Jimmy Rogers in 1999 (on the Jimmy Rogers album, 'Blues Blues Blues'), the year of his death on March 7 [*]. Partial lists of recordings by Fulson with songwriting credits at australian charts and discogs. See also 45worlds and 45cat. Further reading at *. Fulson wrote all titles below except as noted.

   San Francisco Blues

   Three O'Clock Blues

   Every Day I Have the Blues

      Composition: Lindberg & Pinetop Sparks

   Cold Hearted Woman

      Composition: Morris Magic Slim Holt

   Let's Live Right

      Composed w Lloyd Glenn

   Reconsider Baby

   Loving You (Is All I Crave)

      Composition: Willie Dixon

   Blue Shadows

      Composed w Lloyd Glenn

   You're Gonna Miss Me

   Reconsider Baby

      Piano: Lloyd Glenn

   I'm a Drifter

   Tramp

      Composed w Jimmy McCracklin

Lowell Fulson   1969

   Why Don't We Do It In the Road

      Composition: Lennon/McCartney

Lowell Fulson   1993

   Little by Little

      With BB King

      Composition: Amos Blakemore

Lowell Fulson

Source: Music Me

   Last Time I Fool Around With You

      With Muddy Waters

      Composition: Muddy Waters

   That's Alright

   Today Today Blues

   Where's My Woman Been

      With Muddy Waters

      Composition: Muddy Waters

   Act Like You Love Me

Jimmy Rogers   1973

   Gold Tailed Bird

      Album: 'Gold Tailed Bird'

   Dirty Dozens

      Album w Left Hand Frank

   Big Boss Man

      Album: 'Blue Bird'

      Composition: Al Smith/Luther Dixon

Jimmy Rogers   1999

   Gonna Shoot You Right Down

     Album: 'Blues Blues Blues'

   Ludella

   Bright Lights, Big City

      Album: 'Blues Blues Blues'

       Composition: Jimmy Reed

Jimmy Rogers

Photo: Michael Amsler

Source: Bohemian

      Composition: Pluma Davis

      Composition: Albert Collins

      Composition: Louis Jordan

     Filmed concert

Lightnin' Hopkins

Source: Eran Sabag

Guitarist Lightnin' Hopkins [1, 2, 3, 4], was born in Centerville, TX, in 1912 and Texas blues is what he did. When Hopkins was age eight he met Blind Lemon Jefferson at a church picnic, which sealed his destiny. He was further educated in the blues by distant cousin, Alger Texas Alexander. Hopkins spent years playing largely in Centerville or Houston when not rambling as he supported himself as a farmhand. He did time at the Houston County Prison Farm for an unknown offense in the mid thirties. He pretty much spun wheels on ice until he left for Los Angeles to record his first records with pianist Wilson Smith (Thunder Smith) for Aladdin. American Music has him with Smith on ten sides on November 9, beginning with titles for Smith: 'Can't Do Like You Used To'/'West Coast Blues' (Aladdin 165). The second issue of that credited Hopkins as well. Next came Smith's 'L.A. Blues'/'Little Mama Boogie' (Aladdin 166). Next on the matrix roster came Hopkin's 'Katie Mae Blues'/'That Mean Old Twister' (Aladdin 167). With such as those under his belt, Hopkins returned to Houston to greater success. Hopkins recorded at least 800 tracks during his career. Four of those reached Billboard's Top Ten: 'T Model Blues' ('49), 'Shotgun Blues' ('50), 'Coffee Blues' ('52) and 'Give Me Central 209' ('52). His catalogue per australiancharts. See also 45worlds, 45cat and discogs. Hopkins appeared at Carnegie Hall in 1960, and embarked on world tours in the sixties and seventies. He died of cancer in Houston on January 30, 1982 [*]. Hopkins in visual media. Further reading: 1, 2, 3, 4, 5. Hopkins composed all titles below except as noted.

   Katie Mae

   Bald Headed Woman

Lightnin' Hopkins   1947

   Short Haired Woman

Lightnin' Hopkins   1949

   Baby Please Don't Go

      Composition: Traditional

Lightnin' Hopkins   1966

   Rock Me Baby

      Live in concert

      Composition: See Wikipedia

Born in Marianna, Arkansas, in 1917, guitarist, Floyd Jones [1, 2], was a Delta blues musician before becoming involved with Chicago blues upon migrating there in the mid forties to join his elder brother, Moody Jones. He there added to his circle such as Little Walter, Jimmy Rogers and Snooky Pryor. American Music (AM) has his initial session as vocalist on titles credited with him to "Snooky & Moody": 'Stockyard Blues'/'Keep What You Got'. AM indicates the first issue of that in 1947 per Marvel 702 [see also *]. Pruter and Campbell don't have Marvel 702 sessioned until latter 1948, likely for '49 issue. At that point documentation breaks down, so we're calling it dubitably '47. Wirz at AM has Old Swing-Master 22 issued in '49, listed the same session as Marvel 702 by Pruter and Campbell. lf Pruter and Campbell have Moody Jones on titles prior per Swing Master 18. If P and C are correct then Jones isn't likely to have appeared on record until 1949. AM has Jones next supporting Sunnyland Slim on May 14 of 1949 with Muddy Waters (guitar) and Elga Edmonds (drums): 'Hard Times'/'School Days' (Tempo-Tone 1001). AM lists Jones' next name session on March 22, 1951: 'Big World'/'Dark Road' (J.O.B. 1001). His crew was Slim (piano), Moody Jones (bass) and Alfred Wallace (drums) with Billy Howell blowing trumpet on 'Big World'. He recorded those titles again on December 29 of 1951 per Chess 1498. That crew was Little Walter (harmonica), Jimmy Rogers (guitar) and likely Willie Coven (drums). 'Overseas' and 'Playhouse' went down unissued on the same date. Come September 17 of 1952 for 'You Can't Live Long'/'Early Morning' (Chess 1527). Titles issued in 1953 went down on January 17 that year, again with Slim, Moody Jones and Wallace: 'On the Road Again'/'Skinny Mama' (J.O.B. 1013). Jones performed and recorded in Chicago the remainder of his career, though he toured with Lionel Hampton's orchestra to Europe in 1961 and Japan in 1963. He died in Chicago on December 19, 1989 (following his brother, Moody, in March of '48). Allmusic lends this brief account of Jones' compositional credits. See also 45worlds, 45cat and discogs. Further reading: 1, 2, 3, 4]. Titles below are thought to be written by Jones.

   Stockyard Blues

     AM has Marvel 702 recorded in 1947 for issue in '47

Floyd Jones   1951

   Dark Road

      With Sunnyland Slim

   On the Road Again

Floyd Jones   1970

   Stockyard Blues

      Live performance

Floyd Jones

Source: Early Blues

Moody Jones

Guitarist, Moody Jones [1, 2], was born in Earle, Arkansas, on April 8, 1908, elder brother of Floyd Jones by nine years. Like other poor musicians he made his own instruments, working as a farmer. Allmusic has him in St. Louis in the late twenties, moving to Chicago in 1938. The recording and issue of his first record is problematic: 'Stockyard Blues'/'Keep What You Got' as "Snooky & Moody" with Floyd at vocals and Snooky Pryor at harmonica. That was first issued in either 1947 or '49. (See discussion under Floyd Jones.) His next, if not first, issued session was with Pryor in 1948: 'Telephone Blues'/'Boogie'. Again, American Music (AM) has that issued in 1948, but Robert Pruter and Robert Campbell don't have it sessioned until latter '48, likely too late for release until '49. If to go by Swing Master issues the '49 date would appear more accurate. AM next has Jones trading guitar for bass, his next session with Pryor in 1949 for 'Boogy Fool'/'Raisin' Sand' (J.O.B. 101). Stefan Wirz at AM has their next set on April 28, 1952: 'I'm Getting Tired'/'Going Back on the Road' (J.O.B. 115). Jones' only titles as a leader were also on that date. Supported by Pryor and Sunnyland Slim (piano) with Jones at guitar and vocals, those went unissued: 'Rough Treatment', 'Rough Treatment' (alt) and 'Why Should I Worry'. Jones was at guitar to back Pryor on titles in '53, those issued being 'Cryin' Shame'/'Eighty Nine Ten' (JOB 1014) and 'Crosstown Blues'/'I Want You for Myself' (Parrot 807). Jones drifted away from his blues career shortly afterward. Gospel oriented, he quit music altogether circa 1955 to become a pastor. He died in Chicago on March 23, 1988 (preceding his brother, Floyd, in December 89). Jones at discogs.

Moody Jones   1948(?)

   Telephone Blues

      With Snooky Pryor

      AM has Marvel 702 recorded and issued in '47

       Also issued as Swingmaster 18

      Composition: Moody Jones/Snooky Pryor

Moody Jones   1949

      Composition: Moody Jones

   Cross Country Blues*

   Single Man Blues*

Frankie Lee Sims   1953

   Lucy Mae Blues

Frankie Lee Sims   1954

   Cryin' Won't Help You

Frankie Lee Sims   1957

   Walking With Frankie

      Written w Johnny Vincent

Frankie Lee Sims   1958

   I Warned You Baby

   My Talk Didn't Do Any Good

   She Likes to Boogie Real Low

Frankie Lee Sims

Photo: Chris Strachwitz

Source: Bman's Blues Report

Arbee Stidham

Photo: Ray Flerlage

Source: VK/Primordial Blues

Muddy Waters

Source: Morrison Hotel Gallery

Born McKinley Morganfield in 1913 in Mississippi, Muddy Waters got the first part of his name from his grandmother, who raised him upon his mother's death, because he liked to play in the muddy waters of nearby Deer Creek. As the "aristocrat" of the blues, Waters was one of those phenomena who seemed to easily own just about everything he did as first nature, another smooth act like T-Bone Walker who infused the blues with a sense of class, though not so stylishly as near contemporaries in jazz like Cab Calloway or Duke Ellington in their tuxedos, and a realm away from gentlemen of another sort in the classical field, such as their near contemporary, Sir William Turner Walton, knighted in 1951 by old wealth Queen Elizabeth II. Waters had early started playing harmonica in a distinctly less royal environment, but headed that general direction when he bought himself a guitar at age seventeen, first learning to play in the bottleneck (slide) style. Soon playing both solo and with a group called the Son Simms Four. Waters then opened a juke joint and played there as well. He first recorded as McKinley Morganfield in Stovall, Mississippi, circa 24-31 August, 1941, per 'Country Blues' and 'I Be's Troubled'. Those were with fiddler, Son Simms, for Library of Congress historian, Alan Lomax. Those eventually got issued in 1993 on CD by Chess on 'The Complete Plantation Recordings' (CHD 9344). Titles followed in '42, also with Simms for the Library of Congress, also on 'The Complete Plantation Recordings'. The sovereign of Chicago blues didn't make it to Chicago until 1943, where he began playing electric guitar in 1945, a gift from an uncle which served him well. Phil Wight and Fred Rothwell have Morganfield recording 'Mean Red Spider' as James Sweet Lucy Carter in 1946 with 'Let Me Be Your Coal Man' on the flip side (20th Century 20-51 '48). September 27 of '46 saw Waters with pianist, James Clark, on several tracks, three backing Homer Harris (issued '73), two supporting Clark with 'Come to Me Baby'/'You Can’t Make the Grade' thought to have been issued in '47 (Columbia 37391, 30020). Between those sets had arrived three unissued tracks on the same date by Waters, supported by Clark, et al: 'Jitterbug Blues', 'Hard Day Blues' and 'Burying Ground Blues'. Sunnyland Slim's 'Johnson Machine Gun'/'Fly Right Little Girl' (Aristocrat 1301) followed sometime in 1947. Sequential matrix numbers suggest the same date that Slim backed Waters on 'Gypsy Woman '/'Little Anna Mae' (Aristocrat 1302). Come April of '48 Slim backed Waters on 'Good Lookin’ Woman' (Chess LP 680002 '85) and 'Mean Disposition' (Chess LP 2057 '84), neither released until years indicated. It was likely the same date that Waters supported Slim''s 'She Ain’t Nowhere'/'My Baby, My Baby' (Aristocrat 1301). From thereon Waters entered into a steady recording career, sessioning variously with such as Ernest Crawford (bassist whose first session with Waters had been for 'Mean Red Spider'), Jimmy Oden, again with Slim ('Blue Baby'/'I Want My Baby' '48), Jimmy Rogers (guitar), etc. Come 1950 Waters was bringing it on strong, well on the trail toward prominent recognition. His configurations in the early fifties included such as Rogers, Elga Evans (drums), Little Walter (harmonica), Otis Spann (piano) and Willie Dixon (bass). Reflecting his popularity during his first decade of recording were his fourteen R&B Top Ten titles, 'I'm Your Hoochie Coochie Man' reaching #3 in 1954. Waters toured England for the first time in 1958, again in 1972 toward 'The London Muddy Waters Sessions'. He would join trombonist, Chris Barber, at Alexandra Palace in London in July of 1979 for 'Kansas City', 'Lend Me Your Love' and 'Corrine Corrina'. Other highlights in Waters' career include Newport Jazz Festivals. One in 1960 had resulted in his first live LP, 'At Newport 1960'. Another in 1965 found him with Dizzy Gillespie performing 'Got My Mojo Working' (Preston Foster). Water's last album, 'King Bee', was issued in 1981. His last performance was with Eric Clapton in 1982, dying the next year of heart failure at his home in Illinois on April 30 [*/obituary]. Rock band, the Rolling Stones, took their name from 'Rollin' Stone' below. Recordings by Waters with compositional credits at australiancharts and discogs 1, 2, 3. See also 45worlds and 45cat. References encyclopedic: 1, 2, 3. Musical: 1, 2, 3, 4, 5, 6. Blues Finland: 1, 2, 3. Waters in visual media. Tribute sites: 1, 2. All titles below were written by Waters except as noted. Waters in A Birth of Rock & Roll as well.

   Country Blues

      First issue unknown

      Recorded 1946

      As James Sweet Lucy Carter

   Rollin' Stone (Catfish Blues)

   Lonesome Day

   Hoochie Coochie Man

      Composition: Willie Dixon

   I Just Want to Make Love to You

      Composition: Willie Dixon

   I'm Ready

      Composition: Willie Dixon

Muddy Waters   1966

   Got My Mojo Workin'

      Live performance

      Composition: Preston Foster

   All Aboard

      Album: 'Fathers and Sons'

   Long Distance Call

      Album: 'Fathers and Sons'

      Album: 'Fathers and Sons'

   Manish Boy

        Live performance

      Composed w Mel London

   Champagne & Reefer

   Who Do You Trust

   I'm a King Bee

        Live in Chicago

      Composition: James Moore

  You Don't Have to Go

       Live in Chicago

John Lee Hooker

Photo: Brian Smith

Source: VeV

Born circa 1917 in Tutwiler, Mississippi, guitarist, John Lee Hooker [1, 2, 3, 4, 5, 6], was the youngest of no less than eleven children, his father a sharecropper and Baptist preacher. Running away from home at age fourteen, he showed up in Memphis in the thirties to gig on Beale Street, such as at the New Daisy Theatre. World War II found him employed by Ford Motors in Detroit where he transitioned from acoustic to electric guitar. Discographies by Claus Röhnisch place Hooker's first recording in Detroit on June 12, 1948: 'Rocks' ('Miss Sassy Mae'). Other demos followed that summer like 'Leavin' Chicago' ('Highway Blues') and 'Wednesday Evening Blues'. Those three tracks saw issue in 1990 by KrazyKat on 'Boogie Awhile'. A couple other demos were taped that summer ('Miss Sadie Mae' and 'When My First Wife Left Me') before Hooker put down his debut issues circa September, both composed by him: 'Sally May'/'Boogie Chillen'', released on November 3. Hooker located Billboard's R&B Top Ten with five titles from '49 to '51. Reaching No. 1 were 'Boogie Chillen' ('49) and 'I'm in the Mood' ('51). Hooker's would be one of the more illustrious careers in blues. Also a major influence on rock music, he released more than 100 albums. Though he lived his later years largely in Long Beach, Hooker owned several homes in California and opened his own nightclub in San Francisco in 1997: John Lee Hooker's Boom Boom Room. Hooker's last recording was in 2001 with Italian singer, Zucchero: 'Ali D'Oro' (released by Zucchero in 2005 on the album, 'Zucchero & Co.'). Hooker died in his sleep of natural causes on June 21, 2001 [*]. More John Lee Hooker in A Birth of Folk Music under Ry Cooder. Recordings by Hooker with songwriting credits documented at australiancharts. See also 1, 2, 3. Hooker in visual media. All titles below were composed by Hooker except as noted.

   Boogie Chillen

   Crawlin' King Snake

   Goin' Down Highway 51

   Wednesday Evening Blues

John Lee Hooker   1951

   Catfish Blues

      Composition: Traditional

   I'm In the Mood

      Composition: Hooker/Jules Taub

   Reach My Goal

   Tease Me Baby

John Lee Hooker   1952

   Rock Me Mama

   Women and Money

John Lee Hooker   1963

   This Is Hip

      With Canned Heat

John Lee Hooker   1980

   This Is Hip

      With Ry Cooder

John Lee Hooker   1989

   Boogie Chillun

   Ali D'Oro

      With Zucchero

      Composition: Luciano Luisi/Zucchero

Eddie Burns

Source: Grognards

   Bad Woman Blues ['Notoriety Woman']

      Harmonica with John T. Smith

   Burnin' Hell

      Harmonica with John Lee Hooker

     Composition: Bernard Besman

   Where Did You Stay Last Night*

     Recorded 1951   Issue unknown

Eddie Burns   1953

  Hello Miss Jessie Lee

   She Keeps Me Guessing

Eddie Burns   1954

   Bisquit Baking Mama*

Eddie Burns   1957

   Dont'cha Leave Me Baby*

   Treat Me Like I Treat You

Eddie Burns   1961

   Orange Driver

Eddie Burns   1962

   (Don't Be) Messing with My Bread

   Through All Your Faults

     Composition: Jimmy Burns/Margaret Rudy

     Composition: Bobby Newsome

Eddie Burns   1975

   Do It If You Wanna*

Eddie Burns   1987

   The Blues Is All Right

      With the BJ Hegens Bluesband

      Composition: Little Milton

   When I Lost My Baby*

        With the BJ Hegens Bluesband

       Composition: Walter Jacobs

BB King

Source: Daisy America

Born on the Berclair cotton plantation near Itta Bena, Mississippi, in 1925 [1, 2, 3, 4, 5, 6, 7], BB King (Riley B. King) was raised by his grandmother in Kilmichael and sang in a Baptist church choir as a youth. Wikipedia has him purchasing his first guitar at age 12 for $15 (if it wasn't given to him by Bukka White, the latter's mother a sister to King's grandmother). King began performing in the gospel group, Famous St. John's Quartet, in 1943 at churches and on radio (WGRM). The latter forties found him working in radio in the West Memphis-Memphis area, including Sonny Boy Williamson II's program on KWEM. While working for WDIA he became known as the Beale Street Blues Boy, which got shortened to Blues Boy, then B.B.. King released his first recording, 'Miss Martha King', in 1949, backed by 'When Your Baby Packs Up and Goes'. That didn't sell well, but King put together his own band to tour the States. King was playing at a dance hall in Twist, Arkansas, that year when two men began fighting over a woman named Lucille. That escalated into a fire from which all fled. King had forgotten his $30 Gibson guitar and ran back into the burning building to retrieve it, whence he named it Lucille, the name he gave to all of his guitars, usually Gibsons. The song itself didn't arrive until 1968 on King's album, 'Lucille'. As King of the Blues, King's was an illustrious career for well over six decades. Among his numerous popular songs were those which charted on Billboard's R&B at #1: '3 O'Clock Blues' ('51), 'You Know I Love' ('52), 'Please Love Me' ('53) and 'You Upset Me Baby' ('54). He issued his debut LP, 'Singin' the Blues', in 1956. King began performing with rock bands in the sixties. Opening for the Rolling Stones' American Tour in 1969, King issued 'The Thrill Is Gone' the next year for a Grammy. 1980 saw his election into the Blues Hall of Fame. It was the Rock and Roll Hall of Fame in 1987. Maintaining high visibility throughout his career, Wikipedia has him performing 300 concerts in 1988. King published his autobiography, 'Blues All Around Me' (Avon), in 1996 w assistance from David Ritz. He and guitarist, Eric Clapton, issued 'Riding with the King' in 2000. King's final of about fifty albums, 'One Kind of Favor', was released in 2008. Wikipedia lists thirteen more live albums from 'Live at the Regal' ('65) to 'Live at the BBC' ('08). King died of heart attack at age 90 on May 14, 2015, in Queens (NYC). He wasn't related to either Albert King, Earl King or Freddie King. SoulfulKindaMusic publishes this discography of singles released to year 2000. Various credits at AustralianCharts. King in visual media. Interviews: 1998. King wrote all titles below except as indicated.

  Miss Martha King

  When Your Baby Packs Up and Goes

BB King   1951

  She's Dynamite

       Composition: Hudson Whittaker (Tampa Red)

       Original version: Tampa Red   1951

BB King   1953  

   Highway Bound

BB King   1957  

   Early in the Morning

       Composition: King/Sam Ling

       Album: 'Live at the Regal'

       Composition: Roy Hawkins/Rick Darnell

BB King   1970

   Nobody Loves Me But My Mother

BB King   1971  

   Sweet Thing

       Composition: King/Joe Josea

BB King   1987

   Why I Sing the Blues

      Live with Albert King, Eric Clapton, Stevie Ray Vaughan

   Catfish Blues (Fishin' After Me)

       Composition: Robert Petway

BB King   2000

       Album w Eric Clapton

      Including Mike Hucknall and Slash

   Come On Baby, Now

      As Rocky Fuller

   Gonna Play My Guitar*

      As Playboy Fuller

   I Done Woke Up

Louisiana Red   1964

   I'm Too Poor to Die

       Composition: Singleton/Wyche/Glover

Louisiana Red   1975

   Sweet Blood Call

       Composition: Kent Cooper/Red

Louisiana Red   1977

   Red's New Dream

       Live at 'The Old Gray Whistle Test'

       Composition: Eddie Jefferson

Louisiana Red   1982

   Nothing But a Gypsy Man*

Louisiana Red   1983

   No Future*

Louisiana Red   1999

   Driftin'

Louisiana Red   2007

   Cotton Pickin' Blues

       Composition: Robert Petway

Louisiana Red

Source: All Music

David Honeyboy Edwards

Photo: Paul Natkin

Source: Paul Natkin

   The Army Blues

     Issued per 'Songs of War and History'   1978

   I Love My Jelly Roll

     Issued per 'Rock Me, Shake Me'   2002

   Wind Howlin' Blues

     Issued per 'Walking Blues'   1979

David Honeyboy Edwards   1951

   Build a Cave

   Who May Your Regular Be

David Honeyboy Edwards   1953

   Drop Down Mama

     Composition: Sleepy John Estes   1935

David Honeyboy Edwards   1969

   Black Jack Blues

     Composition: John T. Brown   1951

David Honeyboy Edwards   2010

   Sweet Home Chicago

      Live performance

     Composition: Robert Johnson   1936

   Sweet Home Chicago

      Live performance

     Composition: Robert Johnson   1936

Howlin' Wolf

Source: 10 Mania

Born in White Station, Mississippi, in 1910 as Chester Arthur Burnett, Howlin' Wolf, guitar and harmonica, had been named by his parents after the 21st President of the United States (Chester Arthur 1881-85). A year old when his parents separated, he didn't mix with his mother who sent him to live with his uncle as a child. It was bad enough there for him to walk barefoot 85 miles (per Wolf) when he was thirteen to join his father. Wikipedia has him meeting his mentor, Charlie Patton, in 1930. As they rambled about the Delta region Wolf would become acquainted with other bluesmen of the period, he especially attracted to the music of Blind Lemon Jefferson. As Wikipedia explains, he arrived to "Howlin' Wolf" per attempt to yodel in the manner of country musician, Jimmie Rodgers, but howling was the result. (It's also said that his grandfather told him frightening stories about wolves and boys who misbehaved.) Come 1933 he began to play harmonica, Sonny Boy Williamson II his teacher in that. He'd picked up electric guitar before getting drafted into the military in 1941-43. Upon discharge he headed to West Memphis where was family, then picked up the blues again with old acquaintance, Floyd Jones. Forming a band in 1948, he then became involved in radio (KWEM in West Memphis, Arkansas; KFFA in Helena). American Music (AM) has Wolf's debut recordings on May 14, 1951, those at least one take each of 'Baby Ride With Me' ('Ridin' in the Moonlight') and 'How Many More Years', none issued (eventually released in 1989 on 'Memphis Days - The Definitive Edition Vol 1' per Bear Family Records BCD 15460). His initial session to issue arrived in July, also in Memphis: 'Moanin' at Midnight'/'How Many More Years' (Chess 1479). A highly popular musician all along already, both those titles placed in Billboard's R&B Top Ten. Wolf recorded continuously thereafter. When he left Memphis for Chicago in 1952 Muddy Waters became his host to the city. They performed together a bit but would go their separate ways, never to record together. They would have become rivals friendly or otherwise anyway due to their fame as bluesmen. Wolf, however, made Waters something of a horse to keep abreast as they each led their own bands. Their differences in that were distinct. Wolf's was a professional operation with everything on the books (eventually Social Security, unemployment compensation, health insurance); Waters' was a more loosely behaving crew (see Wikipedia, RCR). Ed Mitchell at musicradar comments that compositions by Willie Dixon for both Waters and Wolf contributed to the rivalry between them. Dixon supplied Waters with such as 'I Just Want to Make Love to You' and 'Hoochie Coochie Man'. He wrote titles for Wolf like 'Little Red Rooster', 'I Ain't Superstitious' and 'Evil'. AM shows Dixon first backing Wolf in March of 1954 on 'No Place to Go' ('You Gonna Wreck My Life')/'Rockin' Daddy' (Chess 1566). Dixon supported Wolf numerously into the sixties. He was in Wolf's group for Wolf's compositions in 1956, 'I Asked for Water' and 'Smokestack Lightning', both which charted in R&B at #8. Wolf visited England in 1957 (Waters following in '58). In 1964 he traveled to Europe as a member of the American Folk Blues Festival tour. The next year he performed with the Rolling Stones (named after a song by Waters) on 'Shindig!'. Among musicians backing Wolf's various configurations had been such as Earl Phillips (drums), Otis Spann (piano), Hubert Sumlin (guitar), Hosea Lee Kennard (piano) and Alfred Elkins (bass). Wolf died of kidney disease on January 10, 1976, at the VA Hospital in Hines, Illinois [*]. See australiancharts and allmusic 1, 2 for lists of Wolf's recordings with songwriting credits. See also 45worlds, 45cat and discogs. Compositions covered by other musicians at secondhandsongs. References encyclopedic: 1, 2, 3, 4. Musical: 1, 2, 3, 4, 5. Wolf in visual media. Tribute site. Further readiing: *. More Howlin' Wolf at A Birth of Rock and Roll. Wolf composed all titles below except as noted.

   How Many More Years

   Moanin' at Midnight

Howlin' Wolf   1954

   Forty Four

Howlin' Wolf   1956

   Smokestack Lightning

Howlin' Wolf   1961

   Down in the Bottom

     Composition: Willie Dixon

Howlin' Wolf   1964

   I'll Be Back Someday

      Live performance

   Shake for Me

      Live performance

     Composition: Willie Dixon/Wolf

   Ooh Baby

Howlin' Wolf   1966

   Dust My Broom

     Composition: Robert Johnson

Howlin' Wolf   1967

   Spoonful

     Composition: Willie Dixon

Howlin' Wolf   1968

   Evil

     Composition: Willie Dixon

Elmore James

Photo: Michael Ochs Archive

Source: Black & Blue

Being born in Richmond, Mississippi, in 1918, of a fifteen year-old mother made Elmore James (Elmore Brooks) another Delta blues guitarist. He began playing a diddley bow at age twelve. (A diddley bow is a single string, its ends attached anywhere you want to play it. You can string one along a stick; you can stretch one across the Grand Canyon and do some tightrope tricks if you can't play it.) Moving up to a self-made three-string instrument, James is likely to have met other itinerate bluesmen of the period as he traveled the Holmes County region south of Clarksdale. He may or may not have met Robert Johnson who composed the original version of 'Dust My Broom', a song for which version James would become well-known. James joined the Navy during World War II to become part of the invasion force against Japan in Guam. Upon discharge he returned to Mississippi where he fell in with longtime acquaintance, Sonny Boy Williamson II (Rice Miller). James' first recordings are thought to have been on January 4, 1951, in Jackson, MS, backing Williamson on 'Eyesight to the Blind'/'Crazy About You Baby' (Trumpet Records 129). Joe Willie Wilkins (guitar) and Joe Dyson (drums) were also part of that. American Music has James with Williamson in several sessions through December that year. Among those arrived Jame's first name titles (as Elmo), backed by Williamson, on August 5: 'Catfish Blues'/'Dust My Broom' (Trumpet 146). Leonard Ware (bass) and Frock Odell (drums) were in on that. 'Dust My Broom' found Billboard's #9 spot that year, he to call his configurations the Broomdusters after that. 'I Believe'/'I Held My Baby Last Night was issued in 1952, 'I Believe' to also attain the #9 tier. James made his way to Chicago in the fifties and would spend the remainder of his career between there and Jackson, also recording in NYC and New Orleans. James' career was cut short by heart attack in 1963, only 45 years of age, just prior to a planned tour of Europe [*]. A highly admired musician, John Mayall's 'Mr. James' on his 1968 album, 'Looking Back', was about James. Among who covered his composition, 'The Sky Is Crying', were Stevie Ray Vaughan, Albert King, George Thorogood and Eric Clapton. Songwriting credits to some of James' recordings at allmusic and australiancharts. See also 45worlds, 45cat and discogs. References encyclopedic: 1, 2, 3. Musical: 1, 2, 3, 4. Timeline. Further reading: *. James composed all titles below but as noted.

   Dust My Broom

      Composition: Robert Johnson

   Blues Before Sunrise

     Composition: Leroy Carr

Elmore James   1957

   Coming Home

   Cry For Me

     Composition: Mel London

   It Hurts Me Too

     Composition: James/James Sehorn

Elmore James   1960

   The Sky Is Crying

     Composition:

     James/Clarence Lewis /Morgan Robinson

   The Sun Is Shining

Elmore James   1961

   Done Somebody Wrong

   Shake Your Money Maker

     Composition: See Wikipedia

Elmore James   1963

   Sunnyland

     Composition: James/Joe Josea

   Women in My Life

      With John Lee Hooker

     Composition: Roy Rogers

   It's Time for Lovin' to Be Done

      With John Lee Hooker

     Composition: Jules Bihari/Kirkland

   That's All Right

      With John Lee Hooker

     Composition: Arthur Crudup

   Mistreated Woman

     Composition: Riley King/Jules Taub

   No Shoes

Eddie Kirkland   1959

   I Must've Done Something Wrong

     Composition: Elmore James

Eddie Kirkland   1961

   Train Done Gone

Eddie Kirkland   1964

   Chill Me Baby

   Have Mercy On Me

Eddie Kirkland   1995

   Our Love So Beautiful

Eddie Kirkland   2006

   Good, Good Day

      Album: 'Booty Blues'

   Rock Me Baby

      With the Wentus Blues Band

     Composition: BB King    1964

Eddie Kirkland

Photo: Kartik Pashupati

Source: India Music Week

Earl Hooker

Source: The Music's Over

   Sweet Black Angel

      Composition: Robert McCullum

Earl Hooker   1953

   Blue Guitar

      Composition: Hooker/Taylor

   Earl's Boogie Woogie

   Guitar Rag

   Hucklebuck

      Composition: Andy Gibson

Earl Hooker   1960

   Blues in D Natural

      Composition: Hooker/Mel London

Earl Hooker   1961

   Apache War Dance

Earl Hooker   1969

   The Hook*

   Hookin'

   I Don't Care When You Go

       With John Lee Hooker

      Composition: John Lee Hooker

   Off the Hook

   Two Bugs and a Roach

   Wah Wah Blues

   Messin' Around With the Blues

Earl Hooker   1970

   Sweet Home Chicago

       Recorded 1969

Homesick James (James Williamson) was a slide guitarist born in Somerville, Tennessee, in April 1910, that or one among other years estimated to range from 1905 to 1924. Wikipedia has him born to musicians, Cordellia Henderson and Plez Williamson Rivers [ *]. Allmusic has him picking up guitar at age ten, running away from home soon after to travel through Mississippi and North Carolina, exposing him to both Delta and Piedmont blues [*]. As an itinerate musician in the twenties and early thirties he would have bumped shoulders with others like Sleepy John Estes living the same. James headed for the bright lights of Chicago in the mid thirties where he worked clubs like the Circle Inn with Horace Henderson and the Square Deal Club with Jimmy Walker (piano). James is supposed to have recorded in 1937 for RCA and 1939 for Vocalion with Little Buddy Doyle, but that's lent small credibility. He took up electric guitar about the same time. As the latter forties approached the fifties so did gigs with such as Sonny Boy Williamson II and Elmore James. James' initial recording sessions were as James Williamson on June 12, 1952, with Lazy Bill Lucas (piano) and Alfred Elkins (bass): 'Farmers Blues'/'Lonesome Ole Train' (Chance 1121) with eleven unissued tracks [1, 2, 3]. January 23 of 1953 witnessed 'Homesick'/'The Woman I Love' with his Trio consisting of Lazy Bill Lucas (piano), Johnny Shines (guitar) and Alfred Elkins (bass). Three more tracks on that date and five in August went unissued. Sometime later that year James put down 'Call Up My Baby'/'1954 Blues' as Jick and His Trio for Atomic (he yet under contract to Chance). His crew consisted of Lazy Bill Lucas (piano) and Sneaky Joe Harris (drums). Those were the basement tapes made at the home of Reverend Houston H. Harrington. AM has James recording for the first time as Homesick James at the home of Harrington as well, those unissued tracks of 'I'm Going Away' and 'Rest a Little While'. James first issued as Homesick James with Elmore James' Broom Dusters on August 12, 1957. The rest of James' band for 'The 12 Year Old Boy'/'Coming Home' were J.T. Brown (tenor sax), Johnny Jones (piano), Wayne Bennett (guitar), Eddie Taylor (guitar) and Odie Payne (drums). James had been with James since '55 and remained until 1963, backing numerous titles into 1960 on both bass and guitar. Some tracks gone down during that time saw release in later years to as late as 1972 ('Fine Little Mama'/'Something Inside Me' had gone down circa May 1960.) In the meantime James' first name issue as Homesick James arrived in 1962: 'Can't Afford to Do It'/'Set a Date'. His first album, 'Blues on the South Side', was released in 1965. James had recorded unissued titles with mouth harp player, Snooky Pryor, as early as 1953. Twenty years later they made their American Blues Legends tour to Europe, recording most of 'Homesick James & Snooky Pryor' in London on March 3. October of '73 saw their album, 'Shake Your Moneymaker' ('84), recorded live in Germany. Pryor backed James' 'Home Sweet Homesick James' in 1975. Recordings made by James and Pryor during that period were issued in 2003 as 'The Big Bear Sessions' (compositional credits). They issued 'Sad and Lonesome' in 1979. Allmusic has James recording his fourteenth and final album on December 17 of 1997: 'The Last of the Broomdusters'. He died December 13, 2006, in Springfield, Missouri. James discos w various credits at 45cat and discogs. Further reading: 1, 2, 3, 4, 5, 6, 7. James wrote all titles below except as Noted.

  Lonesome Ole Train

   The Woman I Love

Homesick James   1962

   Crossroads

      Composition: Robert Johnson

   Set a Date

Homesick James   1964

   Homesick's Shuffle

Homesick James   1975

   Dust My Broom

      Composition: Robert Johnson

   Lonesome Train

Homesick James   1980

   Sad & Lonesome

      With Snooky Pryor

   Live in Chicago

      With Yank Rachell

Homesick James

Source: Donkey Show

Johnny Shines

Source: Santa Barbara Blues

Born in Memphis in 1915, guitarist Johnny Shines [1, 2, 3, 4, 5, 6] first toured the South before becoming involved with Chicago blues. In 1935 he began touring the States and Canada with Robert Johnson until 1937. Shines continued touring the South until settling in Chicago in 1941 where he worked in construction while playing gigs with such as Sunnyland Slim at Tom's Tavern. He first began taping on February 24, 1946, for Columbia to no issue. Ditto titles for Chess on October 23, 1950. Titles in '46 were 'Tennessee Woman Blues', 'Delta Pine Blues', 'Ride, Ride Mama' and 'Evil Hearted Woman Blues'. Those might have been with Big Bill Broonzy. His 1950 titles were 'Joliet Blues' and 'So Glad I Found You', backed by Little Walter (harmonica), Jimmy Rogers (guitar) and Ernest Crawford (bass). American Music has Shines' first titles to issue gone down on April 28, 1952, backed by Moody Jones: 'Rambling'/'Cool Driver' (JOB 116). 'Fish Tail' and 'Ain't Doin' No Good' didn't see issue. Come January 22 of 1953 for tracks backed backed by Big Walter Horton (harmonica) and Al Smith on bass. Sales of those didn't come to a lot and hassles with the musicians union followed. According to allmusic Shines pawned his equipment in 1958 and quit the music business, sticking with construction thereafter. Allmusic has him frequenting the Chicago blues scene as a photographer, however, which is how he was later rediscovered in 1966, taking photographs at a nightclub. That resulted in his performance of six of his compositions on 'Chicago/The Blues/Today! Vol 3' ('66). The revival of Shines' career saw touring with the Chicago All Stars with Lee Jackson, Horton and Willie Dixon. He also toured with Robert Lockwood, then to Europe ('Live in Europe' 1975 - songwriting credits). Having moved to Holt, Alabama, in 1969, he died in Tuscaloosa on April 20, 1992 [1, 2]. He was elected into the Blues Hall of Fame the same year. A compilation of Shines' compositions. Various credits also at 45worlds and discogs. Further reading: 1, 2, 3, 4, 5. He wrote all titles below except as noted.

   Brutal Hearted Woman

      With Walter Horton

   Black Spider Blues

      With Walter Horton

   Layin' Down My Shoes and Clothes

      With Walter Horton

   Rockin' With Reed

      With Jimmy Reed

     Composition: Jimmy Reed

   Bad Boy

      With Jimmy Reed

   Big Town Playboy

      With Jimmy Reed

   Ride Em On Down

      With Jimmy Reed

   I'm Gonna Love You

Eddie Taylor   1966

   Peach Tree Blues

     Composition: Yank Rachell

Eddie Taylor   1972

   Stop Breaking Down

      Album: 'I Feel So Bad'

     Composition: Robert Johnson

   Stroll Out West (I Feel So Bad)

      Album: 'I Feel So Bad'

   Seems Like a Million Years

      Album: 'Ready For Eddy'

     Composition: Sam Phillips

   My Heart Is Bleeding

Eddie Taylor   1985

   Bad Boy

      Live performance

   Three O'clock In The Morning

     Composition: Lowell Fulson   1946

Eddie Taylor

Source: Discogs

Albert King

Source: Blues y Palabra

Born in Indianola, Mississippi, in 1923, guitarist Albert King (Albert Nelson - older brother of Freddie King but not related to either BB King or Earl King) began his professional career in 1950 with the Groove Boys in Osceola, Arkansas. Soon afterward he played drums with John Brim's Gary Kings in Indiana. It's moot whether or not King made his first recordings as a drummer for Jimmy Reed's first name titles on June 6(?) 1952: 'High and Lonesome'/'Roll and Rhumba' (Vee-Jay VJ-100). King was instrumental in getting Reed signed to Vee Jay, but Stefan Wirz (American Music - AM) prefers Morris Wilkerson on those. (Campbell & Pruter have Wilkerson backing the Spaniels on piano about the same time.) Ditto Reed's 'I Found My Baby'/'Jimmies Boogie' (Vee-Jay VJ 105) also estimated on June 6. AM has King drumming for Reed in December of '53: 'You Don't Have to Go'/'Boogie in the Dark' (Vee-Jay VJ 119) and 'Rockin' with Reed'/'Can't Stand to See You Go' (Vee-Jay VJ 186). 'Shoot My Baby' went unissued. King issued his first name titles in 1954: 'Be On Your Merry Way' with 'Bad Luck Blues' flip side. In 1961 King moved to Memphis where he released his first album in 1962, 'The Big Blues', followed by 'Born Under a Bad Sign' in '67. Though Albert was overshadowed by BB King his was among those major names in blues mentioned in the same breath. WorldCat has him publishing 399 works. His last studio release was the album, 'I'm in a Phone Booth, Baby', issued in 1984. King died December 21, 1992, in Memphis, Tennessee. A DVD of his last European tour was released in 2001, titled 'Godfather of the Blues'. See australiancharts, 45worlds, 45cat and discogs for production and songwriting credits. King in visual media. References encyclopedic: 1, 2. Musical: 1, 2, 3, 4, 5, 6, 7. Discos: 1, 2.

  Bad Luck Blues

       Composition: Albert King

   Be On Your Merry Way

       Composition: Albert King

Albert King   1960

   Need You By My Side

       Composition: Robert Lyons

   The Time Has Come

       Composition: Robert Lyons

Albert King   1967

   Born Under a Bad Sign

       Composition: William Bell/Booker T. Jones

        Album

   As the Years Go Passing By

       Live performance

       Composition: Deadric Malone

Albert King   1968

       Live performance

       Composition: Albert King

   Drowning on Dry Land

       Composition: Allen Jones/Mickey Gregory

   Oh, Pretty Woman

       Composition: A.C. Williams

Albert King   1971

   Everybody Wants to Go to Heaven

       Composition: John Nix

   Lovejoy

       Album

   Feel Like Breakin' Up Somebody's Home

       Composition: Timothy Matthews/Al Jackson Jr.   1971

Albert King   1981

   Born Under a Bad Sign

       Live performance

       Composition: William Bell/Booker T. Jones

   Born Under a Bad Sign/Stormy Monday

       Live with Stevie Ray Vaughan

    Texas Flood/Pride & Joy

       Live with Stevie Ray Vaughan

       Live with Stevie Ray Vaughan

   Phone Booth

       Album: 'I'm Standing in a Phone Booth, Baby'

       Composition: Cray/Walker/Cousins/Vannice

   Red House

       Composition: Jimi Hendrix

Earl King

Photo: Rick Olivier

Source: Black Kudos

   Have You Gone Crazy

Earl King   1954

   A Mother's Love

Earl King   1955

   Those Lonely, Lonely Nights

Earl King   1974

   Live In Chicago

      Piano: Professor Longhair

Earl King   1993

   It All Went Down the Drain

      Live performance

Jimmy Reed

Source: Mojo Repair Shop

Born on a plantation in or near Dunleith, Mississippi, in 1925 [*], guitarist and harmonica player, Jimmy Reed, busked that area until heading north to Chicago in 1943. His early career was interrupted by the draft, he serving in the Navy. Discharged to Mississippi in '45, he married Mama (Mary) Reed who would become his backup singer, then headed to Gary, Indiana, to work at the Armour meat-packing plant there. He started gaining gear as a local musician in the early fifties, working with John Brim's Gary Kings. American Music places Reed's debut recordings possibly June 6, 1953, for 'High and Lonesome'/'Roll and Rhumba' (Vee-Jay VJ-100) and 'I Found My Baby'/'Jimmies Boogie' (Vee-Jay 105). Wirz thinks it likely that he was backed by John Brim (guitar/bass) and Morris Wilkerson on drums (rather than Albert King who had brought Reed to newly founded Vee Jay). Reed recorded three more titles that year in December. 'You Don't Have to Go'/'Boogie in the Dark' saw issue per Vee-Jay VJ 119. 'Shoot My Baby' went unreleased, but 'You Don't Have to Go' placed No.5 on Billboard's R&B in 1955. Reed backed Brim as one of the latter's Stompers in March of 1954 ('Tough Times'/'Gary Stomp' - Parrot 799) before getting down to business with Vee Jay the next year, beginning on January 18 with guitarist, Eddie Taylor. Those issued were 'Bad Boy'/'E.T. Blues' (Vee-Jay VJ 149). Taylor was out for Reed's titles on that date: 'I Don't Go for That'/'She Don't Want Me No More' (Vee-Jay VJ 153). Reed never released a song to reach Billboard's #1 tier, but several climbed to the Top Ten, such as 'Ain't That Lovin' You Baby' ('56), 'You've Got Me Dizzy' ('56) and 'Bright Lights, Big City' ('61), all at #3. Those were Reed's compositions among others which found the Top Ten. Unfortunately alcohol and epilepsy interfered with Reed's skills, it accounted a wonder that Reed was such a successful musician, given that often he amazed that he could even stand up. He eventually quit drinking, but died relatively young (age fifty)  in Oakland of respiratory failure on August 29, 1976. A list of Reed's recordings with compositional credits insofar as known at autraliancharts. He wrote all titles below except as noted. Discos of issues w various credits: 1, 2. Reed in visual media. References encyclopedic: 1, 2, 3, 4, 5. Musical: 1, 2, 3, 4, 5, 6. Further reading: 1, 2.

   High and Lonesome

   Roll and Rhumba

Jimmy Reed   1954

   Boogie In the Dark

      With Eddie Taylor

   You Don't Have to Go

      With Eddie Taylor

   Big Boss Man

       Composition: Luther Dixon/Al Smith

   Bright Lights, Big City

Jimmy Reed   1962

   Aw Shucks, Hush Your Mouth

   Good Lover

Lightnin' Slim

Source: Hidden Charms

   Bad Luck Blues

       Composition: Slim

   It's Mighty Crazy

       Composition: Slim/J.D. Miller

Lightnin' Slim   1955

   Lightnin's Blues

       Composition: Jerry West

Lightnin' Slim   1957

   I Ain't Got No Money

       Composition: Slim/Jerry West

   I'm Grown

       Composition: Slim/Jerry West

Lightnin' Slim   1959

   Rooster Blues

       Composition: Jerry West

   Sweet Little Woman

       Composition: Slim/Jerry West

Lightnin' Slim   1964

   Wintertime Blues

       Composition: Jerry West

Born in Greenwood, Mississippi in 1931, Hubert Sumlin [1, 2, 3] was yet another Delta bluesman to journey north to the blues hub that was Chicago. He touched shore in 1954, invited by Howlin' Wolf to join his band as second guitar (rhythm) to Jody Williams. Wikipedia has Wolf sending Sumlin to the classical institute, Chicago Conservatory of Music, to study guitar (per Sumlin). Wangdangdula has Sumlin recording four tracks to release with Wolf and Williams on May 25 and October of '54: 'Evil Is Going On'/'Baby How Long' (Chess 1575) and 'Forty Four'/'I'll Be Around' (Chess 1584). Titles gone down in March of 1955 were 'Who Will Be Next'/'I Have a Little Girl' (Chess 1593) and 'Come to Me Baby'/'Don't Mess with My Baby' (Chess 1607). Wolf's band also consisted of Otis Spann (piano), Willie Dixon (bass) and Earl Phillips (drums) in those years. Sumlin was on scene for the commencing rivalry between Wolf and Muddy Waters during that period in Chicago. Waters and Wolf shared a common composer in Willie Dixon and a common pianist in Otis Spann. But Waters ended up with Wolf's guitarist, Sumlin making his first recordings for Waters on 'Forty Days & Forty Nights'/'All Aboard' (Chess 1620) on February 2, 1956. Three more dates followed with Waters when Sumlin found himself behind Chuck Berry on January 21, 1957, for 'School Day'/'Deep Feeling' (Chess 1653). He also backed all the titles that ended up on Berry's album, 'One Dozen Berrys', in March of '58. More titles had gone down with Waters in January and June of '57 as well. Sumlin backed Eddie Taylor and Jimmy Reed in '64. Come November 1 of '64 he recorded his first name titles in East Germany, his compositions, 'Love You, Woman', 'When I Feel Better', 'I Love' and 'Hubert's Blues'. Those saw issue on 'American Folk Blues' in 1965. He put down 'Across the Board'/'Sumlin Boogie' on November 29 of '64, his appearance on 'The Beat Room' airing the next day. Wolf had long since retrieved Sumlin from Waters back in the fifties. Though the two didn't always jive (a fist fight once) Sumlin was Wolfs mainstay lead guitarist until the latter's death in 1976. Sumlin supported Wolf's album, 'More Real Folk Blues', released in January of '67. He issued his own album, 'Hubert's American Blues', in 1969 backed by Sunnyland Slim (piano), Willie Dixon (bass) and Clifton James (drums). Upon Wolf's passing Sumlin assumed leadership of his band, renaming it the Wolf Pack. Sumlin's last of around 17 albums was 'About Them Shoes' in 2004. American Blues Scene has his last performance per the documentary film, 'Take Me to the River', in 2014. His final sessions were November 22 of 2011 for Stephen Dale Petit's 'Cracking the Code'. He died of heart failure a couple weeks later on December 4, 2011, in Wayne, New Jersey [*]. 'Rolling Stone' lists Sumlin as 43 on its list of 100 Greatest Guitarists of All Time. Various credits for Sumlin at Discogs. Interviews '94 and '97: 1, 2. Further reading: 1, 2.

   Smokestack Lightning

       With Howlin' Wolf

       Composition: Howlin' Wolf

   Do the Do

       With Howlin' Wolf

       Composition: Willie Dixon/Valentine

   Mama's Baby

       With Howlin' Wolf

       Composition: Willie Dixon

   I Love

       Composition: Hubert Sumlin

Hubert Sumlin   2004

   Killing Floor

       Live with Eric Clapton, Jimmy Vaughan, Robert Cray

       Composition: Howlin' Wolf

Hubert Sumlin

Photo: Andrew Lepley

Source: Live Blues

Jody Williams

   Evil Is Going On

      With Howlin' Wolf

      Composition: Willie Dixon

   It Must Have Been the Devil

      With Otis Spann

      Composition: Otis Spann

   Lookin' for My Baby

      As Little Papa Joe

      Composition: Jody Williams

   Easy Lovin'

   Who Do You Love?/I'm Bad

      With Bo Diddley

      Compositions: Ellas McDaniel

Jody Williams   1957

   Lucky You

      Composition: Jody Williams

   You May

      Composition: Jody Williams

Jody Williams   1963

   Hideout

      Composition: Jody Williams

   Moaning For Molasses

      Composition: Jody Williams

Jody Williams   1966

   Lonely Without You

      Composition: R. Hines/Williams

Jody Williams   2000

   Time for a Change

      Live performance

      Composition: R. Hines/Williams

   Lucky Lou

      Live performance

      Composition: Jody Williams

   At-Tete Fee

      With Clifton Chenier

      Composition: Clifton Chenier

   Boppin' the Rock

       With Clifton Chenier

      Composition: Clifton Chenier

   Think It Over

       With Clifton Chenier

      Composition: W.E Buyem

   Hello My Darling

      Composition: Phillip Walker

   I Want You For Myself

Phillip Walker   1973

   Hello Central

      Composition: Lightnin' Hopkins

Phillip Walker   1979

   Hello My Darling

      Composition: Phillip Walker

Phillip Walker   1984

   Port Arthur Blues

      Composition: David Amy/Phillip Walker

Phillip Walker   1989

   Crying About My Baby

       Piano Lou Matthews   Vocal: Percy Mayfield

      Composition: Percy Mayfield

   River's Invitation

       Piano Lou Matthews   Vocal: Percy Mayfield

      Composition: Percy Mayfield   1952

   Big Blues From Texas

       Album: 'Big Blues From Texas'   With Otis Grand

      Composition: Otis Grand/Phillip Walker

   Insomnia

       Album: 'Big Blues From Texas'   With Otis Grand

      Composition: Otis Grand/Walker

   El Paso Blues

      Composition: David Amy/Dennis Walker

   Hello Central

      Composition: Lightnin' Hopkins

   How Long Must I Wait

      Album: 'Working Girl Blues'

   I'm Tough

      Composition: Lowell Fulson

   Go Ahead and Take Her

      Composition: Dennis Walker

Phillip Walker   1998

   Laughin' and Clownin'

      Composition: Sam Cooke

       Album: 'I Got a Sweet Tooth'

Phillip Walker

Freddie King (younger brother of Albert King but not related to BB King or Earl King), guitar and harmonica, was born in 1934 in Gilmer, Texas. He followed his family to Chicago in 1950 where he formed his first band, the Every Hour Blues Boys. He first recorded the same year as his older brother (1953) although those cuts have never been released. He afterward spent a few years as a sideman for various musicians such as Muddy Waters before his first release, 'Country Boy' and 'That's What You Think' with Margaret Whitfield in 1956. His first album, 'Freddy King Sings' was released in 1961 containing 'I'm Torn Down', that reaching Billboard's #5 spot in R&B that year. His instrumental, 'Hide Away', also topped at #5 in 1961, that found on King's next album that year, his instrumental, 'Let's Hide Away and Dance Away with Freddy King'. His first overseas tour occurred in 1967. IMDb has him airing on French television's, 'Systeme 2', on October 12 of 1975.  King died at only age 42 on December 6, 1976. Lord's disco has him recording as late as November 15 of that year at the Dallas Convention Center for 'Farther Up the Road'. See discos at 1, 2, 3 for various credits. References encyclopedic: 1, 2, 3, 4. Musical: 1, 2, 3, 4, 5, 6. Tribute site. Most of the tracks below are live performances.

   Country Boy

      With Margaret Whitfield

      Composition: Freddie King

   Funny Bone

      Composition: Freddie King

   I Love the Woman

      Composition: Freddie King

   I'm Torn Down

      Composition: Freddie King

Freddie King   1971

   Going Down

      Composition: Don Nix

Freddie King   1972

   Key To the Highway

      Composition: Charles Segar/Big Bill Broonzy

Freddie King   1973

   Boogie Funk

      Composition: Freddie King

Freddie King   1974

   Woman Across The River/Ghetto Woman

   Blues Band Shuffle/Sweet Home Chicago

Freddie King   1975

   Sweet Home Chicago

      Composition: Robert Johnson   1936

   Woke Up This Morning

     Composition: Jules Taub/BB King

Freddie King

Source: Discogs

Lonesome Sundown

Source: Past Blues

   All Night Long

      Unissued   With Clifton Chenier

      Composition: Clifton Chenier

   I'm On My Way

      Unissued   With Clifton Chenier

      Composition: Clifton Chenier

   Leave My Money Alone

      Composition: Sundown/Jerry West

   Lost Without Love

      Composition: Sundown/Jerry West

Lonesome Sundown   1957

   Don't Say a Word

      Composition: Sundown

   I'm a Mojo Man

      Composition: J.D. Miller

   Lonesome Whistler

      Composition: J.D. Miller

   My Home Is a Prison

      Composition: J.D. Miller

Lonesome Sundown   1959

   Gonna Stick to You Baby

      Composition: Sundown/Jerry West

Lonesome Sundown   1963

   I Wanta Know Why

      Composition: Sundown

Lonesome Sundown   1977

   I Betcha

      Composition: Sundown

   Louisiana Lover Man/Black Cat Bone

   One More Night

      Composition: Dennis Walker

Born in Philadelphia, Mississippi, in 1935, Otis Rush, visited his sister in Chicago in 1948 who took him to see a performance by Muddy Waters. Deciding thereat to become a musician, he moved to Chicago, bought a guitar and was playing clubs a few years later. Rush recorded his first record on July 11, 1956: 'I Can't Quit You Baby'/'Sit Down Baby' (Cobra 5000). 'I Can't Quit You Baby' soared to #6 on Billboard's R&B. Rush also backed Lee Jackson's 'I'll Just Keep Walkin'' in 1956. 1957 saw 'Groaning the Blues'/'If You Were Mine' (Cobra 5010) and 'Jump Sister Bessie'/'Love That Woman' (Cobra 5015), as well as his first titles backing Harold Burrage for issue in 1958: 'Stop for the Red Light'/'Satisfied' (Cobra 5018). In latter '57 the Willie Dixon Band backed him on 'She's a Good 'Un'/'Three Times a Fool' (Cobra 5023). Recording steadily through the years, Rush issued his first album, 'Mourning in the Morning', in August of 1969. Among others with whom Rush laid tracks were Shakey Horton (Big Walter Horton), Charles Clark and Abb Locke. He was elected into the Blues Hall of Fame in 1984 before his performance at the Montreux Jazz Festival in 1986, that recorded to later issue in 1994 ('Montreux '86' shared with titles by Eric Clapton who played Montreux the next day on July 10). Having also performed alongside such as Carlos Santana, Buddy Guy and Stevie Ray Vaughan, Rush toured to Japan as well. Rush has been unable to perform since a stroke in 2004. 'Rolling Stone' puts him on their list of 100 Greatest Guitarists at #53. More 1956 Otis Rush in Rock 7. Songwriting credits for some of Rush's early Cobra recordings. See also australiancharts, 45worlds, 45cat and discogs. References encyclopedic: 1, 2, 3. Musical: 1, 2, 3. Internet presence: 1, 2. Further reading: 1, 2, 3. Rush composed all titles below except as indicated (* = undetermined).

   I Can't Quit You

      Composition: Willie Dixon

   My Love Will Never Die

      Composition: Willie Dixon/Rush

Otis Rush   1957

   My Baby (She's a Good 'Un)

   Groaning the Blues

      Composition: Willie Dixon

Otis Rush   1958

   All Your Love (I Miss Loving)

   Double Trouble

   It Takes Time

      Composition: Arthur Korb

   Keep On Loving Me

Otis Rush   1962

   Homework

      Composition: Dave Clark/Al Perkins

Otis Rush   1966

   All Your Love (I Miss Loving)

   My Own Fault

      Composition: John Lee Hooker/BB King/Jules Taub

Otis Rush   1981

   Boll Weevil

      Composition: See Wikipedia

   Come On Baby*

   Crosscut Saw

      Composition: R.G. Ford

   Gambler's Blues

      Composition: BB King/Johnny Pate

   Right Place, Wrong Time

Otis Rush   1986

   Every Day I Have the Blues

      Composition:

      Lindberg & Pinetop Sparks   1935

Otis Rush   1994

   As the Years Go Passing By

       Composition: Deadric Malone

Otis Rush   1996

   All Your Love (I Miss Loving)

Otis Rush

Source: Chicago Blues Guide

Lonnie Brooks   1967

   One Sunny Day

       Composition: B. Ford/Tex McGinnis

Lonnie Brooks   1969

   Broke an' Hungry

       Composition: B. Ford/Tex McGinnis

Lonnie Brooks   1975

   Sweet Home Chicago

      Composition: Robert Johnson   1936

Lonnie Brooks   1979

   You Know What My Body Needs

       Album: 'Bayou Lightning'

      Composition: Brooks

   Figure Head

       Album: 'Bayou Lightning'

      Composition: Emerson/Craig

   Wound Up Tight

      Album: 'Wound Up Tight'

      With Johnny Winter

Lonnie Brooks   1993

   You're Usin' Me

Lonnie Brooks   1996

   Rockin' Red Rooster

Lonnie Brooks   2001

   Watch Dog

      Composition: Brooks

Lonnie Brooks   2011

   Sweet Home Chicago

Lonnie Brooks

Source: Friday Blues Fix

  The Glory of Love

      Clarinet: George Lewis

      Banjo: Dick Octot

      Cornet: P.T. Stanton

      Bass: Lelieas Sharpton

   Trouble In Mind

      Composition: Richard Jones

      First recorded by Thelma La Vizzo in 1924

Barbara Dane   1958

   Old Fashioned Love

Barbara Dane   1959

   Why Don't You Do Right

      Composition: Kansas Joe McCoy

Barbara Dane   1963

   Careless Love

      Composition: See Wikipedia

Barbara Dane   1973

   Working Class Woman

Barbara Dane   2008

   Mr. Rich Man

   Wild Women Don't Have The Blues

       Composition: Ida Cox

Barbara Dane

Source: Berkeleyside

Magic Sam

Source: Ruth Marie Cumming

Born in Grenada, Mississippi, in 1937, Magic Sam (Samuel Maghett) was a Chicago bluesman, having left Mississippi with his family in 1950. Having formed his first band in 1955, his first recordings per American Music were possibly as early as 1956 for Cobra: 'Hot Dog and a Bottle of Pop', that unissued. With Harold Burrage at vocals, that crew is thought to have consisted of Willie Dixon (bass), Billy Stepney (drums) and either Johnny Jones or Henry Gray at piano. The summer of 1957 brought 'Love Me with a Feeling'/'All Your Love' (Cobra 5013). It was at those recordings that Maghett took the name, Magic Sam, from his bass player, Mack Thompson. Magic never placed a title on Billboard, but he's representative of that period in Chicago in the latter fifties, following Muddy Waters and Howlin' Wolf, which climate was affected by Buddy Guy and Otis Rush as well. It's thought that Guy won his initial recording contract due a competition between the three. Circa 1960 Magic was drafted into the Army, served six months in jail for desertion, then was discharged. He was soon recording again, and began touring the States, Great Britain and Germany during the early sixties. Magic Sam was rising in stature when he died of heart attack at but the age of 32 in 1969. Recordings by Magic Sam with songwriting credits at allmusic, 45worlds and discogs. References encyclopedic: 1, 2. Musical: 1, 2, 3. Guitar: *. Further reading: 1, 2, 3, 4, 5. More Magic Sam in Fifties American Rock. Per below, * = composer undetermined.

   All Your Love

      Composition: Magic Sam

Magic Sam   1960

   She Belongs to Me

      Composition: Al Benson/Magic Sam

Magic Sam   1964

   I Just Got to Know*

Magic Sam   1968

   I Have the Same Old Blues

      Composition: Magic Sam

   Sweet Home Chicago

      Composition: Robert Johnson   1936

Magic Sam   1989

   That Ain't It

      Composition: Jimmy Rogers

      Album: 'Blues with a Touch of Soul'

      Composition: Mighty Joe Young

     Soundtrack

      Composition: Leo Graham

      Composition: Willie Dixon

      PBS documentary

      Album

         Album released 2009

      Composition: Don Gibson

      Album

      Album

      Album

      'Further on Up the Road' by Bobby Bland   1957

      Film

Eddy Clearwater

Photo: Bill Greensmith

Source: Past Blues

   Hill Billy Blues

   A Minor Cha Cha

   A Real Good Time

      Composition: J. Peterson/S. Thompson

   Black Night

      Composition: Jessie Mae Robinson

   Last Night

   Blues Hang Out

      Composition: Clearwater

   Blues For a Living

      Composition: Clearwater

   A Good Leavin' Alone

       Television performance

      Composition: Ronnie Baker Brooks/Clearwater

   Blue Over You

      Composition: Clearwater

   Came Up the Hard Way

      Composition: Clearwater

   Just Want to Make Love to You

      Composition: Willie Dixon

   Sweet Little Rock & Roller

      Composition: Chuck Berry

   Too Old to Get Married

Albert Collins

Photo: Charlie Gillett Collection

Source: Paseando por los Suenos

   Collins Shuffle

   The Freeze

Albert Collins   1963

   Homesick

     Composition: Collins/Scott

   Sippin' Soda

     Composition: Collins/Scott

Albert Collins   1965

   Dyin' Flu

      Recorded 1962

   Cookin' Catfish

     Composition: Stephen Hollister

   Soulroad

Albert Collins   1969

   Do the Sissy

     Composition: Stephen Hollister

   Lip Service

   Turnin' On

     Composition: Stephen Hollister

Albert Collins   1970

   Blues Power

      Live at Fillmore East

     Composition: Albert King

   Cold, Cold Feeling

     Composition: Jessie Mae Robinson

Albert Collins   1980

   Brick

     Composition: Johnnie Morisette

   Frostbite

      Album

   Icepick

   If You Love Me Like You Say

      Live performance

     Composition: Little Johnny Taylor

   Dyin' Flu

Albert Collins   1986

   Cold Snap

       Album

   Frosty

      Live with Stevie Ray Vaughan

   Honey Hush

      Live performance

     Composition: Lowell Fulson

Buddy Guy

Source: Outtown

Born in Lettsworth, Louisiana, in 1936, George Buddy Guy [1, 2, 3, 4, 5, 6, 7] is thought to have recorded 'The Way You Been Treatin' Me' sometime in 1957 for a Baton Rouge radio station. He left for Chicago in latter 1957, there to fall in with Muddy Waters. Wikipedia has him winning his first record contract via contest with Magic Sam and Otis Rush. Guy's first name issue in 1958 was 'Sit and Cry (the Blues)'/'Try to Quit You Baby' (Artistic). 'You Sure Can't Do'/'This Is the End' (Artistic) ensued in 1959. Guy's initial of numerous titles for Chess through the sixties arrived in 1960: 'Slop Around'/'Broken Hearted Blues' and 'I Got My Eyes on You'/'First Time I Met the Blues'. Among his more popular compositions was 'Stone Crazy' in 1962. Guy released his first album, 'Hoodoo Man Blues', in 1965. Eric Clapton stated in 1985 that Buddy Guy was the best guitarist alive. Stevie Ray Vaughan has remarked that without Buddy Guy there would be no Stevie Ray Vaughan. Guy has received numerous awards throughout his career and played at the White House in 2012. Recordings by Guy with compositional credits at 45worlds, discogs, allmusic and australiancharts. See also *. Guy in visual media. Guy maintains an internet presence at 1, 2, 3. The greater majority of recordings below are live performances.

   The Way You Been Treatin' Me

     Demo

     Issued 1992 on 'The Very Best of Buddy Guy'

     Composition: Guy/Ike Turner

   Sit and Cry (the Blues)

     Composition: Guy/Willie Dixon

   Try to Quit You Baby

     Composition: Archie Toscano

Buddy Guy   1960

   First Time I Met the Blues

     Composition: Eurreal Montgomery

Buddy Guy   1968

   Money (That's What I Want)

     Composition: Berry Gordy/Janie Bradford

Buddy Guy   1969

   Mary Had A Little Lamb/My Time After Awhile

      Drums: Buddy Miles

   Hoochie Coochie Man

      Composition: Willie Dixon

   Messin' with the Blues

      Filmed at the Montreax Jazz Festival/Switzerland

      With Muddy Waters

Buddy Guy   1992

   Damn Right I've Got the Blues

      Composition: Buddy Guy

   She Got the Devil in Her

      Album: 'Sweet Tea'

      Composition: CeDell Davis

   Fever

      Composition: Eddie Cooley/Otis Blackwell

      Original version: Little Willie John   1956

   Good Morning Little School Girl

      Composition: Donald Level/Bob Love

   I Put a Spell On You

       Album: 'Bring 'Em In'   With Carlos Santana

      Composition: Jay Hawkins

      Album

      Composition: Lonnie Mack

       'AM Cleveland' television program

       Mack/Dan Penn//Hoy Lindsey/Denny Rice

Silas Hogan

Photo: Pierre Degeneffe

Source: bdla

   I Wanna Know

      With Jimmy Dotson and the Blue Boys

      Composition: Jimmy Dotson/Jerry West

   Looking For My Baby

      With Jimmy Dotson and the Blue Boys

      Composition: Jimmy Dotson/Jerry West

   I Need Your Love

      With Jimmy Dotson and the Blue Boys

      Composition: Jimmy Dotson/Jerry West

   You're Too Late Baby

      Composition: Silas Hogan/Mark Dee

Johnny Winter

Source: Seventies Music

Johnny Winter   1963

   Eternally

   Gangster of Love

      Composition: Johnny Guitar Watson

Johnny Winter   1968

   Progressive Blues Experiment

      Album

   Johnny Winter

      Album

   Ain't That a Kindness

      Album: 'Johnny Winter And'

   Be Careful With a Fool

   Jumpin' Jack Flash