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O n e . u . U3 t- t e. c.t- ,
LIVING BLUES
SNOOKY PRYOR
Also in this issue:
Lowell Fulson
Cadillac Baby
African Influence
and the Blues
Number 6
Autumn, 1971
50 cents
Bootleg Blues: An Editorial
Recently, LIVING BLUES refused to print an advertisement
for a limited-issue LP produced in England.
The album was an anthology of material that
was issued on 45's by some of the smaller Chicago
labels. Checking with some of the bluesmen and
record company owners involved, we found that the
tunes were being used without permission, and that
the record companies had not leased rights to reissue
their records. There was no indication that the musicians
would receive royalties.
LIVING BLUES will continue to refuse ads for
reissue albums in such clear-cut cases.However,it's
difficult deciding exactly what constitutes an unethical
bootleg release. Certainly living bluesmen or
surviving heirs should be paid royalties, and we will
refuse ads for reissues when we know artists' royalties
aren't being paid. But there is also the question
of the record labels.
Often, in prewar recording, bluesmen were paid
very little for their recording sessions. Most of the
blues masters that were recorded before the war are
now owned by the existing major labels. Even if the
major labels decide to reissue some of these sides,
they often refuse to pay royalties because the original
sessions were done for a flat payment. Bukka
White went through a real struggle before receiving
a small royalty from his Columbia reissue album.
More often, the major labels aren't interested in reissuing
blues material, and yet have refused to lease
it to smaller, interested labels. Just recently, Columbia
finally leased some of its masters to Biograph
Records. Hopefully this will be an example to the
other major labels, and they will lease older material
for a reasonable price to small reissue labels, who
will then take on responsibility for artist royalties.
But until this happens, illegal reissues will continue
to appear, because small record labels believe that
this material should be available to blues fans.
In the case of postwar 45's and 78's issued on
small labels, the situation is even more complex. Often
the bluesmen have been so eager to record that
they have recorded free, even paid sidemenand studio
costs out of their own pockets. Yet it's hard to describe
this as exploitation by the record companies.
For each 78 or 45 that sold well and made money for
the small record label, dozens lost money. Should
the record company that didn't pay the bluesmen still
receive money for a legal lease of these sides? After
all, most of these records lost money, and the small
label owners often aren't any wealthier than the
bluesmen they record. Their master tapes are their
only assets, and if thej^re issued on bootleg albums
there is little chance mlat they will be legally reissued
later.
We at LIVING BLUES haven't yet decided what
our policy will be on reissue albums for which the
artists receive royalties but no legal lease has been
negotiated with the record company that did the original
recording. We of course strongly encourage the
major labels to loosen their hold on their blues
masters, and make material they don't care to reissue
themselves available for lease. Again we
offer our help in locating blues artists so they can
receive royalty checks. We also will print letters
and comments from our readers, and from anyone
in the record business who wishes to discuss bootleg
reissues. This is a thorny legal and ethical
problem, but if we honestly believe that the blues and
bluesmen should be supported, we as blues fans
must deal with it.
Blues News
Inspired by the success of the September
1970 B.B. King concert, a committee at Chicago
s Cook County Jail is sponsoring entertainment
for its inmates on a regular basis. Jr. Parker
appeared in one of their June concerts.
B.B.'s appearance at the jail came while
he was in Chicago for a stint at Mr. Kelly's on
Rush Street. During that time B.B. was big news
in the Chicago papers. This year Mr. Kelly's
brought a second blues act, Muddy Waters, to
its exclusive audience (May 31 - June 20), and
Muddy similarly was the subject of several
newspaper articles by writers who seemingly
knew nothing about blues. Chess recorded a live
LP at the nightclub, and Muddy made a television
appearance on Cromie Circle, a local intellectual
talk show. Funny, isn't it, how a man
can play blues on the South Side for 25 years,
sell millions of records and receive little public
acclaim, and then become the pride of Chicago
when he makes it—for three weeks—with
white society?
LIVING BLUES Number S i x , Autumn 1 9 7 1
LIVING BLUES i s p u b l i s h e d q u a r t e r l y ( b i - m o n t h l y b e g i n n i n g i n
1 9 7 2 ) b y L i v i n g B l u e s P u b l i c a t i o n s , P . O . B o x 1 1 3 0 3 , C h i c a g o , I I I .
6 0 6 1 1 . S i x - i s s u e s u b s c r i p t i o n r a t e s : $ 3 . 0 0 i n U . S . A . a n d C a n a d a ;
$ 4 . 5 0 o t h e r c o u n t r i e s v i a s u r f a c e ma i l . F o r e i g n a i r m a i l s u b s c r i p t
i o n r a t e s : $ 7 . 8 0 t o E u r o p e a n d L a t i n A m e r i c a ; $ 9 . 0 0 t o A u s t r a l i a ,
A s i a a n d A f r i c a . P r i n t e d i n U . S . A .
C o p y r i g h t © 1 9 7 1 b y L i v i n g B l u e s P u b l i c a t i o n s .
STAFF
P a u l G a r o n
B r u c e I g l a u e r
Amy O ' N e a l
J i m O ' N e a l
COVER PHOTO BY AMY O'NEAL
A p p l i c a t i o n t o m a i l a t s e c o n d - c l a s s p o s t a g e r a t e s i s p e n d i n g a t
C h i c a g o , I l l i n o i s .
contents
Bootleg Blues: An Editorial 2
Blues News 2, 3, 29, 36 , 48
Snooky Pryor 4
Ann Arbor Blues Recital 7
1970's Most Popular Blues Singles 9
Lowell Fulson Interview, Part Two 10
(continued from issue #5)
Introduction to Black Gospel Music 21
Cadillac Baby 23
African Influence and the Blues: 30
An Interview with Richard A. Waterman
Albert & Freddy King at the Fillmore West 37
LP Reviews 33
45 Reviews 44
Book Reviews 45
Blues Questions & Answers Column 46
Collectors' Ads 45
Please note our new address: P.O. Box 11303,
Chicago, Illinois 60611.
A note to new and prospective subscrioers:
Please let us know which issue you want your subscription
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LIVING BLUES a g e n t i n E n g l a n d : C h r i s R e i c h a r d t , 2 6 D o v e r -
c o u r t G a r d e n s , S t a n m o r e , M i d d l e s e x , U . K .
Blues News
Fenton Robinson, long a fixture on the Chicago
blues scene, has moved to San Francisco.
Fenton joined the Charlie Musselwhite
band as lead guitarist when Charlie visited
Chicago in August, and the partnership was
so successful that Fenton returned to the West
Coast with Charlie. According to reader Kevin
Greenwood, Fenton is temporarily rooming with
Luther Tucker, the former James Cotton and Little
Walter guitarist.
We've received unconfirmed reports from
Europe that Curtis Jones, the Texas pianist and
guitarist who has resided in France for nine
years, has died. We would appreciate more information
from our European readers.
Blues News
Some Michigan blues news from Fred Reif,
Lightnin' Slim's booking agent: (Sept. 1, 1971)
"I have been working with BoBo Jenkins down at
his studio. We are working on his new album,
which I hope will be released some time next
month. All new material will be on it. Also,
Lightnin's new album on Excello will be released
around Sept. 10.
Lazy Lester went back to Baton Rouge
last February and I have not seen or heard from
him since.
I brought in Dr. Ross for a concert last
month at the Holiday Inn's bar; it was a sellout.
Everybody had a great time.
Arthur Gunter has signed a new contract
with Excello. I found Baby Boy Warren a few
weeks ago. He said he hasn't played in a long
time because of a sickness, but I hear he got
up and played a few numbers at the Detroit Blues
Fest a few weeks ago."
Reif's address is 1928 Robinwood St., Saginaw,
Michigan 48601; his phone is 1-517-753-
1024, for anyone who wants to book Lightnin'
Slim.
A report on the European blues scene
from Alan Raeburn, who was there earlier this
year: London still has the white club-circuit
singers. I did see Memphis Slim in Paris and
he was quite effervescent. The audience is a
stiff, formal upper-class crowd but he can still
rock it a bit. He asked about Sunnyland Slim
and Little Brother (Montgomery), as well as
putting down the blues festivals in the U.S.
for not letting the old delta men alone:
'They're too tired. Leave'em alone.' Of course,
he has lived in Paris for 11 years. He's never
heard of Dave Alexander or any of the new
blues singers.
P.S.- Plenty of young people love the blues in
Germany, Holland and Denmark."
(Memphis Slim was scheduled to return to
the U.S. recently, and had a gig slated for the
Quiet Knight in Chicago, but visa problems
supposedly prevented him from coming.)
Thanks to Charles Forbes of London for setting
us straight on "Deadric Malone," cited in the
Bobby Bland article (issue #4) as one of Bland's
songwriters. According to Forbes, "It's generally
accepted that Don Robey = Deadric Malone.
It's also accepted that the name'Deadric Malone'
covers more than one person's songwriting
activities."
-SNOOKY PRYOR-
— Amy O'Neal
I used to hear guys play, you know, and then,
the funny part about it, my father was a minister,
and my older brother, he had just married.
My father wouldn't allow us to play what we
called 'blues' in the house, you know, in the
South. Well, I buys me a cheap harmonica, I
started to play it there, and he told me I had to
get out of there, with that kind of carrying on.
So my older brother, he had just married, so I
went to his house—He was at me (to play),
set up most the night, you know. That's where
I got my rehearsal at. At his home, he couldn't
put me out. So that's how I got started in harmonica."
In Lambert, Snooky grew up with
Jimmy Rogers and remembers when "we was
little kids like this," holding up his hand
waist-high.
While in Mississippi, Snooky heard the
records of Blind Lemon Jefferson, Blind Blake,
Ma Rainey, and Bessie Smith. "I had to go
someplace else to listen to them. My daddy d
hang me if he ever heard me singing the blues.
I used to listen to the old original Sonny Boy's
(John Lee Williamson) records, I used to hear
guys come on the radio and listen to them.
He heard the King Biscuit Time program over
KFFA, with "Sonny Boy, Joe Willie, Robert
Junior, and Peck. I used to be around them,
over in Helena. But I never played on King
Biscuit Time."
Snooky first came to Chicago in "1940.
I left and came back in 1945." He was playing,
"just a little bit, house parties, but it
wasn't going strong-I was pretty young then."
During the war, Snooky was stationed in the
South Pacific, and played USO shows. "I won
a $50 war bond playin' one of Woody Herman's
numbers, 'Flying Home,' on the harmonica."
Snooky was also stationed at Fort Sheridan,
north of Chicago. "The old original Sonny Boy,
John Lee Williamson-he used to play at the
Kitty Cat at Madison." Snooky would come
down to the club in his uniform, and "play at
his bandstand. He got angry because I was
gettin' more applause than he was. He made
me get off his bandstand." Snooky was discharged
from the Army on November 16, 1945.
The first musicians Snooky heard in Chicago
were "James Scott, he's also from Lambert.
He was playin. guitar. I played with him
SNOOKY PRYOR
SNOOKY PRYOR. His name may not mean
much to followers of the 1971 blues scene, as
he has neither made records or "even been in
a club since '62." Yet the sides he recorded
between 1947 and 1962, singing and playing
harmonica, rank as classics in the Chicago
postwar blues style—and have been widely
re-issued on the Buddah, Flyright, Sunnyland,
Mamlish, Blues Classics, Highway 51, and
Muskadine labels. But Snooky Pryor's life
story, whereabouts, and activities had remained
a mystery until we called up Homesick James
one night in June. He off-handedly mentioned
that another musician was with him. "You
know Snooky Pryor?"
James Pryor was born in Lambert, Mississippi
on September 15th, 1921, and grew up
there. He was the only member of his immediate
family to go into music, but he "had a
uncle, he used to play fiddle. Tom .Highrolling."
When he was 16, he moved to "Arkansas,
into Missouri, from Missouri to Illinois.
And then the Army." He began playing harmonica
at 14, as well as drums. "I taught myself;
4
(in Mississippi) at those country dances and
things. In Chicago, he be with Eddie Taylor
sometimes, over at this club on Washtenaw and
Roosevelt." (Ed. note: known in the '50s as
the Congo Lounge, now known as Big Duke's
Flamingo.)
Snooky formed his first band in Chicago
in 1946. Other musicians included Floyd Jones,
Eddie Taylor, Homesick James, and Moody
Jones. "Floyd Jones, he started to callin' me
Snooky ... We was callin' Jimmy Rogers
Snooky when he was a kid. It's just a pet
name." Sometimes, Jimmy Robinson played
drums, or Castell (who nowadays works occasionally
with Howling Wolf). His first record
was made in "1947—you know, after they quit
makin' records? I was one of the first after
they started again. I was recording before
Muddy Waters. I made "Telephone Blues" in
1947, my first recording." As to whether he
or Johnny Young made the first postwar Chicago
blues record, he says, "We recorded along
about the same time; that's me playing harmonica
on Johnny Young's records." Snooky
playd at the Maxwell Street Market and remembered,
"I was rather young then. It was
really fun and we made quite a bit of change
down there." He also played "package deals"
with Baby Face Leroy, and was "on shows
with Big Bill Broonzy, Memphis Minnie, Son
Joe. At the 708 Club; it used to be right side
of Montgomery Ward. Memphis Slim he used to
play there."
Snooky also played on sessions with
"Floyd Jones, Homesick James, and I played
on a session with John Brim, too," on Veejay.
When asked for nore specific details, he
admitted, "I really don't know. It's been so
long—I'll tell you the truth: after things started
going haywire, I just forgot everything. 1 threw
it away. Sold amplifiers, guitars; I kept only
one thing. I've got a chromatic harmonica I
paid $30 for. It's still in southern Illinois. It's
the only thing I got out of my music. I kept it
as a souvenier. And everything else I sold."
There was no single incident which turned
Snooky away from music. He'd just had enough
of "Bad deals! Is that sufficient?! Making
other people's livings, and I don't get a thing.
That ain't so good!" He enjoyed performing
in clubs, but the record deals never seemed to
work out. His regular place to play in Chicago
during the '50s and early '60s was the Jamboree,
3328 E. 90th St. (90th and Mackinaw),
and the 708 Club, "oh, a great variety of bars,
and I used to travel quite a bit too . . . down
in Tennessee, Mississippi, Arkansas, Ohio."
His biggest hits were "Telephone Blues,"
Snooky and Moody's "Boogie," and also the
"Boogie Twist." As a bandleader, Snooky was
"pretty strict," but was a good showman as
well. "I knew I was ... I was—weird." And
"I was pretty big in Chicago one while. Guys
startin' out, the big name musicians wouldn't
give 'em a chance. Junior Wells, Freddy King,
Jimmy Reed, a lot of guys. I would give 'em a
chance to play, let 'em be heard . . . Roosevelt
Bland, Bobby Bland's cousin." Snooky gives
"Sonny Boy No. 2 credit for bein' the best.
Little Walter, he was good. When Little Walter
was startin', he didn't have no time . . . his
time was so bad. You can take three or four
good musicians and they can hold it together
so the other guy won't mess up time."But
"I didn't back up off no other harmonica players—
Big Walter, Little Walter, none of 'em."
He doesn't know how many records were sold,
though. "Them old guys took me and got gone.'
We had heard from Homesick James that
Snooky had become a preacher. "No, Homesick
told a lie; no, I'm not a preacher . . .
but one thing, I started studying, I started
studying Biblical history. I'm not from
Ishmael, where you get your Muslims from.
I don't have a religion; now, I am Israel, descended
from Abraham, Isaac and Jacob, but
religion, I don't have a religion. So 1 decided
I would lead a different life. I ain't had a drink
in nine years, you know what I mean? I gets
lots of rest, I works every day. I'm a carpenter.
I make a pretty decent living; I make $7.65
an hour. You see, I got a pretty good-sized
family and I like to kinda live half-decent too.
I don't want my kids to suffer, y'understand.
I like to get mine honest, I don't want to rob,
steal, or cheatin' ".He feels no discrepancy
between his history of blues singing and what
he reads in the Bible. "I'll tell you—it's just
telling a story, most of it is past life, tribulation,
hardship. That's mostly all it is."
Snooky will not go back to the Chicago
blues-bar circuit and the live music grind.
"On, I refuse to go back into the music field.
I might sit in on a few sessions or like that,
but as far as going back into the entertainment
world, no." He hasn't kept up with the
blues scene today, and doesn't go out to the
clubs. "My family don't want me back out
there, too rough. It's four times as bad now as
it used to be. Gangs were kind of rare then."
"Homesick and the other guys, since they rediscovered
me, they been trying to get me to
go back . . . Back here, in December, I run
into Homesick for a few minutes, he was tellin'
me about my numbers over there in England,
he's trying to get me back into the music
field. Up until then I hadn't seen him in six
years. You see, I got away from the music entirely.
All the guys know me, they just don't
know where I've been! Yeah, I cut out from
em.
Thus far, only Arhoolie Records has paid
Snooky royalties for his performances which
have been re-issuedon the Blues Classics label
We hope that the other companies who have
re-released Pryor's excellent postwar blues
will follow Arhoolie's lead. Readers are refered
to our editorial on page 2.
6
Bruce Iglauer
The Ann Arbor Blues Recital on July 24
was really an exceptional blues concert. I've
found that most concerts with a number of
bluesmen seem to take on the stiffness of a
combined talent parade and living museum.
But the organizers of this concert managed to
create just the right, unpressured atmosphere
for bluesmen (and one blueswoman) to interact
with each other, both on and off stage.
Some of the best blues was played backstage,
and those good spirits were carried from the
dressing room into the performances.
One reason'for the relaxed atmosphere was
that the concert was a benefit,, to support a
new black self-help organization called International
Black Appeal, and the artists were
appearing for expenses money only. Worth Long
a former SNCC organizer in the Deep South as
well as a folklorist, recruited the talent, and
he knew most of the bluesmen personally. His
easygoing attitude and that of Bill Jones, the
local IBA man, helped everyone relax.
Worth and Bill wanted to make the blues,
not big-name musicians, the star of the show,
so the talent was chosen to, avoid the established
names who play often in the Ann Arbor
area. Mighty Joe Young, bringing his six-piece
band from Chicago, was probably the best-known
bluesman. From Memphis, Worth recruited
Houston Stackhouse and guitarist Joe Willie
Wilkins, the last two members of Sonny Boy
Williamson's 1940s King Biscuit Boys band;
they in turn brought Sonny Boy Blake, an unknown
but talented Memphis harp man. Also on
the bill was Betty Fikes, a young singer from
Selma, Alabama. But when the cars arrived
from Memphis, there was a surprise. Frank
Frost, the legendary harp player who recorded
for Jewel and Phillips, had heard about the
benefit and decided to bring his band along
from Lula, Mississippi.
The concert evening began with an informal
home-cooked dinner in Ann Arbor, where the
Chicagoans had a chance to get acquainted
with the Southerners. While musicians and
friends ate inside, Houston Stackhouse reigned
supreme on the front porch, trying out an acoustic
guitar and quietly reminiscing with Sonny
Boy Blake about King Biscuit days. Sonny Boy
remembered some of the more obscure figures
from West Helena, including Charley Booker
and Houston Boines, but the passing people
made an interview impossible. I did get a
chance to hear Stackhouse run through a few
tunes, though. Surprisingly, these instrumentals
were played mostly in a Blind Blake ragtime
style, not the Delta style he's recorded.
But Stackhouse played these rags with a
smooth, rolling touch. He's obviously a more
versatile musician than his few records indicate,
and should be recorded again.
Dinner ended, and the whole crowd adjourned
to the vast Hill Auditorium on the
University of Michigan campus. Backstage,
Frank Frost started the jamming with some
solid boogie woogie on the dressing room
grand piano. By eight o'clock the hall was
almost full; the cancellation of a major rock
concert probably added to an already good
house.
The Progressive Blues Band, a local
group, opened the show. Their music was as
much jazz as blues, with some nice tenor sax
work, but the group really didn't get together
until Betty Fikes came on to join them. Betty
promptly proved herself a superb modern blueswoman.
Her background is in gospel singing in
Alabama, where she was also a member of the
SNCC Freedom Singers, and you can hear the
gospel styling in her blues. Her voice is very
clear and full, polished, but not too smooth,
slightly reminiscent of Aretha Franklin. She
sang mostly standards, Stormy Monday, Summertime,
but brought life to even these hackneyed
tunes. The audience loved her; they responded
like she was the next Aretha, and if she chooses
to go professional, she might be.
Mighty Joe Young's band followed Betty's
fine set, opening with a long instrumental
version of Watermelon Man before settling down
into a slow, modern blues groove. Joe always
lets his sidemen stretch out, and his tenor man
and second guitar contributed some fine long
solos, but Joe earned the weight on his vocal
and guitar talent. He pushed through a set of
B. B. and Albert King tunes mixed with songs
from his new album, amply displaying the reason
why he's the most popular blues session
guitarist in Chicago. Joe may not be the most
original guitarist in the city, but he certainly
makes up for it in technique. His set was climaxed
by the return of Betty Fikes. Backed by
Joe's second guitarist, she brought down the
house again. U
I missed a lot of Joe's set, though, because
of the flurried arrival of Dr. Isaiah Ross.
Dr. Ross had heard that Stackhouse and Wilkins
were in Ann Arbor, and rushed down from his
home in Flint, Michigan to see them it had
been 24 years since their last meeting. After
an excited spell of hugging and reminiscing
about Memphis in the '40s, Ross pulled out his
harps and Stackhouse picked up his guitar. The
result was a wild version of Cherry Street
Blues, with Stackhouse working hard to follow
the Doctor's irregular phrasing. Then Dr. Ross
carried his excitement onstage, setting up his
one-man band outfit as Joe Young went off. The
audience was a little taken aback by his unannounced
appearance, and his unusual lefthanded
guitar style, but soon picked up his
enthusiasm. As usual, his good humor and good
boogies were infectious, and he instructed the
audience where and how to applaud, reminisced
in his own garbled fashion and tried to explain
ANN ARBOR
SATURDAY
JULY
RECITAL
SATURPAY
JULY
MI55I55IPPI PEim BLUES BAND
HOUSTON STACKHOUSE •
SONNY BOY BLAKE
JOE WILLY WILKIN5
BCTTYFSKES
MIGHTY d6t YOUNG AND HIS Ch!!CA
AU
O BLUES BAND
trw
8 PM.
-APMI55ION *1.50-2.01-2.50
ADVANCE TICKETS: MICHIGAN UNION. DIA&, SALVATION STORE, DISCOUNT
RECORDS. HUDSON'S. VE LONG'S BARBECUE, AMP AT TH€ VOOKhis
enjoyment at seeing his old friends again.
The musical high point of his set was his
Good Morning, Little Schoolgirl, with just
voice and harmonica. But for the Doctor, the
climax of the set was introducing Houston and
Joe Willie.
The Stackhouse-Wilkins set was divided
into two parts, good and great. For a few numbers,
they backed up Sonny Boy Blake, as he
performed some numbers he recently recorded.
His harp playing was good, in the style of
Sonny Boy Williamson I, but after Dr. Ross'
electrifying harp, nothing could compare. When
Sonny Boy finished, Stackhouse and Wilkins
settled down to a set of Delta blues standards,
and their performance was thrilling. Joe Willie
seemed a little tired, and didn't play quite up
to his great, reputation, but Stackhouse carried
the set. He sat quietly, his face totally calm
and relaxed, while his singing carried the
tremendous tension unique to great bluesmen.
His falsetto on Tommy Johnson's Cool Water
Blues was much purer than on his records, and
Canned Heat Blues was simply unbelievable.
His nasal voice is completely under control,
and has the time-worn, wise quality of a man
who's been singing blues all of his life, I can
only say that this was one of the most moving
country blues performances I've ever seen.
Unfortunately, the set was cut short because
Frank Frost and his group had been,
scheduled to do a short .set before the midnight
closing time. Frost's reputation is based on
his harp work, but more recently he's switched
to organ. To please the crowd, Frank did the
first half of his set Jimmy Reed-style, with
guitar and racked harmonica, accompanied by
Jack Johnson on guitar and Sam Carr, Robert
Nighthawk's son, on drums. But Frank's years
away from his harp were too obvious, and these
first numbers didn't come off; Johnson's brilliant
guitar carried the first half of tlje set.
When Frank moved to .organ, however, he showed
his real blues talent. He broke into a powerful,
gritty version of Calvin Leavy's hit, Cummins
Prison Farm, featuring some fine organ and a
really impassioned vocal.. The band was just
getting into some instrumentals when the closing
time came.
If plans work out, this one concert may
evolve into a touring show, raising money for
International Black Appeal and bringing some
really good blues to a new audience. If the tour
is anything like the Recital, the combination
of great bluesmen and an easy, relaxed atmosphere
for them to work in should make it a
great showcase for the blues.
8
1970's Most Popular Blues Singles
This list represents every "blues" record that appeared
on BILLBOARD'S weekly Top 50 Soul charts
from January 3, 1970, to January 2S 1971. The ranking
of each record reflects how long it was on the charts
and the chart position for every week it appeared.
Even a quick glance reveals that some of these songs
aren't truly blues, however; the list actually includes
(1) all records made by artists usually thought of as
blues singers; (2) any blues records made by soul artists;
and (3) various records which fall in between
tne categories of blues and R&B or soul. Thus, while
Johnnie Taylor's Steal Away is perhaps not a straight
blues, it is bluesy enough, by consensus of the LIVING
BLUES staff. This list includes a lot of soul
blues, blues ballads and even non-blues, but in that
way it does reflect where a lot of blues singers are
today, record-wise. The fact is that very few pure
blues ever make the charts nowadays.
On BILLBOARD'S overall 1970 Soul Top 50 list,
Steal Away was 11th andB.B.'s The Thrill Is Gone
was 22nd. Aretha's version of Thrill was 42nd, although
its high rating was due to the fact that it was
charted as a two-sided hit, with Spirit in the Dark on
the flip side. No blues record ever went higher than
No. 3 on the weekly charts.
Blues recordings were scarce on the LP charts,
too, though B.B.'s COMPLETELY WELL (Bluesway
BLS 6037) was on the charts for 29 weeks and was in
the No. 5 spot for two weeks. It ranked 10th on the
Top 50 Soul LP's for 1970 and was also listed on the
Jazz LP charts. B.B.'s LIVE AND WELL (Bluesway
BLS 6031) and INDIAN OLA MISSISSIPPI SEEDS (ABC
ABCS 713) also made the charts last year, as did Little
Milton's IF WALLS COULD TALK (Checker LPS
3012), Ike and Tina Turner's THE HUNTER (Blue
Thumb BST 11), and two Ray Charles albums.
The following list was compiled from the weekly Soul
charts and does not represent actual sales figures.
The first figure in parentheses represents the number
jf weeks the record appeared on tfo charts; the second
number represents the highest chart position
reached.
1 . STEAL AWAY, Johnnie Taylor, Stax 0068. (14 wks., #3)
2. THE THRILL IS GONE, B.B. King, Bluesway 61032 (14 w., #3)
3. THE THRILL IS GONE, Aretha Fig hklin, Atlantic 2731 (10, #3)
4. PART TIME LOVE, Ann Peebles, Hi 2178 (13 wks., #7)
5. J.F WA L LS COU LD TALK, Little Mil ton, Checker 1 226 (10, #10)
6. BIG LEG WOMAN, Israel Popper Stopper" Tolbert, Warren 106
(11 wks. #13)
7. BABY I LOVE YOU, Little Milton, Checker (9 wks., #6)
8. CHAINS AND THINGS, B.B. King, ABC 11280 (9 wks., #6)
'f,J0U'VE G0T A HEART< Bobby Bland, Duke 458 (10 wks.,
#1 0)
1 0. SO EXCITED, B.B. King, Bluesway 61 035 (7 wks., #14)
11. IF LOVE RULED THE WORLD/LOVER WITH A REPUTATION,
Bobby Bland, Duke 460 (7 wks., #16)
12. SOMETHING STRANGE IS GOIN' ON IN MY HOUSE, Ted
Taylor, Ronn 44 (11 wks., #26)
13. KEEP ON LOVING ME, Bobby Bland, Duke 464 (7 wks., #20)
14. IF YOU WERE MINE, Ray Charles, ABC/TRC 11271 (9, #19)
15. LAUGHIN' AND CLOWNIN', Ray Charles, ABC 11259 (6,#18)
16. HUMMINGBIRD, B.B. King, ABC 11268 (7 wks., #25)
17. SOMEBODY'S CHANGING MY BABY'S MIND, Little Milton,
Checker 1231 (5 wks., #22)
17. (tie) LOSERS WEEPERS, Etta James, Cadet 5676 (7, #26)
19. MAMA'S BABY DADDY'S MAYBE, Swamp Dogg, Canyon 30
(6 wks., #33)
20. 1 GOT A PROBLEM, Jesse Anderson, Thomas 805 (7, #35)
21. FREEDOM BLUES, Little Richard, Reprise 0907 (4 wks., #28)
22'. WORRIED LIFE BLUES, Little Jr. Parker, Minit 32080 (3,
#34) '
23. CUMMINS PRISON FARM, Calvin Leavy, Blue Fox 100 (5,
#40)
24. TO LIVE IN THE PAST, Percy Mayfield, RCA 74-0307 (3,
#41)
25. SWEET WOMAN LOVE, Geater. Davis, House of Orange 2401
(5 wks., #45)
26. WORRIED LIFE, B.B. King, Kent 4526 (2 wks., #48)
27. CAN'T SEE WHAT YOU'RE DOING TO ME, Albert King,
Stax 0069 (2 wks., #50)"
«
— Compiled by Jim O'Neal
9
uuinc BLUES I1ITERUIEUI:
LOWELL fULSOII
Interviewed by Bruce Iglauer, Jim O'Neal and
Bea Van Geffen at the Boberts Motel, Chicago,
on December 15, 1970.
PART TWO
LIVING BLUES: What kind of music were you
playing in Guam?
LOWELL FULSON: Well, then, with the band,
;I was mostly playin' Louis Jordan stuff. I taken
Caldonia overseas. They'd hadn't never heard it,
, you know. And' that kind of stuff. I always did like
Louis' stuff, his kind of stuff. I used to listen at
his records and things.
When did you come back to the States?
I got there in Norman, Oklahoma, that's where I
got discharged at, 5th of December in '45. During
that time, my wife and her mother had moved
to Duncan, Oklahoma. That's out close to Lawton.
Fort Sill, big army base down there. So I went
home and I stayed there about from December to
May. I left and came back to California and I recorded
in June. They was ready for me to start
recordin'.
Who did you record for then?
Big Town.
You arrived back in California-how did they know
about you?
Well, they knew me when I was there. I was stationed
there for nearly two years in Alameda and I
played all over the beach. I'd play parties, house
parties, there, you know. And I got acquainted
pretty good like that. And the guys'd be at the
front gate waitin' for me when I get off, you know,
to pick me up, see, and then on the Sunday night
they'd bring me back to the barracks. And I'd just
go from different houses, maybe your house when
iyou have a party and I play for that, and next week,
he'd have one. Just runnin' around and things like
that. So when I come back, well, I tell you, I
played so much by myself I got most of my experience
overseas playin' with the band because it
had been so long since I played with a band, it
was kind of hard for me to change properly. I
knew where to change, but I didn't know when to
change. You understand? So, by me being overseas
with them cats, well, I got that down pretty
good, see. So when I got back to the States, well, I
was in pretty good shape but I still needed a lot
of work on myself so I just kept on punchin', you
know.
When do you think you had a style that you would
call your own?
Well, when I went overseas. We got a little old
group together. A little before I went overseas,
I was practicin' on my own sometimes. And when
I came back, I started recordin' out there in San
Francisco. And I probably had my own thing goin'
just about like I wanted it for that type of music,
but I found I couldn't get no work to amount to
no thin'. So I went to leanin' towards the country
and western that I'd learned and put the blues in,
you know, and that kind of step it up a little bit.
And the arrangers, the guy that arrange the session
for you, I listened to guys and then I began to kind
of clean up a little bit, you know. I mean get away
from them old cigarette-smokin' barrelhouse blues,
them type of blues that nobody can play with you
hardly. To where you could play with 20 pieces,
or 50 pieces.
Did you have a band while you were in California?
Before I went overseas? No. I would go around and
meet the jam sessions. You know, cats have jam
sessions on Sunday evenings, and I'd go on the
bandstand, they would leave. My timin' was so bad.
Really, it was bad. I just wasn't ready for no
band. I wouldn't change in time. What confused me,
them cats, some of 'em be playin' semi-jazz stuff
and cuttin' them notes, quarter and eighth notes,
andl justwasn'tready for that. I hadn't had enough
training with it. But this old boy played piano
and the drum, they'd stay with me. I could handle
that all right. But them horns and them other
•sharp guitar players, man, they'd walk on off.
The first records you made—those were just with
you and your brother?
Me and my brother, yeah. First two records I made
was me and my brother and then I had a bass and
,a piano. Big Dad on bass and Eldridge McCarthy
on piano and myself. My brother, he quit playin',
then, you know. And then that's what it was,
three pieces for a good while and then I got pretty
good enough to where I went to playin' in clubs.
From your records, it sounds as tnough you went
from duet and trio right into large bands. Was
this actually the case, or was there a transition?
11
That's the way it really worked. You practice, see,
when I got back. I got a little experience overseas,
then I got a little rusty because during the
time from my departure from Guam until I got to
California I got a little rusty. So when I went back
I started off with no band; I said well, I was gonna
play some blues. So me and my brother, we just got
down and cut two or three records. And then, that
wasn't what I wanted. So Eldridge McCarthy come
around and he play all the time, just him-he's a
big, curly—haired fellow. And me and him would
play. "Now, Eldridge," I said, "if we could get
a bass, we could cut a record." He said, "I'll
get you a bass." So he called Big Dad. Big old
upright bass. He a big, tall man. So we messed
around there with that thing, so old Bob heard it and
said, Man, let's go to the studio. It's ready."
So we did. Went to San Francisco. I cut Three
0 Clock in the Morning, BlackWidow Spider Blues,
some more stuff-Miss Katie Lee and a whole
lot of other junk.
What was the first song you wrote?
Well, Three O'clock in the Morning, one that B. B.
did. I gave it to him. I wrote Black Widow Spider
Blues, Trouble, Trouble, oh, a. lot of old songs
in them days. I was makin' them up all the time
but I wasn't putting them on paper. I just make 'em
up when I got to the studio, start singin'. Had a
good memory. I was a young man then,, you know.
So we went on in and after that I began to play at
this little club over in North Richmond. Eldridge
McCarthy, he'd go and record with me, but he
wouldn't play night clubs. 'Cause he was a church
man, see. He wouldn't play in 'em. Big Dad
wouldn't^ either, so I say, "Now, I got to get me
a band." Little old band. So I got King Solomon
and a boy named Count Carson. Just three of us.
And we went out there playin' in Richmond, North
Richmond. Played out there and I was gettin',
1 think, about $20 a night for the weekend. So I
steady recording and steady practicin'. So this
little boy that blows on Lonesome Christmas,
alto player, he was goin' to high school and I
taken a likin' to him. He was about 15 and so we
taken him in, me and my brother, and got a bunch
of Louis Jordan's records. And had him practice
on the style of Louis Jordan. That's why he had
that alto the way he blow it.
That was around '47, about a year later. And
we just went to playin', so I went up to $35 a
week, a night. Mare Island shipyard. That's where
you have nuts and bolts and U-joints and all that
stuff. So I played music on the weekends. And so
one day I left Bob (Geddins) and went to Trilon.
That was in '48. Earl Brown, he hadn't developed
good enough to play with me on no records. So I
think I got Que Martyn, he had his own organized
band. So I done got pretty good, now I can play
with a band pretty good and keep the meter. So one
day about the last of '48 Jack Lauderdale came up
from Los Angeles. He done heard this—I'm makin'
a little noise, but I don't know it. I still got to
work. So I noticed one thing. That my price kept
a-goin' up, you know, I didn't ask for it. But I
guess they laid it on the club, figure someone
gonna get me to play in their club. Place be
packed all the time. So about the last of '48 I
went to L.A. and I did a session. I cut two or
three things. Sinner's Prayer was one, and two or
three more things. Swing Time. I left Trilon and
went to Swing Time in Los Angeles. So I came
in one evening form work, and, man, there's more
cars parked in front of that little house, big old
long cars. I said, "What the world goin' on here?"
Old Reg Marshall from Hollywood, he wanted to be
my bookin' agent, and they droppin' that money,
you know, $1000 here, $1000 there. I say, "Yeah,
I'll go on down." So I goes down there and I cuts
for Jack Lauderdale. Jack called me, say, "Look,
why don't you catch a bus and come on down here
'cause I want you to cut another record." Well,
during that time Memphis Slim had out Angel Child,
and on the other side was Nobody Loves Me.
Well, I didn't like Angel Child but I liked the
other side. So I changed the name to Every Day
I Have the Blues. And one of them verses in there
is my verse, but I still couldn't get the song.
It was their song and they sued me for it, 'cause
of the songwriter's royalty.
Anyway, I went down and cut that, and he released
that right then, when I come on back. And
I was workin' some months and I went up to $75
anight, that's $150 a week! Say, "I'll be a millionaire
before you know it." I came home from work
and had a hit record and didn't know it. Still
workin' in the shipyard. Next thing I know I gets
a letter from Reg Marshall, "I got you booked at
the Avalon Ballroom, such-and-such a date."
Well, I don't have nothin' but Count Carson, King
Solomon, Earl Brown; Earl Brown's in good shape
now, he's ready. He done made some sessions
with me. So I said, "I don't have a band." He
said, "We got a band down here."I said, "Well,
I'm gonna bring my alto player with me." OK, so
I took Earl and we got on down there. And I was'
on the show with Bullmoose Jackson. Boy, and we
had a time. I told Marshall, "My guitar ain't not
good enough." Hmmm. So he went and bought me
another guitar.
So we went over there, and first thing my
wife told me, she said, "No, I don't want you to
go and play. You can work in the shipyard." So I
thought about thatr I was out there one day and
worked till lunchtime, I thought about that. I say,
Sh . . . I took that lunch bucket and emptied
all that stuff out there into the trash can. Got around
and punched out. Say, "Where you goin'?" "Goin'
home." "Be back tomorrow?" Say, "No, I won't
be back." That old timekeeper. I say, "No, I'm
not comin' back. You can use somebody else in
my spot. I walked in and say, "Where you going?"
I say, "I'm goin' to make me a million
dollars 'cause if I stay in thst shipyard I'll be
poor the rest of my life." Boy, that woman, she
got angry with me, but I went on anyway. Never
did go back. For a few years, I wouldn't even
look in that direction when I played in Vallejo.
And that little old boy had a big old club, right on
the waterfront. And every time we would have a
great big dance, it held about 8-900 people, we'd
fill it up. And the next week somebody'd burn it
down. It would take him six months to build it
back. During that time you play at 126 or around
Richmond or Oakland, over in San Francisco. Me
and Ivory Joe Hunter played in San Francisco.
Cafe Society.That's after I got Every Day I Have
the Blues out. And then Blue Shadows came next.
During that time I organized me a band. Me and
12
LOWELL FULSON
Lloyd Glenn was playin' together on records.
'Cause he wouldn't use my band on records. He'd
just use Earl Brown was the little band I had.
I wasn t carryin but four pieces. So we went on
and I moved to L.A. And after I moved down there,
well^Earl, he went along with me. And the drummer.
Cause locally Lloyd Glenn would play but
he wouldn't leave town. So I had my alto player
and my drummer and then the piano player was
Lloyd Glenn, and the bass player would play.
Four pieces.
Is that why you favor alto players now?
I guess so. I like the tone of an alto. I like the
pitch of an alto. Alto or clarinet, I like the pitch
of it. Tenor's a good swing horn, but that alto,
the music of it...I don't know why, but I always
did like alto or clarinet. You can't hardly find a
man play the blues on the clarinet. So I have one
of my boys play clarinet now in school. I don't
know what kind of music he'll play.
Were you playing electric guitar by this time?
Um-hum. I played electric guitar all the time, but
I didn't have one. Them records I made was a
Holiness preacher's electric guitar. I played
electric guitar all the time. Overseas I had an
electric guitar. Preacher's guitar I cut them records
with up in Oakland for Bob Geddins. See,
like if you take instruments overseas, you leave
'em there for donation. So that someone else come
over there can play, well, he got an instrument to
play. You donate that to the Red Cross, see.
So I left my amp and guitar over there. So I played
that preacher's guitar for a long time. I was
learnin' him to play and he let me use his guitar.
He said, "Don't tell me where you're goin' with
it, just go on and take it." Thought you were
puttin' some sin on the instrument.
Is the King Solomon you worked with the same as
the one who's had records out?
No, no. His name was Ellis Solomon but he named
his own self King because he said he was king of
the piano, he thought he was hot stuff. He was
good, he was a good bluesman. He was the type
of Tampa Red and...he wasn't smooth, he was
plankety-plank, you know. But he played, boy,
he could really play that stuff. He was a good man.
When did you stop working with your own band?
In 1950. We organized at the union hall. Me and
Reg Marshall didn't get too much, he just got
about two or three dates and then Ben Wallace
started to bookin' me. And when I knew anything
13
he had a cross country tour. And that's the time
...me and Ray Charles recorded for the same
company. Swing Time. They sent up and got
Ray Charles out of Seattle, Washington, and we
built a band right there in L.A. I left with five
or six pieces, and made my tour and come back
around, when I got back around I had 12. I used
to have the band for the Dominos, would take 'em
out on tour, the Clovers they first tour, the Moonglows.
They all toured with your band?
At different times, you know. During that time we
was all workin' out of Shaw, which I got sued for,
'cause I didn't get no release. Shaw Booking
Agent, out of New York. That was right around
'51. First tour I made I made by myself, and boy,
don't you think. I see these guys make one record
and they think they can go out on the road, make
a million. It's kind of hard with one record. But
this happen that we rehearse all the time and I
had a good band. And we could just musically
entertain, you know, until I sing about two or
three songs, 'bout all I had, all I knew.. Every
Day I Have the Blues, Blue Shadows, and had
Low Society Blues, instrumental. Rest of it was
just band music. I get up and do my little three
songs and I was through. Well, Ray Charles
would sing some King Cole stuff and then Eddie
Piper, that s when I got him for the drummer,
well, he sung. And he sang songs like Billy
Eckstine, you know, he was one of them sweet
singers, and I get up and sing some blues. Well,
I had Trouble, Trouble, and like that. But the
rest of the songs, I ashamed to sing 'em many
places, you know. It just didn't fit. I didn't cut
'em with no band, and it just doesn't fit with the
club I be playin'. So I didn't play it. That's the
reason they ask me to play 'em now, I forgot 'em.
Because they didn't go with it.
You told us earlier that your band broke up during
the Korean War. Why didn't you get another group
together?
Well, I put 'em in quite a bit of trainin' for that,
and I just didn't want to go through it again.
Course, I got some more musicians, I patched it
up. And kept my band up to about '53, I think,
and then some of them guys had to go in. We's
in Louisville, Kentucky, at the end of our theater
tour, and Jackie "Moms" Mabley, she was MCing
for us all. I had a bus then and we all traveled
on the bus. And the show was over in Louisville
and the cats were goin' different places. Stanley
Turrentine, I had him then, and the cats were goin'
all different places, so when I got through there
I told Earl he could go home, and so everybody
went home. So my bus had broke down in Atlanta
and I had chartered a bus. So we left Louisville
and went back to Atlanta, just myself, drummer
and my brother, and the bus driver. We had a little
party on the bus, went on back, so I said, "Well,
I'm tired anyway." So the office calls and says,
"Say, I have a band in the office idle, 'cause you
got another tour comin' up. Cross country." I
say, "Man, I thought I was goin' home." Say,
"You're down there. You're goin' on to Florida
and I'll have the band to meet you down there.
And they'll come back." So I said, "Well, all
right. The bus is fixed but I'll have to get a
driver." He said, "Well, OK, so you all get on
down there." So we toured all the way back.
So I used Page's band all up till about '54. And
Reconsider Baby was just beginnin' to come out
then.
Cut with that band?
No, I used another band. Matter of fact, I cut
Reconsider Baby before I got that band. See, I
cut Reconsider Baby after I broke up my other
band. For Chess. I did it in Dallas..
Do you remember the musicians on the Chess
sessions?
Lloyd Glenn would get the band. He was livin'
then. He would get the band and sometimes it
would be Big Jay McNeely and Irving Ashby on
guitar, different guys that he would pick up.
Did you cut for Chess in Chicago?
Oh, yeah. Tollin' Bells, Hung Down Head, all
that stuff. Reconsider Baby was cut in about '54,
'53. In Dallas. See, I lost my band in '53, and
about the last part of the year I was in Texas, and
so I'd already wrote the song, so I cut it then
and that's when I went on back down in Atlanta.
I was livin' in Fort Worth then.
Where were you when you signed with Chess?
Playin' around Chicago here. Matter of fact, the
man that I'm recordin' for now, he handled the
session. In Dallas. Stan (Lewis). He come up
from Shreveport, handled the session for Chess.
You haven't had a band since then?
No, I would just lease a band. Get an organized
group and just use 'em. And then Choker Campbell
started tourin' with me, see. He had a good band,
good seven-piece band.
Why did you go from using someone else's band
to just picking up a band in each city?
Well, because I haven't had no heavy tour. It's
been spots, you know. So I just fly from one town
to another, this be spot work, and I go on back
home. But like if I get a regular state tour, well
I 11 just get a band out of the office, already organized
group, and rehearse 'em awhile and just
go ahead on. Like they furnish you on transportation,
and that save me from buyin' a lot of
rollin' stock.
Is that why you don't do all your old tunes?
Well, it's kind of a handicap, you know, it is
because if you've got a regular band that'you're
gonna work with about a month or two, then you
can get into it. But if you just come to town and
rehearse with the guys for a couple of hours,
maybe three or four hours, you've got to get the
stuff that they kind of familiar with now, you understand.
So you get the things that you can handle
pretty easily, in case if they kind of fall apart on
you, well, you can pick up the pieces yourself,
you don't be dependent on no person.
When I was in England, I had Steve Miller and his
Wonders, out of London, and I felt very comfortable
because when I got there, they already had my
book. And all I had to do was rehearse it, and if
I forget a song, Steve would tell me what to say
next. A book is most all the things you cut. They
just copy 'em down from the records, LPs.
Why did you leave Chess?
Well, I moved back out to California. And it was
so far and Kent was right there. And we wasn't
doin' anything. You know, to be with a recordin'
company, across country, it is kind of hard when
you can't just say, "Well, I'm goin' down to the
studio today, is you got an opening? Who you
got?" "Well, we don't have nothing. You go down
there and cut one song if you want to." If it takes
you all day to cut it, you cut it like you want it.
Then you go on back to the house. If you can't
get all the session in, you go on back and come
out tomorrow, see. To have three or four pieces
and what they want to dub in, they can dub in later.
And like if the band cut the track, well, I can go
down there and rehearse with the track and get the
thing down, and it's workin'. But like if I had to
come to Chicago I couldn't do that. And I'm having
trouble with Louisiana the same way. What they
doin', they're transferrin' all my sessions out
there to Kent, they still buddies, you know. They
stick together. And they'll all set on you, too,
if you make one mad, so you have to be careful.
My temper is...I'm too frankly spoken sometime,
you know. Toward the record company, towards
anybody. Something go to my mind, you're not supposed
to say it. If you're vexed about something,
a little upset about somethin'. I don't hide my
words, I don't smooth 'em off. And some companies
didn't like that, and one company I was with—I
won't call no name—they didn't like it and they
kind of set down on me a little bit on that account.
I talked pretty rough, and this particular recordin'
supervisor, he wouldn't ever say anything back,
but he didn't like it. But I could tell the feelin'
was gone. You want to take it back, but it's too
late, you done said it then. From passion. What
you do then, you say, "Well, I done blowed it
again!" It's the only thing you can do.
But Kent was easy to work with?
Oh, they were beautiful. The onliest reason why I
left Kent was their promotion was bad, and we
couldn't see eye to eye on things. We never did
fuss at one another, but it was just, every good
promotion man he'd get, he'd fire for some reason.
And the expense account —I don't know what goes
on in the book work, but he'll be there a little
while, seem like to me he'll be doin' a pretty good
job, movin' the record pretty good, and the next
thing I know, he's gone. And the record's just layin'
there, nobody to promote it, and they're sittin'
there just burnin' up the telephone. Well, that's
gonna come out of somebody's royalties, 'cause
nobody's workin' up there but the artists. If you
got 10 artists, well, 10 artists are gonna have to
pay for them phone calls and everything else. And
you can't set on the telephone and do proper promotion.
You got to have a field man to get out
there and give it to those distributors and disk
jockeys and things like that, and you just can't set
up there. They got mad at Kent one time on Tramp.
The cats taken and broke Tramp here. It, boom,
just went off. This is the place here, Chicago. If
you break a record in Chicago, you in pretty good
shape. If you don't get a hit, you get a good seller.
But they call this the mother station, everybody
listen to this station to see what's happenin'.
WVON. Break one in Los Angeles, it may not even
get out of L.A. May go further west, into Washington
and Oregon and maybe up in Arizona or something
like that, but it don't get way over like it
would if you'd break it here. You know, unless one
of these guys pick it up after it's broke out there.
And they just set down and went to usin' the telephone.
Set down. Nobody doin' nothin'. And I had
a time gettin' them to release that (Tramp). Yeah,
man, they said, "Oh, that's nothin'." I said, "Man,
release the record." So Bud Scruggs, he disk jockey
in San Francisco then, he's in Oakland now, I
think, and Tall Paul out of Atlanta, they met up at
the office, and they was playin' the dub for them,
and they said, "Man, what you sitting on that record
for? You got a hit." Jules: "Sure enough?"
Smokin' his cigar. So he went on and released it.
The record went on. I said, "I begged you, man,
look here, till I had a sore throat, tryin' to get you
to release the record. I told you." I have another
one down there that I cut right after that, and you
know, they won't release that. And I've been tryin'
to get them to release that ever since. It Takes
Money. Takes dough, Joe, takes lace, cash, you
can't make it without it. They won't turn i-t loose.
I don't know why. Maybe they have their reasons.
I said, "Man, I stay up all night writin' these
songs and you settin' on 'em, baby." I said, "I
can't cut this nonsense." Said, "I'll have to
15
switch on you." Then at the time I had a manager
in a wheelchair, named Fats Washington. I believe
that me and Kent, me and Saul could have got together,
Jules, could have got together and straightened
it out, but Fats is the cause of me leavin'.
(Note: Saul and Jules Bihari.) 'Cause he went
down and got this deal with Stan. I was down in
that way. So they got me hemmed up in the office
and wrote one of them big old fat checks, and I
could use tire check. And I was kind of vexed with
the other company anyway. I said, "Well, let's get
to switchin', gentlemen." So we went on and cut.
And that really hurt Saul, 'cause I didn't get the
full details of it, see. Fats told me one thing and
Saul said he didn't tell Fats that. If'd he'd a'given
me the same money for re-signin, that this man gave
me,Pd as soon stayed there. But he wouldn't do it,
so I switched.
What about Jewel?
Fm not around them enough. That's what I say, a
man cross country from another man. You can talk
to him on the phone, he can promise you anything;,
but if you is where you can go in the office every
once in a while, he gives quite a bit more consideration
about what you do. But he works with me
quite a bit, but his promotion's so bad. They too
busy pushin' underground LP's, like Pve got this
LP HEAVY BAG. Old Jewel's workin' real hard
on LP's, but I don't see nobody doin' nothin' on
the singles. 'Cause like, I got some pretty heavy
stuff I done wrote in the last year, and already had
a nice book in the beginning, but I won't pull it
out and record it 'cause I don't want to expose it
and they set on it, you know. Pd rather keep it, because
it's hard to write originals anyway. Something
that somebody hasn't said 100 times before
you got to it. And when you can weave through as
much as these people singin' and pick out somethin'
they haven't already did takes a lot of work.
So you just hate to throw it away.
Will you cut another album for Jewel?
Yeah, I probably will. He wants me to cut a single
but I don't want to cut a single because I don't
want to be goin' in the studio every time I turn
around. So what I want to do, if it takes me about
16
a week or 10 days, two or three weeks, just cut an
LP, cut another album. And then let him pick out
what he want.
Did you cut Lonesome Christmas again recently?
Um-hum. That's a new one. Well, it's been on exactly
three (labels). I cut it for Swing Time but
they sold the master to Hollywood, John Dawson.
And then I cut it with Kent, and they messed it up.
They put too many horns on it. They didn't mess
it up, but I didn't like the way it was done. Too
many horns on it and the beat wasn't right. So
when I got with this man, he wanted me to do it,
so what I did, I went out and got Earl Brown," I
found him and I got me two or three more cats that
could play like the fellows I used to have, only I
was using wah-wah on the guitar, instead of
straight.
What do you think of the HEAVY BAG album?
You got some pretty good stuff in there and you
got some fairly good blues in there, I think. Some
of it's not nothin'. Them things I cut in Studio 7 in
Dallas is pretty good. I don't like any of the stuff
I did in Muscle Shoals. Don't Destroy Me and Lady
in the Rain was pretty good. And a couple of
things I did down there, I take sick, caught a cold,
lost my voice, couldn't hardly sing. Had to change
keys, and I couldn't get the volume that I wanted.
'Cause Ps singing too low.
You seem to sing stronger higher in your range.
Yeah, you do. When you're not hoarse, you can get
in your regular key, but when you're hoarse, you
got to get in a lower key. So you naturally sing
softer, you don't have the volume. But when you
get where you can kind of blow it out a little bit,
then you do a little better.
Your music seems to progress a little with each company.
Kent sounds different from Chess, Jewel sounds
different from Kent, etc.
Yeah. Well, you do that, you try to cut somethin' and
hope that if you don't get a hit, you can sell good to
get you in different types of clubs. I like to have a
variety of a book so you can be remembered besides
one type of thing, if you lucky to get it over. So that
you can go into different houses. See, some houses
you go in, they don't want no blues, less'n it's a
blues ballad. Kind of soft blues, they don't want the
hard blues in there. And so you try to get somethin'
a little polished up, where if they settin' around
there with their evenin' stuff on and sippin' tea or
somethin', you can drop in a bass ot baritone and
sing sweet songs to 'em, you know. Which is rough,
'cause I like to shout sometimes. They have some
of these cocktail lounges you walk in, very large, you
know. They like to hear 'em. Like I did this thing
Jimmy Rushing did with Count Basie a long time
ago. I cut that, that's on the LP —Goin' to Chicago.
(Note: LOWELL FULSOM NOW!, Kent LP 531/5031.)
They like that.
Do you see your music as progressing in a particular
direction?
Yes, it is. In some sections it's progressin'. And
then there's so many places, there's a place for all
types of music. It depends on the fellow, you know.
Now there's some guys can sing the blues, just the
plain old blues, and they can sing 'em in a certain
way to where that they can go right on, doesn't matter.
And there's another guy can sing his blues and
he's limited, so he'have to take something else arid
try to sing it so he can be more widely accepted.
Now the onliest blues since '55 that I did, was pretty
widely accepted, was Black Nights. And then the
rest of the blues, I mean theyall right on the college
campus; kids like 'em, which once upon a time they
didn't; but like I'm goin' into a club, I can sing
Black Nights anywhere. It's acceptable. It'll get a
nice ovation. But if it's not an old-timer, they don't
remember Reconsider Baby or Blue Shadows. They
may remember it by B.B. King, but they don't remember
it by me. Well, I can do Every Day I Have the
Blues, but I can't sing it my style. I like to swing it
like Count Basie and Joe Williams did. Which that
wasn't my kick, and I cut it. Then I turn around and
say, "Well, I'm gonna switch to, I'm gonna get my
own style beat." So I worked on the beat, and I did
Tramp. Tramp was the biggest one Pve had in a.long
time. 'Cause the teenagers, the younger generation,
went for it pretty good.
Do you think Tramp is blues or rock, or what?
Between. It was between. What made it blues, the
way I phrased it. But the beat was different. The
beat was a semi-rock 'n' roll, but I sung it as a
blues, with a slur on it.
Where'd the idea come from?
1 just kind of made 'em up. Now Jimmy McCracklin
helped me Write that thing, and he had it like he
sings, see. Well, I told him, "Well, Jimmy, I don't
sing anyways like you, and I can't." He call me
Champ. He said, "Well, Champ, you take it, do what
you can to it." So I taken and finished the song out
and I just mixed one beat with another one and other
records I ve heard. And then, I'm like a runnin' back,
I find me a little openin', and right down through the
middle, see, and head on through there. It takes a little
figurin', a little, get off to yourself, and you can
think, ain't got nothin' else to do, then you come up
with somethin'.
Do you think that Tramp is the direction blues will
be going in the future?
We goin' back to some more heavier blues. Blues
will never go out. You may not never sell a million
17
1
seller with blues, but blues, it's a place for it.
Always has been, always will be. But you may not
never get rich. But you won't starve either. But the
cats are singin' the sweet songs, I notice any
group singers, has always been the voices, has
always been a big thing. From the spiritual groups
on to rock groups. You take a boy and a girl singer,
two fellows singing, as long as it's two voices
or three vpices or four voices, they have a better
shot at it than one voice. You have to have an
awful good strong band, arrangements got to be
awful really good and a good strong band nearly
playin' what you sayin', emphasizing just about
what you sayin', before you can get a good strong
.record on singin' as a single. Unless you're singin'
rock 'n' roll. But other'n that you have to have the
music. Music to blend with you.
So are you saying that in rock and sweet songs,
it's the sound, and in blues, it's the words?
In blues it's the words. It's the story. No, but it's
J facts though. Any time you come over with a slow
blues, they'll listen to the story, see what you're
talkin' about. And it's got to be someone is in
that type of mood to listen to you. Some don't want
to hear a story. Some people want to hear some
noise, man. They don't play no attention to what
you're sayin'. You can say, "Yeah, yeah." Something
to jump to. "Yeah, yeah." They don't sing
nothin' else all night and make a smash hit. Here
come a cat done wrote a biography, man, a whole
biography or somethin', the people don't pay no
attention, you know what I mean? So less'n it's
interpreted right, your band's got to do the talkin*.
Other than that, well, you just out there sayin'
somethin'. Somebody got the blues, they'll listen.
Other than that they don't pay any attention.
Do you write arrangements for your band?
I only arranged two songs that was hits, and that
was Tramp, and Reconsider Baby. But the rest of
'em, the guys arranged 'em. So the company tells
me, "I don't know why you don't arrange them yourself."
Which 1 can do fine, if they don't put too
many horns in there. See, like Tramp didn't have
nothin' but a rhythm section. Maxwell Davis, my
arranger,he always mess it up. He's a horn fanatic.
I didn't want any horns in it. It was the company's
decision. When he left and went on a vacation, I
was so glad I didn't know what to do. I called the
old man, I didn't call Saul or nobody, I called the
old man, said, "Let's do it." He said, "Come on
down." And so we got four pieces, and I went in
and cut Tramp. Curtis Tillman on bass, Paul, a boy
named Pete on rhythm guitar, and A. B. on drums.
And, well, I had three horns in Reconsider
Baby, but I had the guys to voice 'em for me, and
this cast certain trend that I wanted. But when
they go them real heavy notes, them quarter notes
and'eighth notes, I'm too busy tryin' to play that
guitar to let them know what to say. But you get a
goodhomman and you tell him what you want, well,
he'll handle this couple of guys over there, as
long as it's not too big, and you can get over to
him what you want. Then you go to your rhythm
section. See, I can handle a rhythm section all
right, I'm not so good with horns 'cause I don't
read music. I spell, you know, because spelling is
different from reading. I'm reading my chart. But I
couldn't set in a section and read the orchestration.
Not now; could when I was young. I forgot it.
When I had my own band, I could. But now, like,
sometime I had my own band, if I had a part that a
guy done wrote off me, I take it and study it—it's
my tune anyway—and say, "Oh, well, chippin' in,
chippin' in." Just like if you'd listen to Funky
Broadway where that guitar come in just them few
little old bars and get out. I studied that and then
I put that stuff up because I can't play meters.
You can't do no switchin'. You can't play lead and
read off the chart, I can't. So you find if you play
lead long enough, you finally get away from your
chart. But if you're in the rhythm section, you got
to keep it with you because you're supportin' someone
else.
What's the West Coast blues scene like today? How
about Oakland?
Oakland did have some good bands ... I don't
know what's happened to the musicians. I remember
the time, boy, that Los Angeles had some powerful
musicians. But most of them cats, man, they'll
get their little groups together and they'll work, see.
Maybe they got 'em jobs. I don't know whether
they done qui or what they're doin', but you don't
see 'em very much. Matter of fact, there's no place
to play in Los Angeles very much anyway. It was
once upon a time. 'Cause almost all your clubs on
the East Side is gone, and that's where your mediocre
people was. Most all them clubs have gone
over there, and they done put churches in them.
All the big bands used to play over on the East
Side from Central Avenue, Club Alabam, the Last
Word, and Brass Rail, it was a famous club back
in them times. Illinois Jacquet, Flip Phillipsthere
were a lot of local, good musicians there
then. Swingin' cats, man. Norman Granz got started
with the Jazz at the Philharmonic out there on
a jam session on the East Side with them cats.
You don't see the musicians no more. And I was
down through there the other day, just lookin', you
know. And every club, just about, where I know the
bands used to be in, they got churches in there.
Little club, little churches. Big club, big churches.
And I feel sorry for the poor preachers. They're
closer together than night clubs. I don't think
there's that many people goin' to church. One
preacher don't need that many churches on one
street. And they're not no large churches, no big,
ni'ce tabernacles, they're just painted up, and pull
out the tables and put the seats in there, you know,
and start to preachin'. Now most of the places now
that I like, Coconut Grove and Shelley's Manne-
Hole and Pico-Chico's and all them places, well,
that's out in Hollywood, see.
Where do you play in Los Angeles?
I don't play there. I'll go over to San Francisco;
I may play the Club Long Island, San Francisco—
either I'll play S and R Room in Oakland but I
18
don't do any playin' on the West Coast much. I was
in Las Vegas here a few weeks ago, and then I
went to Phoenix. My cousin have a club there.
About once, twice a year I play her place. And it's
no big dough, no big thing. I was doin' all, right
long as that boy had the Ash Grove out there in
Hollywood, I'd go out there, but he don't have it
any more. And Shelley's Manne-Hole out there, I
been out there a couple of times, but he don't care
about no attraction. He don't care if you never
made & record, it don't make no difference, if the
music's all right. Just play some music 'cause he
gonna have his clientele anyway. Get someone to
set down and play and the place'll be packed, man.
Three bucks apiece. To come to Shelley's Manne-
Hole. You know, he was a drummer one time with
Stan Kenton.
Where do people like you and T-Bone and Charles
Brown and Lafayette Thomas play?
Well, you see, Lafayette and Jimmy McCracklin is
in Oakland. Me and T-Bone lives in Los Angeles.
Now T-Bone gets more work out there than I do.
Because somehow another he's better known than
I am. Amongst the youngsters. So he get to play
the colleges, the campus, see. And another thing,
you can't ask for too much money, you know. You
got to . . . anyway, he's better known . . .his
name is easy to pronounce—T-Bone, see? Now who
can remember Lowell? I never did get a stage
name. But you ought to hear 'em tryin' to pronounce
my name, you know. Lowell Fulson. It's a
"N." Oh, my grandfather used "M," and I always
used "N," ever since I was in school. My mother
told me to use "N," not Fulsom. Fulson.
Why did Kent change it back to "M"?
I don't know, but that's how they pronounce it . . .
"M." So I don't say nothin'. He may put it on the
record like that, but he don't put it on the check
like that. If he put "M" on there, I put "N" anyway,
'cause that's what's on my driver's license.
Do you work the South a lot?
No. The last couple years I haven't been doing too
much work. Do a little spot work. I fly into New
York and I played at the Underworld there and I
played in Queens, and I may fly in here and I'll do
one or two, three dates, and then I'll go into Texas
19
and I may play Dallas, I may play Houston and a
few suburb towns around Houston. I'll go back
into Los Angeles and I'll play single places, I may
go to San Bernadino or Pasadena or San Diego, and
then I may do somethin' in Oakland or go to San
Francisco, and then I come back to the house and
sit around, ride my horses. I have a few old nags.
I traded one of my cars for two. Two horses. My '
appaloosa mare and the hotblood, buggy horse.
Two three-year-old fillies. And so I just ride them.
C y
Do you play mostly for black audiences?
Mostly. And that's when you don't make no money.
If you do, you got to fight about it. Sometimes it's
all right.
Do black audiences in different parts of the country
have different attitudes about the blues? Do
they like it better in the South?
Yeah. And it's surprising. A lot of places in the
South, the cats done graduated, they don't want
to hear blues no more. Only jazz. Most people down
there, they're still hung up on like James Brown,
Wilson Pickett, that type' of stuff. Finger poppin'
stuff. Well, that's the young trendin' thing too,
you know. But now I did a couple of college things
and they didn't want to hear that. They wanted to
hear some blues. And when me, myself and Albert
King played at Santa Monica Auditorium, I guess
it was a dozen black folks out there. All white.
And, boy, we had a ball over them blues. But Albert
King, he was the star of the show, you know,
which they gave me a show. I had Pee Wee Crayton,
Big Jim Wynn, and my bunch, Albert King had
his band. And so they liked us both. But the guy
that booked Albert King out there, he had the connections
with the thing in San Francisco. And see,
they just put me on the show because they couldn't
find another blues singer out there, maybe because
T-Bone wasn't there. So I happened to get that gig.
I believe if T-Bone had been there, I wouldn't have
gotten it. Butknowin' Albert, me and Albert friends,
he probably got it for me, anyway. But Bone, TBone,
he don't play as much as he used to, you
know.
You said you don't see any similarity between
your playing and T-Bone's?
No, I don't see it. I haven't heard but one guy
that cut records, play quite a bit like T-Bone, and
that's Pee Wee. But I never did use his phrase.
I wished I could play like some of Bone. I never
did try 'cause I didn't particularly care about it.
Not for me. I liked it for him, because he swings
with a..rock quite a bit, and he do quite a bit of
barrin'. And I just run straight, you know. I play
kind of like hillbilly. Single string, mostly. I don't
bar chord.
What are southern audiences like? Is there still a
big blues audience?
They like blues. They love blues. They like my
type of blues very well. See, because it's very
Seldom that I sing too much of a draggy type of a
blues. I usually sing where you can pat your foot
on it. And every once in a while, at certain times
of night, I don't care where you at, you can really
get down with the blues if you got a good house.
But if you don't have very many people, well, you
usually try to keep it moving. And you'll do that in
a sense if your house gets kind of upset like.
See, like sometime I'll get to singin' a real slow
blues; there are some I sings and I put quite a bit
in it. Then they wants to try to misunderstand,
man, say, "Well, you settin' too close to my old
lady. I seen you rub my old lady's knees under the
table," and all that stuff. And they fix to go to
rubbin' elbows and I start the tempo back up and
get it off their minds, because if I set there with
that stuff, they go to boilin', first thing I know,
tables turning over. The people have got better.
If they got somethin' in 'em they usually wait until
th.ey get outside. Now I remember I played a country
and western dance. You talk about some freefor-
alls, if you ever play one of them cats' dances,
boy, and they really get loose, a good clean fist
fight, no knives, this is a free-for-all. But it makes
you uncomfortable, 'cause you don't know whether
they gonna come up there or not, you know. And we
don't have the places to play like we used to have.
These big shows about to break the small promoter.
There's not hardly a foot of country that I
haven't worked in a certain area. I've been all
size of clubs. But now you don't have little clubs,
and the people's satisfied with the house band, and
so many guys is makin' records, they can take
their local attraction and they can do all right with
their small house. So why you want to pay someone
a certain amount of dollars and cents to come
way across country when you got guys in local,
sound probably just as good or better than he do?
How do you feel about being on the road all the
time?
Well, I did it so long till when I get home, I get
lonesome for the road. If I don't do nothin' but
come out and set down, I come out and set down
and then go back home. But you get tired, you
know, get a little tired of it. But, heck, I don't
know nothin' else to do. You see, 20, 25 years
ago, the things I was doin' to make a livin', they
have machines doin' them now ... so I said if I
quit playin' music I'll just write, and I done arranged
a few blues sessions. I can always tell
somebody to do somethin' better than I can do it
myself. So I said that's what I'll probably do.
1972 Blues Calendar Poster 18x23 Silk-Screened Blues portrait with
Calendar. Muddy Waters, Big Mama,
B.B.King,etc. Send for your favorite
(list a priority - limited supply).
$2.00 ppd ($3.00 outside USA)
THE PRINT GALLERY
208 San Jose Av.,Capitola,Ca., 95010
20
An Introduction To
BLACK GOSPEL MUSIC
By Bill Lindemann
Black gospel music probably predates
blues. Certainly there is evidence that gospel
songs were popular on the plantations in the
years before the Civil War, and no writer mentions
hearing blues before the 1890s. Of course
it's quite possible that the early bluesmen
avoided white chroniclerSjOr whites in general.
In any case, the two musics have fed each
other for many years,* Both share traditional
standardized forms, and both are slow to
change. Both rely on simplicity for their power.
And, like blue's, black gospel music and gospel
records have been ignored by the mainstream
of Americans, and very little has been
written about them.
Gospel recording hit its prewar peak in
the late '20s. The first, records, by unaccompanied
male quartets ("Jubilee Singers"), appeared
after these groups gained popularity
with novelty or minstrel-type material. These
vocal group recordings, made in the early'20s,
sold very well, and soon every "race" label
had its Jubilee groups, and was scouting for
other forms of black religious music. Recorded
sermons, often backed with singing groups or
whole congregations, appeared by the middle
of the decade. Finally, in the late '20s, the
the record companies discovered and recorded
the rural gospel soloists and country bluesmen
who performed gospel material. This pattern
parallels the history of blues recording, of
course, with the smoother, more polished music
being recorded before the rawer, more intense
forms. Very little of this early gospel
music has been issued on LP, but recently the
blues reissue labels have shown an interest,
especially in the rural gospel soloists.
After the war, gospel recording reached a
second peak period, which stretched from 1950
through the early '60s. Postwar gospel music
can be divided into four major styles: male
quartets; female groups; male and female soloists;
and choirs. Also, some sermons with choral
accompaniment continue to be recorded.
Modern male gospel quartets often have
more than four members, sometimes as many as
six or seven. This enlarged personnel usually
includes guitar, bass, and drums, unlike the
prewar groups. Quartets usually rely on two
lead singers, who alternate during the performance.
Other members of the group provide backup
voices, much like R&B groups. Gospel
quartet performances are intense and driving,
and the audience response as loud and lively
as with any soul group.
Female gospel groups are a little looser in
size than their male counterparts. Accompaniment
is often just a piano, and emphasis is
more often on group harmony than on a lead
voice. Although the female groups are usually
more restrained than the males, they too will
build into dramatic, hand-clapping performances
that bring an audience to its feet.
Both male and female soloists share a
similar style. They rely on simple piano accompaniment,
and on constantly pacing their performance
to respond to their audience. A good
soloist can be surprisingly effective with just
a look or a turn of phrase. This has carried
over into the performances of the gospel-styled
bluesmen, and an artist like Bobby Bland or
Little Milton will "work" an audience with
the same skill as the finest gospel soloists.
Like these bluesmen, gospel soloists perform
in a gentler and more restrained manner than
the groups, and focus on conveying their personal
honesty and conviction rather than sheer
excitement.
Gospel choirs vary in size from small
church groups to community choirs gathered
from the finest church choirs in a city. Since
the popularity of the Edwin Hawkins Singers
of the Church of God in Christ, choirs have
again returned to vogue, but most are amateur
groups who only perform in their home churches.
Often these groups will back a solo singer or
preacher in the recording studio.
Surprisingly, most gospel artists, especially
the vocal groups, don't work in churches;
ministers feel that their showmanship isn't
appropriate to the religious setting. Instead
they appear in organized shows, in tents and
ball parks in the South, and in church and
school auditoriums in the North. Often, groups
will appear in competition with each other.
It's not surprising that many popular R&B artists
started their careers in these touring gospel
groups. Sam Cooke and Johnnie Taylor
from the Soul Stirrers, Lou Rawls from the
Pilgrim Travellers, and Delia Reese from the
21
SOUL STIRRERS
Meditation Singers all mixed pop material with
gospel-style delivery and showmanship to
become stars.
Like most black musicians, gospel artists
have a hard time finding work; records are essential
for publicity. All but the most popular
gospel artists must pay for their own recordings,
or agree to buy a certain number to sell
at their performances. In this way, the record
companies avoid taking a risk.
Until the '50s, only a few gospel groups
traveled; most relied on local popularity and
holding other jobs to survive. But with the
growth of large black-oriented radio stations,
groups could be heard nationally, and many
took to the road. In particular, the Harmonettes,
Soul Stirrers, the Five Blind Boys of Alabama
and the Five Blind Boys of Mississippi
appeared throughout the country. Although the
number of touring groups has fallen off, most
remaining ones send their schedules to be read
on the air on WLAC, Nashville, which broadcasts
gospel as well as blues and soul throughout
the South.
Even fewer writers have, taken an interest
in gospel than in blues. New Yorker Tony Heilbut
will be publishing his history of black
gospel music soon, but until then I suggest
the following listening:
CHOIRS
Southwest Michigan State Choir of the Church of
God in Christ: Savoy 14077.
Northern California State Youth Choir of the
Church of God in Christ: Century 31016.
Original Gospel Singers Ensemble: Hob 2S3.
James Cleveland and the Angelic Choir, Volumes
1 through 4: Savoy 14059, 14063, 14076, 14096.
Jessy Dixon and the Chicago Community Choir:
Gospel 3086, 3088,3099.
Brockington Ensemble, Hob 289.
MALE GOSPEL SOLOISTS
Rev. Cleophus Robinson: Peacock 107, 120, 126,
128, 132, 135 (singing), Peacock 141,147
(sermons).
Brother Joe May, Nashboro 7001, 7010, 7017,
7031, 7039, 7050, 7057, Specialty 2132.
Prof. Alex Bradford: Specialty 2108, Gospel 3006,
Nashboro 7046, 7066, Regent 6111, 6117.
James Cleveland: Savoy 14045, 14052, 14059,
14063, 14068, 14076, 14085.
Jessy Dixon: Gospel 3030.
FEMALE GOSPEL SOLOISTS
Inez Andrews: Songbird 200.
Shirley Caesar: Hob 283, 299, 2102, 2116.
Marion Williams: Vee Jay 5024, Gospel 3003.
PREWAR SANCTIFIED & COUNTRY GOSPEL
IN THE SPIRIT, Vols. 1 & 2, Origin Jazz Library
OJL 12 and OJL 13.
SANCTIFIED SINGERS, Parts 1 & 2, Blues Classics
17 and Blues Classics 18.
SINGING PREACHERS AND THEIR CONGREGATIONS,
Blues Classics 19.
TEN YEARS OF BLACK COUNTRY RELIGION,
1926-1936, Yazoo L-1022.
THIS OLD WORLD'S IN A HELL OF A FIX,
Biograph BLP 12027.
CHRIST WAS BORN ON CHRISTMAS MORN,
Historical HLP 34.
MALE QUARTETS
Soul Stirrers: Specialty SP 2106, Checker 10015,
10021, Imperial LM-94007.
Gospelaires: Peacock LP 103, 106, 111.
Sensational Nightingales: Peacock 101, 118, 131.
Five Blind Boys of Mississippi: Peacock 102, 113.
Spirit of Memphis: King 577, 942, Peacock 109.
Pilgrim Jubilee: Peacock 105, 117.
Dixie Hummingbirds: Peacock 100, 108, 115, 127,
138.
Swan Silvertones: Hob 271.
Swanee Quintet: Nashboro 7000, 7008, 7014,
7022, 7026, Creed 3001, 3002, 3007.
Violinaires: Checker 10011, 10017, 10020, 10030,
10040, 10045.
Clouds of Joy: Peacock 121, 134, 136, 144, 151.
Harmonizing Four: Up Front 114, Archive of Gospel
63.
FEMALE GROUPS
Caravans: Gospel 3005, 3007, 3008, 3009, 3010,
3016.
Davis Sisters: Savoy 14000, 14007, 14014.
Ward Singers: Savoy 14001, 14015, 14020, 14026,
14034.
Stars of Faith: Savoy 14024, 14038, Gospel 3003.
Roberta Martin Singers: Savoy 14000, 14022,
14054, 14066.
Gospel Harmonettes: Savoy 14037, 14062, Specialty
2134.
Rosie Wallace: Savoy 14081.
Imperial Gospel Singers: Savoy 14028.
Dorothy Norwood: Savoy 14083, 14093, 14107.
22
You must be the man from God. You are
This is the story of Narvel Eatmon, better
known to the blues world as Cadillac Baby — owner
of the Bea & Baby label, former nightclub proprietor,
ex-radio announcer, record salesman and songwriter,
and one of the most colorful personalities in Chicago.
Once a highly successful figure as a result
of his various musical enterprises, Cadillac today
is relatively inactive in music, spending most of
his time at his store at 44th & State, where he sells
candy, pop and school supplies to neighborhood
children. He still has stocks of his old records
there, along with old photos, tapes, contract agreements
and plenty of proud memories. Now, here is
the Cadillac Baby story, as he announced it one
September afternoon in the back of his store. I use
the word "announced" because, as he held the
microphone of the tape recorder, he was speaking
not to me, but to an unseen audience as he relived
his days of glory and predicted new fame for the
one and only Cadillac Baby.
— Jim O'Neal
My name is Cadillac Baby. I was born in Cayuga,
Mississippi, in 1914. Then later I moved to
Edwards, Mississippi, between Vicksburg and Jackson,
on 80 Highway, to be exact. Cayuga was
between Edwards and Utica. Raymond, Utica,
Smiths Station, Bovina, Edwards, and Clinton, is
where all the great gamblers, where Walter Jacobs,
the Chatmon boys lived. So all these people is the
great musicianers that did the blues that we really
want to hear. We had such blues, the first blues I
ever heard was a blues they call So Cold Up North
Until the Birds Couldn't Hardly Fly. I guess they
wings froze up on 'em. Now that started me to
listenin' at blues records. There in Edwards is
where I started my career. I had several nice neighbors
around me there. One everybody know of —
Little Milton Campbell.
In 1927 I was the first black man to cross the
new Mississippi River bridge. This is history that
I'm tellin' you. It wasn't many cars then. The town
I live in was only three or four cars, in Edwards.
These cars was owned by various people that was
what we call millionaires, and I was a poor man
workin' WPA. The Mississippi River bridge was
built and completed right after the high water of the
same year. Lot of refugees was in various places in
our home and different towns. People was supportin'
the refugees, the people that was pushed back from
CADILLAC BABY
the high waters. Then our bridge was completed. The
lower part of Vicksburg, Mississippi, and that's the
bridge that I was the first black man to cross. I was
then called "Baby Eatmon." I'm the baby of 12 children.
My mother was a Christian woman and I was a
blues man. She always told me, she said, "Boy, you
love the blues." I say, "I can't help it, mama, because
blues, I get a feeling."
In later years we had a thing goin' that it was
something like the Saturday night fish fry, remind me
of Louis Jordan. We gave house rockers and big parties.
Band playing, the only band we had available,
was Walter Jacobs and the Chatmon brothers, Bo and
Ty (Tie). They played such blues as So Cold Up
North Until the Birds Can't Hardly Fly. Now this particular
record kinda stuckon me all through the years.
And later years, after resident of different towns,
Jackson, Vicksburg, Bolton, Bovina, when I 1 eftthose
towns I came to Chicago. Hitchhiked my way
to Chicago. And after I got up north, in the big lights,
I wanted to know what was happening. So there I began
to seek how to find and reach fame. That's what
caused me to start in show business, and in with the
public. I've been in business since 1935, right after
the World's Fair in Chicago.
A few years later I started the business goin'
big.I started the business at47th and Dearborn under
Cadillac Baby. How I got the name Cadillac Baby,
in 1947 I had a brand new Cadillac, and really, people,
I didn't know who I was then until some of my
friends, kinda wineheads, told me so. I bought 'em
23
wine by the gallons and they wiped my cat off with
they pocket handkerchief. They say, "You must be
the man from God. You are Cadillac Baby." They
never seen a man like me. I was a poor man workin',
a night watchman and a janitor. And the meantime, I
was so nice to these fellows they helped me built my
club, the club we all know of, the old original club,
Cadillac Baby's club at the corner of 47th and Dearbom.
From 47th to Federal, I owned that whole corner.
So in the meantime as times went on, as bein' a
blues lover as I am, startin' back from 1935, I was a
blues man, when I laid the shovel down, workin'
WPA. I was a WPA worker. We called it a sanitary
sewage ditch. $48.10 a month was all I was makin'.
I owned a Cadillac then. Bought a Cadillac from a
man that owned a junk yard —Earl Adcock, the man
that was so mean he even killed his brother over a
nickel. Everybody told me, say, "Why would you do
business with a man that's so cruel he killed his brother
over a nickel?" I say, "I intend to pay the man."
I started this business at 4708 South Dearborn
Street wherein I was a blues house. I got my ideas
from visitin' the old Club DeLisa, which started at
the same address where I operated. That used to be
the Mike DeLisa Club, 47th and Dearborn. Most people
came to me and asked me how did I do it, even
our late deceased McKie Fitzhugh. He said, "Cadillac,
why you play nothin' but the blues?" I say, "I
like the blues." Then McKie, he gets Little Walter
and I think Little Walter was the first person came
into his place, and he said, "I'll stay with the blues,
because the blues is the only thing that makes me
any money."
In later years, after the tavern got goin' strong,
we decided that we would build our own float. I
bought a float to use for myself in the Bud Billiken
parade. Bud Billiken is the biggest parade that happens
on the South Side of Chicago.* And this happened
in 1950 to 1960. We played the great part in
this parade because as being Cadillac Baby, showin'
UK"* I -••fSSi
iM
•1
IHHHhH •HMHH
BUD BILLIKEN PARADE, 1 9 5 9
24
his show lounge, Cadillac Baby's Show Lounge. Ten
years I was the top man in the Bud Billiken parade.
Durin' this time I was trailing behind Herb Kent —
was then a disk jockey at WBEE — and Herb Kent
and I was the main star in this parade. All this time
I had my blues band, Little Mack and the Royal Aces
then. Detroit Jr. played with Little Mack. The gentleman
we call Bob (Anderson), which I named him
"Pygmy Head Bob," he's a bass Fender player..
Pygmy Head has made great fame since. He's been
with a lot of big bands. He's not with Little Mack
now. Little Mack, Eddie Boyd, Detroit Jr., Bobby
Saxton, L. C. McKinley, Roosevelt Sykes, Sunnyland
Slim, and a host of others, the Hudson Brothers, Willie
Hudson, and a lot of different other fellows
worked with me in these various parades. I had comedians,
clowns, I had the man they call Santa Claus
Came Home Drunk, Clyde Lasley. Spo-de-o-dee Carmichael,
often call his self Isaac Hayes, and he was
the man that invented the tune that Sonny Boy Williams
put out about The Old Straw Kitty Your Grandmama
Brought to Me.
Now, ladies and gentlemen, these are just some
of the scenes that I can quote to you that I've hadin
my show at 4708 South Dearborn Street. I've had
some of the greatest comedians there, shake dancers,
strip tease. El Dorito was one of the greatest strip
tease we ever seen. She had so much hips on her till
men fell out just lookin' at this woman. We had the
woman we called Ann Butler. She was a strippist and
a baton dancer. She worked for Cadillac Baby. Most
great people that is in show business today and that
has passed through show business was through my
club. The one and only great Cadillac Baby has made
fame through blues and through show business and
through entertainers. The blues has made me very
successful and I think that I owe a lot of contribute
to the great bluesmen thathas brought me a long way.
I probably haven't named all the ones, but it's so
many blues people that I know. I'm even a great
friend to B.B. King, Sonny Boy Williamson, a lot of
the bluesmen that even have deceased. Nature Boy
Brcrwn, he worked for me on several sets.
I've met all the great disk jockeys. I've met the
owner and the original of Chess label,Leonard, Phil,
and Leonard's son. I've met everybody in show business.
AI Benson; "The Crown Prince" — "Open the
Door Richard" — Richard Stamz. A lot of people that
came along durin' this time, we had some great people
that came from small radio stations like WOPA. I
used to broadcast from WOPA. Nightclubs could buy
a spot and broadcast the blues. Only the blues. Jimmy
Mitchell, Cadillac Baby, Val's Boulevard Lounge
at 55th and Wentworth, we had a thing goin' around
* - " B u d B i l l i k e n w a s i n v e n t e d b y t h e f o u n d e r o f t h e CHICAGO
DAILY DEFENDER a s a p a t r o n s a i n t o f C h i c a g o ' s N e g r o c h i l d r e n ;
h e s t a n d s f o r t h i n g s a s t h e y s h o u l d b e . H i s p a r a d e h a s f o u r h o u r s
o f m a r c h i n g b a n d s , f l o a t s f i l l e d w i t h c e l e b r i t i e s a n d p e r s o n a g e s ,
e v e r y S o u t h S i d e p o l i t i c i a n a n d o f f i c e h o l d e r , c h u r c h a n d b u s i n e s s
g r o u p s , h i g h s c h o o l d r i l l u n i t s a n d b a t o n t w i r l e r s . E l k s a n d u n i t s
f r o m N a v y , A i r F o r c e a n d N a t i o n a l G u a r d . " — f r o m CHICAGO: AN
EXTRAORDINARY GUIDE, b y J o r y G r a h a m .
broadcastin' the blues over the radio over station
WOPA. There we met other disk jockeys from WBEE,
WOPA and WGES. That's where we got our fame, cooperatin'
with WGES, Al Benson, Crown Prince, and
other great disk jockeys that gave us our great
push. Our records was then played through WGES,
which call the top leading station like WVON of today.
You take (Pervis) Spann, and Rodney (Jones),
and Herb Kent is the old jockeys, and Ed Cook, he's
a old-timer. But Ed hadn't come to the station then,
Rodney hadn't came to the station; we are speakin'
of the jockeys that left WGES and came to WVON,
which was the leading disk jockeys of Chicago. Such
jockeys as "Rock with Rick," McKie Fitzhugh, is
the old original disk jockeys of Chicago. So we really
had a nice time swingin' with the disk jockeys,
and they did the small companies a lot of good.
Wherein we don't get the cooperation today. That's
why so many small companies has went out of
business.
Now my record company, the Bea & Baby label,
started somewhere around 1955. What gave me the
idea, after I opened the Cadillac Baby's Lounge,
several of the great blues musicianers from all over,
they came in a huddle and we rehearsed at Cadillac
Baby's Lounge. That's where we got together and
put all soul into the blues. And my idea of my label
was I couldn't come up with no other name than Bea
& Baby. I taken this idea from Vee-Jay, from Vivian
(Carter) and Jimmy (Bracken). My wife was Bea and
I'm Baby. I had Bea & Baby, Key Hole and Miss.
Key Hole and Miss was subsidiary labels from Bea &
Baby. And Ted Daniel and I (had) Ronald; and the
label of Vi Muszynski, she has a label named Bandera;
all these people, we were friends, includin'
Apex Recording Company, Apex Studio, Sonny Sawyer,
these people that I helped, and Sonny Sawyer I helped
started into business. Helped him from gas truck into
record business. Now all these companies I had access
and partnership and subsidiary of, so that made
me a pretty big man with connection.
What really gave me the idea, so many of the mu- •
sicianers needed favors like place to live, food,
Little Mack came in from Texas. I gave him his first
job at Cadillac Baby's Lounge. By bein' big hearted
and free hearted, and money to support 'em, I went
along with 'em. After this, they encouraged me, say,
"Why don't you get some of your money out of the musicianers?
Hey, why don't you record some of the fellows?"
So, thinkin' that the musicians owed me such
a great favor, I decided that I'd get a musician's license
from Local 208 —they then was down here at
39th and State Street —and start recording some of
the fellows. And I picked out several of the groups
that I figured would go first. And my favorite people
that stayed with me daily was Eddie Boyd, Little
Mack and Detroit Jr. They practically lived with me.
I fed 'em and supported 'em. Nowadays Eddie Boyd
is overseas. So these people decided that they
would make records for me. I paid 'em a record session,
which wasn't very much. Record was cheap to
make then.
25
I began to handle such blues artists as Little
Mack, Eddie Boyd, The Sharpest Man in Town — L.C.
McKinley, Hound Dog Taylor, Bobby Saxton — Tryin'
to Make a Livin', Detroit Jr. — Money Tree, and the
Daylighters. George, I think, was the leader of the
Daylighters. They had a thing goin' out called The
Mad House Jump and You're Breakin' My Heart.
Faith Taylor, a young girl about 10 or 11 years of
age, she had out some nice records. And then I had a
thing on Sampson, he was a ballad singer. It's So
Hard to Go on Livin', Ted Daniel was with me. He
was my business manager. He had Andre Williams,
the original old Bacon Fat. So a lot of artists worked
with me, wherein I had a lot of artists came to me -
McKinley Mitchell, Betty Everett, they came to me to
make records.
The first record came out on Bea & Baby was
Eddie Boyd. A record I'm Comin' Home. One among
the biggest records Eddie Boyd made since he made
Five Long Years. Five Long Years in the Steel Mill
was Eddie Boyd's biggest record.
My biggest hit was the record I didn't think
would do so much, was the record by Bobby Saxton.
Tryin' to Make a Livin'. 'Cause after I sold somewhere
around 255,000 records, I released the record
to Leonard Chess, and he sent the record around the
nation, wherein the record musta' did somewhere around
25 hundred thousand for Leonard Chess. A
Nickel and a Key is the real record. What gave Tryin'
to Make a Livin' such a sound is, at that time it had
kind of an off-key beat. This woman was way ahead
that played bass, bass Fender guitar. Margo Gibson.
She played this thing kind of like she felt, which was
way out. And we never heard nothin' scund like. Sol
must say it was a great record. And he was an unexperienced
artist. I only gave him one side, and Earl
Hooker had the other side, was Dynamite. It was instrumental.
Didn't do too much. We never played the
other side too much.
The next biggest record I had was Money Tree,
Detroit Jr. What happened with Detroit Jr., a little
story I'll tell you right quick. Detroit Jr. didn't know
his name. Ted Daniel and I, we made the record and
we made up the labels for the record. We decided,
"This is a good record. I think we should, to make
the record sell, give the man a big name." So I say,
"He always brag about he's from Detroit." I decided
that I would go behind what he claim he was, Detroit.
So I put "Detroit Jr." on the record. He's my original.
And Detroit, he wasn't around. We wouldn't let Detroit
hear the record until the night that we released
the record and we brought it and put iton the jukebox.
So we gave Detroit a copy. He heard the record and
he heard the music and he heard the voice. He knew
that was him. He said, "Who taked my record from
me? Some fool has taken my record from me!" I said,
"No, no, that's your record." He said, "No, it ain't."
And he was ready to fight. He take five men to hold
him,keep him from killin' everybody because somebody
has taken his record, and it really was his record.
He was Detroit Jr. and didn't know it. So that's
the story of Detroit Jr., which was the second biggest
hit I ever had, which sold somewhere around 4 or
500,000 copies in and around Chicago, before the
record got out of Chicago.
The great man of guitar of the world, that taught
B.B. King how to play, played on my sessions. Robert
Jr., Robert Lockwood Jr. played guitar for me on
most sessions that I had. The big man on horn was
Big Cotton. I had such a nice sound, everybody asked
me, say, "How do you come up with such a good
sound?" And in this that I knew nothin' about how to
editor and engineer records and be an A&R man, but
by havin' good musicianers, I lucked upon some pretty
fair hits; like Tryin' to Make a Livin',Money Tree,
Times Gettin' Tougher, Eddie Boyd — I'm Goin' Home,
I'm Comin' Home and Thank You Baby For All You've
Done For Me, and such things as Little Mack. Hound
Dog Taylor — My Baby's Comin' Home, Lee Jackson
— Pleading For Love and Juanita.
And I did a lot of writing. I got into BMI. There
I had writing on part of these records you hear me
talkin' about. Eddie Boyd's got a record The Big
Boat is at the Landing. We writ this record ridin' along
one evening through the trees and the breeze,
we was goin' to Joliet, Illinois. And Eddie left me
before I released the record. He went overseas and
released this record. I think it's one of the greatest
records in the world. I'm still gonna release it, because
it's my original, but I was out of record business
at the time. And I'm goin' back in the record
business and pick up where I left off, on this particular
record, at least.
I got something new that I'm gonna soon release.
Records on such artists as Poor John, Hammie Nixon
and Sleepy John Estes. He's got a record on me that
Cadillac Baby Passed So Fast Until He Throwed Dust
All in My Eyes.
Little Mack taken a record on Frankie and Johnny
which I'm still gonna release. He made my wife
and me, he said, "Bea and Baby were sweethearts,
and that's the way the story go." So many great records
that we got to release that we haven't released,
includin' spiritual, gospel and blues. Plus my stepdaughters,
we got something new out. I got a group of
girls we call The Chances. They played on a record
of Little Mack's, One More Chance and It Takes
More Than Love Alone.He got some great artists that
I'm still goin' to release. The week before "Juke"
Little Walter died, I had went to Leonard Chess and
had a conference, and Chess told me to release a
record on Little Walter. Before Little Walter died, he
partly was stayin' with me, night and day. Little Walter
was right here at 4405 South State Street with
Cadillac Baby. And Little Walter and I had some records
together that we was goin' to release, type of
blues that I like. We had something new was comin'
out, and before I could get it out, Little Walter died.
Such artists I always admired was artists like Little
Walter, Sonny Boy Williams, and Jimmy Witherspoon,
Big Maceo. I always wanted to get some recording
like these artists. And finally I came up with something.
Somewhere around '58, '59, and around '60, I
slowed down recording then. At the beginnin' of my
career at Bea & Baby, I had finance enough to sup-
26
ARTISTS FROM THE
BEA & BABY
CATALOGUE
Bee & Baby Recording Artist
Kenwood 6-8436
BOBBY SAXTON LITTLE MACK
BEA & BABY RECORDING ARTIST
Chicago
LITTLE MACK
"Time Getting Tougher"
L . C . McKINLEY LEE JACKSON
A *
port the company, for the company to go over real big.
But various friends caused me to exhaust and blow
the money that I had before the company got real big.
due to not the right instruction or not the right information
towards recording.
I did a lot of spiritual records. Now such records
that I started out after I didn't record many blues. I
did a lotof spiritual records on the Gloryaires, the
Faithful Wonders, the Bibliaires out of Gary, Indiana.
I'm the originator of all these people that I'm tellin'
you about. The Norfleets, the Norfolks. The reason I
like spiritual, I am a blues man, but you can't forget
where you came from. Anytime your mother brought
you through spirituals, brought you through the
church, you can go as far as you want in blues but
you still got that spiritual feeling. After all, spiritual
is just as close as the blues if the right people is
singin' it. The biggest record in spiritual I ever made
was this record by The Pilgrim Harmonizers. I made
they first record. Most gospel groups in Chicago, I
made they first records. The reason I made spiritual
is because my money was exhausted and that was the
easy way out. Spiritual records wasn't any extra cost.
My club closed somewhere durin' the last of 1959
and the first of '60. I was the last buildin' to be torn
down on the west side of State Street at 47th because
they was buildin' the housin', the project was comin'
through. So after 1959 and '60, I started a club at 624
East 47th Street, Cadillac Baby's Over East. That's
where Little Walter, Sonny Boy Williams and Little
Mack still worked for me; Eddie Boyd, Sunnyland Slim
a lot of the great blues men followed me over there.
Also, at 120 East 47th Street, I had the Cadillac Baby
Recording Company and Record Sales. Retail records
and wholesale, and distributors. I stayed there
for three or four years. In 1965 I came to 4405 South
State Street. I came here with a variety store, of candy,
toys, and not too active in records. And I didn't
do much recording since. I made a few records, on
Little Mack and The Chances, Little Mack and Georgia,
his wife. And a few other records I made since I
been at this location. But now I'm plannin' to release
a lot of records.
I've had several offers from various people from
all over the world, "Why don't you have another club
goin', Cadillac?" And my answer was, "I'm not ready.
I worked so hard at the last one I had until I'm not
in any hurry to start another one." But someday I'm
goin' to have one of the biggest clubs in the world,
under Cadillac Baby's Club, operating somewhere in
Chicago.
So I appreciate the great friends of comin'around
to show me their appreciation to see what the old
man is still doin'. Because, people, seriously, blues,
blues, blues, is my soul. And when you talk about the
soul of the blues, it's only a few people that know it.
Before tears come in my eyes, it's only a few people
thatreally know the blues. Pebple that's been through
this. A few of the people: St. Louis Jimmy, Hammie
Nixon, Poor John, and all these kind of people; these
are blues people. These young people don't know
nothin' about no blues. They don't feel it. They've
had too good a way to go, it's too easy. Now such
things as relief takin' care of a body, nobody got to
B E A , BABY, AND T H E I R CADILLAC AND TAVERN, 1 9 5 9
work hard no more, everything free, nobody know the
blues no more. It's only the original blues, the original
blues people that came from when people was
pickin' in the coal mine, people that picked through
the mountain like John Henry laid his hammer down.
Such people, they're blues people. People that
worked, and had to work from the sweat of they brow.
That's where the blues came from. No more blues.
But the blues has a feeling that everybody can feel.
Everybody feels something, but they don't know
what's happenin'. It makes people feel good, but they
don't know where the blues originated and where the
blues came from. And I am one of the last of the old
blues timers. I paid the cost. I been through it. And
I'm one of the men that can tell anybody,people come
from all over the world to ask me, "How do you feel
about the blues?" I feel great.
NEWS OF CHICAGO'S BLUES RADIO AND RECORDING
INDUSTRIES By Cary Baker,
Hal Ross, and Steve & Sally Collins
Bill Tyson, Chicago blues DJ and proprietor
of the Biscayne label, is back in business
after a serious cardiac condition. He plans, eventually,
to reinact his International Association
and Hall of Fame of Rhythm & Blues. The
currentorganization is based at his studio at
2630 E. 75th St. in Chicago. Tyson is Midwest
head of NATRA (black radio union), and recently
left WXRT (93 FM), where he had Chicago's
only FM R&B program. His current occupation
is the co-operation of the Damoja Club at 47th
and State. As for Biscayne, he plans to issue
an LP entitled 50 YEARS OF BLUES, an anthology
from the '20s up. He will soon appear
on WEAW on a straight blues program. WEAWFM
already presents blues DJ's Jimmy Mitchell
and Myron B. (Snodgrass).
29
*
The Weis Record Company on South Michigan
Avenue is now the main studio for WTAQ
radio, and J.J. the Blues Jock broadcasts live
from the location. He programs Chicago blues;
being co-owner of Weis, he knows what a hard
deal promotion is.
Reissue projects are under way at the following
labels: LaSalle/Fay, Mel London, Salem/
Nation, and C.J. (Carl Jones). Salem/Nation has
material on Voice Odom, Bobby Rush, Big Ella
and several others. The LaSALLE/FAY ARCHIVE
OF CHICAGO BLUES, VOL. I, will include
Eddie Clearwater, Homesick James, Eddie Boyd,
Jump Jackson, Bill Warren, and others. C.J.'s
second LP, completely different from the first,
will include cuts, both unreleased and formerly
issued, by Andre "Voice" Odom, someone named
Malone, Hound Dog Taylor, Earl Hooker, Little
Mack, Homesick James, Freddie Hall, drummer
Bobby Davis, saxophonist Lorenzo Smith (who
played with J.B. Lenoir on Chess), etc. Mel
London has mastered an album including artists
he's recorded in the last two decades on Chief,
Age, All Points and Mel-Lon. The LP contains
sides by Elmore James, Earl Hooker, Magic Sam,
Otis Rush, Junior Wells, A.C. Reed, Moose John
Walker and Lillian Offitt. Mel doesn't want the
frustrations of pressing and marketing an album,
even one as star-studded as this, so the masters
are for sale to conscientious reissuers. (Editor's
note: London tells us the recordings have been remastered
and updated with wah-wah and other accoutrements.)
A Willie Dixon vintage series will be released
on the New York-based Perception/Today
labels. LP's in this series: Little Brother Montgomery,
Chicago Blues All Stars, Lucky Peterson,
Koko Taylor, J.B. Lenoir, etc.
Ja-Wes/Daran will soon issue an album by
Maxwell Street Big John Wrencher.
JOB recent issues have been traced to Brandom
Publishing Co. above Pepper's Lounge on
1323 S. Michigan. Ebony has shut its doors after
decades of quiet operation. Bandera refuses to
sell records in fear of the evil boot, says owner
Mrs. Vi Muszynski. Jim Bracken's Ra-Bra label
is proportionately successful. Bracken holds
masters from several defunct influential Chicago
labels and plans to issue 45's on Ra-Bra by Billy
Boy Arnold, Sunnyland Slim, Eddie Taylor,
and The Illusions.
A1 Smith's new Blues On Blues label plans
to issue a film of Roosevelt Sykes playing piano
on a New Orleans riverboat. A Sykes LP will also
be released along with five others, by'Jimmy
Reed, Earl Hooker, Big Joe Williams, The Eldorados
and Homesick James.
African Influence
and the Blues:
AN INTERVIEW WITH RICHARD A. WATERMAN
By Lynn S. Summers
In a recent interview appearing in LIVING
BLUES magazine, Buddy Guy, a contemporary
blues singer who once toured Africa with a State
Department group, was asked if he saw any relation
between African music and the blues. He
said no, but because everyone was telling him
that's where it all came from, he wanted someone
to show him how i t did. (See issue #2, p . 7. )
Scholars have never agreed on exactly how
African music relates to blues. At various times
Negro music was considered merely as faulty imitations
of white music, the African influence
nonexistent. Others thought the music developed,
not unlike Venus, out of nothing,, as a demonstration
of the musical genius of African peoples.
These and other naive ideas are no longer seriously
considered. We now think of the blues falong
with jazz and other musics of transplanted
Africans) as a product of the meshing together of
European and African cultures.
I recently spoke with Richard Alan Waterman
about the problem of finding African origins in
blues. Dr. Waterman has done extensive research
with African musicians (and with Afro-American
musicians in the U.S. and Latin America), and is
a noted ethnomusicologist now teaching at the
University of South Florida. In 1952 he wrote
African influence on the music of the Americas,
an important paper which has yet to be superseded.
In our conversation; Dr. Waterman spoke at
length of African music and the musics of Afro-
Americans, emphasizing development of the blues
form. Two questions defined our boundaries: (1)
In what ways does the African influence manifest
itself in blues? and (2) In what ways can we
study these influences?
1
A bit of introduction is needed since most
of us interested in blues are little aware of the
variety of African musics or of the decades of
very careful research to which African music has
been submitted. Of course, there are a number of
books that serve this purpose quite well: Paul
Oliver's recent SAVANNAH SYNCOPATORS is a
must for would-be blues scholars.
My initial curiosity centered around the problem
of parallel evolution, I suppose you could
call it. How do we know African music of today
(as we study it) is anything like the music slaves
carried with them in their heads two or three hundred
years ago (as it influenced the development
of blues)?
SUMMERS: To what extent has Africa undergone
acculturation due to the influence of Europe
and the Western world?
WATERMAN: All you need to do is look at their
clothes, buildings, everything else, including
their music. "High Life," a blend of half a
dozen South American styles, two or three West
African styles, and jazz, has been going on for
forty to fifty years. So the acculturation is
tremendous.
S.: What about the, tribal, "primitive" music we
go back and look at in order to infer African
influences in the New World?
W.: To a large extent it has been kept pretty
much the same, except for the kind o'f change
that occurs in any music anywhere.
Your main question is how do w.e know when
we go and collect music in Africa that it's anything
like the music in Africa 300 years ago,
during the slave-trading years. The traces of
that kind of music can be seen now in Africa in
very acculturated form, of course. But the Africans
know it has been acculturated, and the
musicians know the difference. You know if a
guy picks up a trumpet or saxophone, he's not
going to play really authentic African music,
unless he says he's going to try. And that isn't
done too often.' So there's not much musical
naivete anywhere in Africa.
There are a number of safeguards you can
use when you try to get traditional music. If you
hear something that sounds pretty Arabic, for
instance, and you know you're in an area where
Islam has just, recently come in, then you should
be suspicious of just how traditional the music
is.
There are many other cues. The reports of
early explorers of Africa often made mention of
the music. These accounts are sometimes useful,
: depending on how much the explorer knew
about music.
(Summers notes that "Another problem centers
around the use of harmony in African music.
Some early researchers claimed there was no
harmony to be found in the music of these primitive
people, since harmony represented a "higher
level"' of musican evolution. This idea was
probably reinforced by public opinion. Others
accepted the existence of harmony but thought
it had evolved 'accidentally'.")
W.: The problem stems from A. M. Jones, wjio
was a missionary and a musician who worked
tirst in Rhodesia which is a two-part area.
He called their type of two-part harmony 'organurn,'
because they use parallel thirds and partly
because he figured the Africans weren't really
developed enough to have invented harmony, and
'everybody knows' that organum is a stage in
the pre-harmonic evolution of music. Therefore
this has to be organum, even though the parallel
thirds aren't exactly parallel.
Actually what he was studying was a species
of chorda! harmony. Then, by fluke I suppose,
he began studying the Ewe in Ghana,
another group that did not employ true harmony,
but instead, did use organum as we define it.
So Jones' study was based on this sample,
using two groups of peoples that just by chance
did not use true harmony. The confusion was
confounded when, after Jones wrote his book,
Gunther Schuller wrote his first volume and had
apparently read nothing but A. M. Jones, figuring
this was the whole story.
A
There have been, however, plenty of other
studies based on other samples that show widespread
use of harmony—and you can't argue
against the actual sounds of the music. In fact,
the Ashanti, neighbors of the Ewe, are almost
unable to sing a song without harmony-one guy
alone cannot sing.
S.: Some claim that harmony came about almost
as an accidental result of singing in.the call
and response fashion.
W.: That has beensaida great deal and of course
the overlapping does happen, but they do deliberate
harmony as well. The idea that African
culture hadn't evolved far enough to get to harmony
is nonsense, of course. All sorts of folk
musics have harmony.
Another reason for these peculiar ideas
about harmony is the character of the early recordings.
They were done with wax cylinders
and horns, so that you could only get one guy
in front of the recorder at a time.
Onthe other hand, much earlier, the explorers
had talked about the harmoniOusness of the
singing. This, of course, has to go with a lot of
other evidence. At least we know there was
plenty of polyphony—people singing different
notes together. From subjective reports about it—
they talked of weird harmonies, about haunting
sorts of things—it sounds like that's the way a
Europeanwould interpret something that was
European would interpret something that, was
sort of minor with maybe some added sixth
chords thrown in.
II
There are no African retentions, as such, in
the blues. But undoubtedly African influence
was great in determining the form the blues was
to take. Just how far we can go in specifying
the extent of this influence is a question still
open to debate.
W.: With respect specifically to the blues, the
connection between the kind of harmonies that
are used in West Africa and the blues I think can
be spelled out this far and no farther. Much of
the harmonization of the choral parts of West
African responsorial music is done with two
alternating phrases and two corresponding
chords. In other words, the caller will say something,
the chorus will follow with its riff (part
1); then the caller sings another thing and the
chorus does part 2; now the caller sings and
they go back to part 1. So the chorus alternates
its responses.
31
•*
The chorus part 1 is quite likely to be on
what we would call a tonic basis (usually the
first, third, fifth, and sixth, with the third sort
of squishy, minor or major, depending on the
desired effect). This is a I chord, in other
words, with a sixth or something added.
This is odd when you're talking about traditional
primitive music, in a way, since added
sixth chords didn't come in until relatively, late
in the development of Western academic music.
Part 2 will be one of those things that's
about half way between a V chord (which will
include the notes of a subdominant chord) and a
super-tonic minor, which automatically means
that it includes most of the notes of the dominant
seventh chord. Ordinarily this is the resolution
chord, but the order is just as often
reversed.
The point is that this chord is like the kind
of chord you would get if you played the IV
chord and the VII chord—the subdominant and the
dominant seventh chords-together, say, on two
guitars. You'd get an array of notes that would
be found in these chords.
I suspect that in the alternation of these
two chorus parts, the second somehow got separated
out by guitar pickers. They could hear
two versions of this second chord, a very complex
chord, and began separating it into what
became the V chord and into those parts of it
which became the subdominant (IV) chird. I
think this separation was what accounted for
what we know as the blues changes.
I talked with John Lee Hooker in about
1952. He had at the time his own terminology
of guitar playing and he often talked about the
chords this way. He would say there are two
ways of playing this chord; one of them would
be mostly subdominant sounding, and the other
would be mostly seventh-isn sounding. He's
representative of a very archaic style.
So, with this pattern of alternating chords,
from the second chord they just separated out
two versions, and from the very powerful influence
of the I-IV-V European pattern, the blues
changes were developed. It's a real combination
of European folk (and popular) patterns and the
African thing. One might guess it's the thing a
guy knowing the African chords trying to play
them on a foreign (European) instrument might
come up with.
S.: Is there any way of knowing when and where
it happened, what was going on. at the time that
the blues form began to be played?
W.: Many of the things that were used as field
hollers just sort of gradually took on a blues
form.
S.: The work song and field holler things all
combined with the European influence . . .
W.: Yes. There are a lot of songs, obviously,
outside the blues format. But the peculiar combination
we now call the blues persisted.
Ill
It has become a somewhat common practice
to get the "deepest" possible interpretation of
a blues artist's style. Attributes sometimes are
"derived from the African heritage" or "modelled
after primitive call and response traditions"
This seems to be a worthwhile practice
as long as we understand that the processes
are unconscious—as long as we don't try to
remake the early B. B. King into an astute
ethnomusicologist, for instance.
Dr. Waterman agreed with this position but
had some interesting comments on a typical
interpretation of B. B.'s style.
S.:- The antiphonal quality of African vocal
music perhaps survives in the individual blues
singer. Examine the style of B. B. King, for
example, and the antiphonal quality shows
through) if you consider the voice as leader,
guitar as chorus. The direct influences, however,
probably consisted of church music, with
its rigid leader-chorus routine, and jazz, where
instrumentation often seems to mimic vocalization.
Is this sort of interpretation valid?
W.: That's pretty valid. Except I think you're
making too much of a distinction between the
sacred and non-sacred. There's no real difference
musically—never has been in West Africa
or over here-just in the words. The blues and the
gospel hymns come from the same thing.
I had quite a long discussion about this
with a young lady who became quite famous later
on, Mahalia Jackson, when she was singing at
the Greater Harvest Baptist Church in Chicago.
She would not at the time sing any of the types
of song she became famous for. She would only
sing hymns because she was very religious.
I told her the music and the way you treat it is
just exactly like blues.. She said what difference
does that make, it's the meaning that
counts, it's the words that make the difference.
Now it's part of the European musical tradition
that there is a real musical difference
between religious music and popular music, and
32
we still preserve the distinction. In West Africa,
all along the coast, through many different cultures,
they shared the idea that the kind of
music that was the most important was religious
music, the kind that would make the gods sit up
and listen, and more than that, come down and
take over the worshippers. It was a driving,
funky, heavy beat kind of music. This apparently
was something that carried over very definitely
into the New World.
This, put together with the fact that they
didn't make a musical distinction between religious
music and music which was not religious,
explains why the gospel hymns and jubilees and
so on have such a heavy beat and strong emphasis
on rhythm, and why they're so much like the
non-religious tunes of the same kind. I would
use that as an amendment to what you were
saying.
About the antiphonal quality, the leaderchorus
business comes through in blues singers
in a number of different ways. The responsorial
part is almost as basic in black religious
music and in early jazz and early swing forms
as the blues have been. The basis of the Jimmy
Lunceford arrangements, of all the Benny Goodman
arrangements, which were Fletcher Henderson
things in the beginning, was the respqnsorial
thing. You had the trumpets making a statement
and the saxes making a response.
The idea of having two choruses, which
would be the case where you have a leader, with
a clarinet, say in the case of the old Goodman
band, making a kind of statement over the top
of the two choruses in antiphony. This isn't
foreign to the West African pattern either. As
a matter of fact, in some areas along the Nigerian
coast., very frequently there are two choruses,
Also, you can have simultaneously two
leaders, which is another thing. B. B. King
doesn't use it, I don't think he ever used a
"•helper," but many people used to. Many of the
old gospel singers did Sister Rosetta Tharpe
used to use a "'second" who responded to her,
while the instrumentation or chorus was providing
the chorus respon.se.
The idea of a song composed of something
that goes out and is answered back is acted out
in a number of ways in the blues. In the old
guitar-pickin' blues, a guy will respond to himself
on the guitar. Really this is probably the
answer to the repetition of the first line (AAB
form). It's a response to himself.
IV
In SAVANNAH SYNCOPATORS, Paul Oliver
claims that if you don't make the traditional as-
D R . WATERMAN PLAYING THE m b i r a O F RHODESIA, E L S E .
WHERE KNOWN A S THE " t h u m b p i a n o , " k a u k a b e l a , OR s a n s a
(CONGOLESE). T H I S FORM O F INSTRUMENT I S THE B A S I S
O F MUCH O F SUB.SAHARAN AFRICAN M U S I C .
sumption that all West African music is homogeneous,
you can see that in some areas (the savannah)
the traditional music bears some resemblance
to the blues. This is anew idea and makes Oliver
something of an iconoclast. It should be interesting
to see how this idea is accepted over the
next few years.
The distinction Oliver makes is between the
music of the coastal rain forest and that of the
savannah, inland and north of the coast. Two assumptions
are necessary: first, that the musics
are different, and second, that slaves actually
were brought from inland. The final test, of
course, would be to compare savannah music to
blues.
W.: I don't think you have to assume that the
slaves must have come from very far inland. The
area from which most of the slaves were taken
extends 50 to 100 miles back from the coast, and
that includes much of the savannah lands.
As for the homo-hetero-geneity distinction,
it depends on hpw. close your focus is. There are
regional differences even within tribes. On the
other hand the music of West Africa in general,
when compared to the music of the Chinese or
33
Hindus, looks pretty darn much all the same, just
as all the music of the Western world would look
the same.
S.: A point Oliver made was that whereas in the
coastal rain forest areas the drum was the dominant
instrument, there was more emphasis on
string instruments in the savannah.
o-
W.rThat I thinkis partly related to the influences
from the north that came in along with Islam. I
don't think that the savannah music bears particular
resemblance to blues.
S,: He compared the instrumental demands of the
balafon, for instance, with those of the boogie
woogie piano — the use of the hands separately
for rhythm and melody.
W.: The one thing he's not thinking of is that the
balafon is not necessarily limited to the savannah
regions, although it was a northern instrument
to begin with. If you stick strictly to traditional
music, the thing I think he is referring to
is that the music in the areas where they use the
balafon resembles blues in having stringed instruments.
In the back country, the bush music,
the straight traditional music of the coastal area,
most of the stuff is percussion instruments and
singing.
S.: He also pointed out the griot as solo performer,
in a way, is comparable to the solo blues
performer.
W.: I don't think that follows because there are
single singers in a great many places, it isn't all
responsorial stuff even down in Nigeria and Liberia.
I thought he was probably talking about
the griots, and the Wolof bunch, because they're
the ones who have the plunkety-plunkety balafon
playing. But the tone quality, isn't anything like
that of a blues singer, and the lyrics don't follow.
S.: What about their role in society?
W.: Oh, they're a special caste, and I don't think
blues singers are a special caste group at all.
The griots are a segregated social group. They're
sort of bond-servants or slaves.
S.: They go so far as to bury them differently...
W.: Oh sure. Certainly musicians in our society
are routinely discriminated against more than
they should be but nobody's ever suggested that
they should form a separate caste group and be
buried differently, except in laughing fashion.
I think you can carry this too far. I think
there's just as much the roots of this blues stuff
in the traditional African thing on the coast, as
in Senegal and Gambia, which is where he's talking
about. I think you probably find more of the
o materials that went into the blues on the coast.
Although superficially the fact that you do have
something plunking like a guitar makes it sound
a little bit like it, I think his hunch is wrong.
V
LeRoi Jones' BLUES PEOPLE is a classic,
impassioned examination of the Negro individual's
place in white American society as seen
through the development of his music. Though
conditions make it impossible for him to look at
history with the objective eye of an outsider, his
complete personal honesty is what makes the
book so important and essential a contribution.
S.: Jones believes that the completely different
pysches of slave and master resulted in the most
brutal degradation possible, and that this dehumanization
of the Negro was necessary for the
development of U.S. Negro music. Were, say, Brazilian
Negroes degraded to a lesser extent than
U.S. Negroes?
W.: Let's start at the beginning. If people are enslaved
and kept in a state of slavery, that means
they are dehumanized. W.est African slavery and
slavery in certain parts of the New World was a
relatively minor sort of thing. In some parts of
West Africa, for example, the slaves even had a
day off a week. It was relatively loose in some
areas of Brazil and certainly in some areas of
t'he Caribbean. It tended to be rather brutal in
some areas of the U.S. for the most part, although
not so much in the French areas as it was
in the English-speaking areas. Reasons for this
are terribly complex, I don't know any easy
answer.
With all the differences in treatment of
slaves in the various areas, you still have in
each of the areas the establishment of types of
music which are blends of African and European
musical tradition. The point that I would make is
that, this sort of blend of music between Africa
and Europe — this seems to happen regardless of
the degradation.
S,.: Perhaps he was assuming that the intensity
of the jazz and blues forms stands out in comparison
to Latin American Negro forms.
W.: Not above the intensity of the Guaguanco, or
34
some of the Afro Sones from Cuba, or of the Samba.
Or even such sounds as the Puerto Rican
Plaina. There's intensity involved in lots of it.
He's being impressionistic here, and quite-hon-
• est about it, but I don't think you can stand back
away from the problem and really still see it the
way he does.
In the respect that slave and master possessed
completely different pysches — completely
different approaches to the world - yes, that
is true. But the same thing is true of the Portugese
and Spanish masters. So by and large Jones
is quite right in saying that slaves in the U.S.
had a rougher time and were treated more like
animals.
S.: Can we study their music from this viewpoint?
W.: I don't know. You'd think it would work out
but 1 don't see it.. I don't see anything more
poignant about the blues than I do about many of
the African-based Cuban things, for example. But
I don't think that could be documented.
With comparative studies you probably would
get a difference in the import of the words; much
more despondency on the one hand and much more
aggression on the other from this essentially
frustrating kind of total experience, which of
course the U.S. .black is still largely in.
VI
To conclude the interview I thought it would
be interesting to ask something about ethnomusicology
as a discipline and about, its future.
There has been some discussion, among those
interested, about applying some of the rigid analytic
techniques of science to the study of musics
of ethnic, groups. This idea is quickly put down
by those of us who come from a libe'ral arts tradition
but, of course, the usefulness of this sort
of approach can't be determined until it's tried.
Alan Lomax tried it and the results appear in
FOLK SONG STYLE AND CULTURE.
S.: In Lomax's book there arose the problem of
sampling from an appropriate population and describing
as ".-representative" the statistical mean
of this sample. Much gets overlooked in an analysis
of this type, and this particular analysis
may have been too "gross" to pick out meaningful
differences among musical sub-cultures.
W.: This was an attempt on the part of Lomax and
his colleagues to forge ahead and get something
out of a problem where nothing was really right
for a controlled study. Alan very early realized
that if you say the situation isn't right and never
will be, we don't know how to solve the problem
of sampling, etc., all you can do is give up. But
he thought the problem was worth tackling.
This is a pioneering work and probably a
good half of it is absolutely wrong. Some of the
conclusions seem to have some relation to the
hypotheses but no relation to what was done about
testing the hypotheses, You could question
his sampling of cultures which was taken from a
very biased cross-cultural survey. You can question
his statistical techniques; occasionally he
has a tendency to make linear charts out of what
should be bar graphs, etc.
Nevertheless, it is a pioneering thing, working
in terms of things that ethnomusicologists
had previously given up on. How can you assess
the degree of tension with which singers sing? If
he had infinite money instead of just a lot of money
to do his study, he could probably really
have taken each musical area and ascertained
the song styles (at least the individual singers)
that were unanimously received by all listeners,
so that you knew these singers were satisfying
demands of people in what, they wanted in their
music, what they wanted to hear — this is what
he termed "song style," which is a little different
from the usual idea of song style. He's talking
about singing style instead of the "music"
style. It's a behavioristic approach.
I'm not sure that he went any further than he
started out to, which was to generate a number
of hypotheses in the hope that people would be
able to test them, concerning the relation between
the way in whifch songs were delivered
(and other characteristics, like the length of
phrase) and other aspects of the culture, .in particular
the national character sort of thing - the
psychological aspects.
I don't think the analysis is too gross. It
has certain inevitable inadequacies, chiefly stemming
from the fact that nothing like this had ever
been done before.
S.: Are chances good that Lomax's study will be
followed up?
W.: I .hope so, but nobody's done it. But I think
the work is monumental, .even if every conclusion
he has come out with proves to be wrong. It opens
up so many new ways of working in the field.
S.: Don't you run into the problem of how to define,
say, "blues singer" — what restrictions do
you put on the population from which you draw a
sample?
W.: The way I would do it is ask a guy, ".Are you
a blues, singer?" and then define him according
35
to what he says.
S.: What about the people composing his audience,
what if they say, "No, this guy isn't a blues singer,
he's a soul singer"?
W>.: Then I'd have to have a footnote explaining
that the people who listen to him say he isn't.
You see, definitions never have priority in this
kind of thing, even though you have to figure out
what a guy think's he's doing and if he's not accepted
as doing it. The only thing you can say
is the descriptive thing. What do you do with Lonnie
Johnson, for example, drifting back and forth
from blues t" jazz? (,0f course, .there isn't that
much difference — you pick your kind of blues
and your kind of jazz and they're the same.
VII
W.: I'm not so sure that we've come out with anything
about West Africa and blues. I .don't believe
that you find blues, per se, in West Africa except
blues that have been accepted in the latter day.
The catch is, of course, when you talk about
blues you're talking about so many different
things. You're talking about a chord sequence, a
12-bar format, about a kind of lyric, and about a
group of people. Many of the things called blues
don't follow any of these, like St. Louis Blues.
The idea of singing the blues —songs of dissatisfaction
— this is very widespread. I think even
the Calypso is a form of singing the blues,
in a different musical, style. And. certainly this
form, like the "songs of allusion" in Haiti and
so on, stem directly from West African song style
where people get out and sing — sing about peor
pie and things they don't like. When they're singing
about people they're singing more like Calypso;
.when they sing about things they don't like,
they sing more like the blues. This is a widespread
tradition, though it doesn't follow the 12-
bar format necessarily, and it doesn't follow the
I-IV-V chord sequence. Modern blues usually do
follow these things.
And there's the thing about singing the blues
about things that done me wrong, or singing about
things you hate, once in a while about things you
like, but singing about personal kinds of experiences,
and communicating that to an audience.
It's in terms of music like that that I can't see a
specific blues style coming directly from West
Africa and I don't think there ever was one. The
blues, like jazz, is of U.S. .coinage and is one of
the peculiar things that came out of the U.S. from
this general amalgam of the European and African
musics that happened all over the eastern
parts of the Americas. You find sort of the equivalent
sewhere — things that serve the same
purpose. They don't exactly sound the same —
function's the same; structure, different. Quite
by accident, an instrument may have been available
here but not there — if we had kept all the
rattles and that sort of thing we might not have
developed a guitar to this kind of technique.
(The quoted material was taken from an interview
with Dr. Waterman on August 4, 1971, in Tampa,
Florida.)
REFERENCES
A. M. Jones, STUDIES IN AFRICAN MUSIC (Oxford
University Press: 1959)
LeRoi Jones, BLUES PEOPLE (William Morrow and
Co.: 1963)
Alan Lomax (ed.), FOLK SONG STYLE AND CULTURE
(American Association for the Advancement
of Science: 1968)
Paul Oliver, SAVANNAH SYNCOPATORS, (Studio
Vista: 1970)
Richard A. Waterman, "African Influence on the music
of the Americas," in Sol Tax (ed.), ACCULTURATION
IN THE AMERICAS (University of Chicago
Press: 1952)
Blues News
Coming soon from Spivey Records is the
debut LP of the Brooklyn Blues Busters. D.J.
Sperduto, leader of the band, reports that "Chicago
blues is alive and well in Brooklyn" at
the Nite Cap Lounge, 570 Flatbush Ave., where
the Blues Busters play along with occasional
guest artists such as Jerome Arnold, Victoria
Spivey, trombonist Matt Gee, and harp players
Chicago Slim and Bill Dicey. The Blues Busters
are also currently working as John Lee
Hooker's East Coast group.
Some recommendations for Bay Area blues
clubs from Ray Allen of San Francisco: "In
San Francisco, Keystone Korner is especially
good. This small club is the playing place for
Michael Bloomfield and, when he's in town,
John Lee Hooker. Across the Bay in Oakland
and Berkeley, The Showcase and The Sportsman,
which are predominantly black, have
been the scene of some great playing by B. B.
King and others. Although I have only mentioned
a few places, there are several more
around the U. C. campus that have good blues
players quite often."
36
FREDDJKING
At the urging (not much needed) of kindly
Stax Records I recently attended a press party
for Albert King at Fillmore West —doubly rewarding
because Freddy King was sharing the
bill that weekend. Also particularly apt because
they hoth have fine new releases out,
and with the Fillmore dark now, who knows
when the opportunity to view both of these
blues masters together again will come?
Freddy came on first and sounded more
together than I've ever seen him, doing tunes
from his new album (GETTING READY, Shelter
SHE-8905) as well as a few rave-up instrumentals
a la Hideaway and San-Ho-Zay. Admittedly,
he garnered more applause for his instrumental
tour-de-forces, but as his old King album
(FREDDY KING SINGS, King 762) amply attests,
his vocals were a treat as well. True, he didn't
do Takin' Care of Business or I'm Tore Down,
but he did get into some Elmore James licks
that proved enthralling.
Albert came on about midnight (we had to
sit through an over-long set by an unbearably
shitty English group whose name I won't even
mention) and jerked everyone to attention with
his more "cool-ish" blues stylings. Slick is
the only way to describe the back-up group that
gave Albert more than enough sympathetic support—
the horn section was tight a la Stax and
the drummer sounded as though he was A1 Jackson,
though he wasn't. Albert gave his usual
slow-paced but building-up-at-the-close performance
that started with a long instrumental
and ended with items on the order of Don't
Throw Your Love On Me So Strong and a guitarsolo-
studded version of Everybody Wants To Go
To Heaven (from his new album LOVE JOY,
Stax STS-2040). Albert is not nearly as dynamic
on-stage as Freddy, who jumps all over and
sweats profusely, but Albert mesmerizes with
his always on-top-of-the-note situation and
knows how to build an audience's expectation
level up perfectly. Needless to say he closed to
a standing ovation and encored with an instrumental,
triumphantly. The accompanying photos
accurately depict the moody presence of both of
these veteran bluesmen.
— Gary von Tersch
(Thanks to Gary von Tersch also for sending
reviews of the new LP's mentioned above. These
reviews were not used, however, as we already have
reports on these records by other writers. See
review section.)
ALBERT
FREDDY
records
Big Joe Williams, NINE-STRING GUITAR BLUES,
Delmark 627 (with Ransom Knowling, some tracks)
I Got The Best Ring Biscuit/Haunted House Blues/
I Done Stop Hollering/I Got A Bad Mind/Long Tall
Woman, Skinny Mama Too/Stack of Do liars/Indiana
Woman Blues/My Baby Keeps Hanging Around/
Jiving the Blues/Jump, Baby—Jump
Big Joe Williams,rTHINKING OF WHAT THEY DID
TO ME, Arhoolie 1053 (with Memphis Charlie, some
tracks)
Louisiana Bound/Killing Floor Blues/Throw the
Boogie Woogie/Dirt Road Blues/Montreal. Blues/
Take Me Out Of The Bottom/Thinking Of What
They Did To Me/The Death Of Dr. Martin Luther
King/Army Man In Vietnam/Creole Queen/Remember
Way Back/Bad Living/Trouble For Everybody/
King Jesus
Big Joe Williams has been around a long time;
not just since the 1930's, but since the very beginning
of the country blues revival. His enduring
presence has prompted a number of people to ignore
his qualities as a musician and to concentrate their
attention and unwarranted comments on his various
personality traits (thought by them to be "unpleasant"),
thus offensively presupposing for themselves
a familiarity that goes beyond the blues. It is our
misfortune, then, to hear, when someone of greater
innocence asks, "What do you think of Big Joe?"
such ludicrous replies as, "Oh, that drunk!" or
"He's such a liar," etc. Do I need to say that this
familiarity, this wretched pretension, this thinly
disguised racist contempt must be wrenched away
from these inepts by any means possible so that
real dignity can be restored to the blues and the
blues singers?
These experts are insidious, and the dangers
they unflinchingly perpetuate are subject, unfortunately,
to the worst sort of contaigion. In epidemic
proportions, one newly-arrived enthusiast after another
is infected with disdain and indifference which
in their case is not supported by any knowledge.
The burden of this vileness, however, rests with the
"more educated" teachers, most of whose own
knowledge is scanty, indeed.
Must the finest bluesmen of our time, men like
Big Joe, men like Lightnin' Hopkins, be dismissed
with empty phrases and smug cliches like "overrecorded"?
Must even the considerable talents of
someone like Brownie McGhee be ignored because
of the dismal atmosphere and stylistic peculiarities
to which he has chosen to adapt himself?
Certainly not. But those of us who agree seem to be
vastly outnumbered.
The occasion for these remarks is the release
(certain to be met by more disdain and indifference)
of two Big Joe Williams t^Ps by the two companies
whose role in advancing the blues in the last
decade has been both primary and magnificent:
Arhoolie and Delmark, both of whom more or less
began their blues careers with the release of Big
Joe Williams albums, and who, a decade later, show
that they are still unexcelled in establishing the
rapport necessary to bring out the best in Big Joe.
I find it impossible to choose between the superbly
recorded 1969 sessions issued by Arhoolie on
THINKING OF WHAT THEY DID TO ME AND Delmark's
NINE-STRING GUITAR BLUES, composed
of tracks from the early 1960's sessions, many with
the irreplacable bassist Ransom Knowling. The
liner notes on the Delmark are by John Simmons
whose sense of familiarity is absolutely legitimate.
Suffice it to say that, the only albums I would
rate above them are, in order: TOUGH TIMES
(Arhoolie 1002), MISSISSIPPI'S BIG JOE WILLIAMS
(produced by Delmark, issued by Folkways,
FS 3820), and PINEY WOODS BLUES, (Delmark
DL 602). It was said at one time that Chris
Strachwitz of Arhoolie preferred PINEY WOODS
BLUES to his own TOUGH TIMES; so did Robert
Koester of Delmark. But I disagree for quite definite
reasons. Whether it's simply amplification of Joe's
guitar, or a more subtle refinement of recording
technique, Arhoolie (on both LPs, but especially on
TOUGH TIMES) has managed to give a more vibrant
and dynamically vital life to Joe's guitar work.
For this reason alone, I would consider the TOUGH
TIMES album to be the finest example of Big Joe
Williams' marvelous ability.
It is on the above albums that we hear Big Joe
at his best.. Those who have rejected him because
of their opposition to primitive fiddling or their
aversion to the Prestige sessions, are at best,
underexposed; at worst, the finality of their rejection
must stand as a product of abysmal ignorance
and appalling lethargy. Yet Arhoolie and Delmark
have, in combination, offered up such an exquisite
body of song by Big Joe that one is tempted to
think, however naively, that it is indeed these
•albums that can and will triumph over those forces
that forever work against our appreciation of what
the blues is all about.
- Paul Garon
Shirley Caesar, STRANGER ON THE ROAD, HOB
HBX-299
Shirley Caesar, THE CHURCH IS IN MOURNING,
HOB HBX-2116
Shirley Caesar, A MESSAGE TO THE NATION,
HOB HBX-2128
Preserved on these discs is the vocal dynamism
and spiritual verve of one of this nation's most neglected
and idiom labeled artists, Shirley Caesar.
Those of you who are already into gospel music are
probably initiated, but if her name draws a blank, allow
me to elucidate for, to these ears, she comes
across, on record and in person, tantamount to a female
James Brown. In person she is non-stop surgingly
creative, endowed with one of the most compelit's
about time
Hound Dog Taylor has been playing his special brand of good-time
blues and driving boogies for more than twenty years. He and his
HouseRockers probably have the most loyal audience of any blues band
in Chicago, and with their appearance at the second Ann Arbor Blues
Festival, Hound Dog's reputation has spread throughout the Midwest.
Now, finally, Hound Dog Taylor and the HouseRockers have an album
of their own. It was recorded in June, 1971 with no overdubbing, no
studio sidemen, no fancy production.... just twelve songs by the toughest
blues band in Chicago. This is real Chicago blues, by the man
Buady Guy calls, "the last of the real good slide guitar players."
List price for Alligator 4701 ... » x
is $5.98, but until January It ALLICjdlOR RfcCOROS
$5.00 in the U.S.A. P. 0 . Box 11741
$6.00 outside the U.S.A. Ft. Dearborn Station
$7.00 airmail anywhere Chicago, Illinois 60611
ling voices ever and startlingly to the point: "They
tell me God is dead. I reply, if that's so, then tell
me who killed him and where he was buried and why
wasn't 1 notified, because I'm his child and he's my
father." Her vibrant combination of alert, straining
evangelism and the poised fervor of her singing is
more than adequately preserved on record as well, as
any of the above-noted discs will more than prove.
Whether she's rhythmically preaching on her million-
seller smash Don't Drive Your Mama Away, wailing
above the chanting and crooning of her sister
Anne and the rest of the forceful Caesar Singers on
items like Stranger on the Road or Sweeping Through
the City, frantically delivering her sermonettes like
Lord Have Mercy or spectacularly rendering R&B
back-dropped (Roy Thompson's back-porch guitar
work has to be heard to be believed) tunes like
Going To Heaven, (Shirley conquers and, with the
the thrilling freneticism of her note-holding and bendr
ing, all but forces you to listen.
Miss Caesar is in her early 30's, first recorded
at the age of 13 as Baby Shirley, then grew up to
join one of the most distinguished gospel groups in
the land, the Famous Caravans of Chicago. Her
style is a blend of Dorothy Love Coates and Clara
Ward, but Shirley's in-person appearances and albums
are packed with a variety that overwhelms her own —
from country gospel to sermons to acapella to soulish
vocals to her house-wrecking autobiographical
lamenting. Shirley Caesar could easily take the pop/
soul/rock music world by storm. But, her indisputable
sense of delivery and flawless timing, be she
shouting or whispering, are the signs of a woman
caught up in the Truth of what she's doing and she
continually assures her followers that she won't
"sell out Jesus for the rock 'n' roll" in her tune
He Heard My Cry. This woman deserves some investigation:
start with her latest, MESSAGE TO THE
NATION, and work back from there.
—- Gary von Tersch
Freddie King, GETTING READY, Shelter SHE 8905
Same Old Blues/Dust My Broom/Worried Life Blues/
Five Long Years/Key to the Highway/Going Down/
Living on the Highway/Walking by Myself/Tore Down
/Palace of the King
It's very nice indeed that today's "Superstar"
has taken the time to help the old bluesrnen of yesterday
make a comeback to the music scene, although
this move is often not as hip as one would imagine.
Leon Russell has graciously included himself and
other noteworthy cats like Don Nix, Duck Dunn and
others just as well forgotten to dominate the album.
The album is produced by Russell and Nix, and most
of the songs are penned by the slack-fingered duo.
Compositions by the pair range from comic mediocrity
(Living on the Highway) to absolute stupidity (Palace
of the King). Composer credits also differ from
cover to record as in the case of Worried Life Blues
from Big Maceo (which is misspelled on the LP) to
Willie Dixon (though that would be a good guess).
Some old classic blues like Dust My Broom, Key
to the Highway, Worried Life, Walking by Myself and
Five Long Years are done in a rather poor pop style
and in no way come across to the listener as blues.
Additions of vocal backings, overproduction and just
plain too much Leon Russell influence ruin these
songs to no small degree. The piano ramblingsof Russell
destroy Five Long Years, while a brilliant new
artsy arrangement of Dust My Broom shatters any hope
of this disc acting as a Freddie King showcase. A
killer tune like Broom does not need any new arrangement,
especially when it is done just for the sake of
showing off one's ability as a pseudo blues composer.
Tore Down is the only song which brings to mind
any of the Freddie King legend. This song typifies
Freddie's guitar power at its best in a modern atmosphere.
Looking at the guitar licks throughout the album,
Freddie is as good as ever with his box, but it's
a pity (and a cryin' shame) he could not have rendered
some of his more noted compositions. Someday After
Awhile and Driving Sideways would have been welcome
numbers, and a grand opportunity for Freddie and
his guitar to scuffle and sing some blues.
If you do not mind your blues with a generous
pop flavor or want everything Freddie ever recorded,
then pick up on this LP. I would recommend that you
look to your old or specialist record shop and find the
King's Tecords on Federal and King.
- George Paulus
T-2216 BOTTLENECK BLUES
A sampler of the various approaches utilized
by bluesmen of this uniquely vocalized instrumental
technique, from simple to complex,
country to city, featuring performances by Big
Joe Williams, Muddy Waters, Robert Nighthawk,
Elijah Brown, John Henry Barbee, Johnny
Shines, Fred McDowell, J.B. Hutto and
others.
T-2221 STANDING AT THE CROSSROADS,
Johnny Shines
Solo performances—vocal and acoustic guitar
—in pure Mississippi Delta style by the man
many consider to be the logical successor to his
mentor Robert Johnson. Many traditional
pieces, and Shines' recom positions in that
idiom, make this one of the finest albums of
country blues in years.
T-2222 IT MUST HAVE BEEN THE
DEVIL, Jack Owens
Six lengthy country blues performances by one
of the master musicians of Bentonia, Mississippi,
singing and playing with great power in
a style associated with Skip James, the area's
best-known representative. Owens is assisted on
several cuts by harmonica player Bud Spires.
A beautiful set of living country blues.
T-2223 TRAVELING THROUGH THE
JUNGLE, Fife and Drum Band Music
A cross-section of recordings from the Deep
South by fife-and-drum bands in Mississippi,
Texas and Alabama, including five selections
by the Sid Hemphill group recorded by the
Library of Congress in the early 1940s. A
very interesting and valuable documentary that
fills in an important gap in blues history.
TESTAMENT RECORDS P A S A D E N A , C A L I F O R N I A 9 1 1 0 7
Albert King, LOVEJOY, Stax STS 2040
Honky Tonk Woman/Bay Area Blues/Corina Corina/
She Caught the Katy & Left Me a Mule to Ride/For
the Love of a Woman/Love joy, 111./Everybody Wants
to Go to Heaven/Going Back to Iuka/Like a Road
Leading Home
Albert King, though, a deservedly successful and
popular bluesman, is an artist with obvious iimits.
Stax Records realized this a while back and, to introduce
some variety into his music, even had him do an
LP of Elvis Presley hits (the atrocious KING, DOES
THE KING'S THINGS, Stax STS 2015). Stax has taken
a similar approach on this LP — none of the songs
were written by Albert. However this time several of
the tunes at least were written for Albert (by Don
Nix). One, Everybody Wants to Go to Heaven, is the
best thing Albert's done in years; a simple, straightforward,
meaningful slow blues. Another, Like a Road,
is unbearably dull; the rest merely unexciting. These
sides, combined with lackluster renditions of Rolling
Stones and Taj Mahal numbers on Side I, make this a
generally mediocre album with too few lively moments.
Better than the Elvis fiasco, certainly, but for a
good Albert King LP, I'll still have to recommend an
earlier Stax LP or TRAVELIN' TO' CALIFORNIA
(King KSD 1060). The King is better when he doesn't
stray outside his boundaries.
— Jim O'Neal
THE GREAT JUG BANDS, Historical HLP-36
Jed Davenport and His Beale Street Jug Band-
Save Me Some/You Ought To Move Out Of Town/
Beale Street Breakdown/The Dirty Dozen; Cannon's
Jug Stompers— Viola Lee Blues/Bring It With
You When You Come/Money Never Runs Out/Prtspn
Wall Blues; Phillips' Louisville Jug Band—
Soldier Boy Blues; Dixieland Jug Blowers—Florida
Blues/Louisville Stomp/Skip, Skat, Doodle-Do;
Earl McDonald's Original Louisville Jug Band—
Rockin' Chair Blues; Memphis Jug Band— Mary Anna
Cut Off/Memphis Shakedown/Papa Long Blues
Historical Records has finally brought out a
gieat blues album. Long past due, this record
matches the quality of the early Origin and Yazoo
reissues and is recommended without reservation.
It is nice to be able to listen to an album from
start to finish, something that has become increasingly
difficult. Both the "country" oriented bands
out of Memphis, and the jazz oriented groups from
Louisville are included here. The range is wide
and never repetitious.
The cuts by Cannon's Jug Stompers, for example,
run a remarkable gamut, each song a highly
individual endeavor. Viola Lee Blues is slow and
mournful, with Noah Lewis at his best; Bring It
With You is a tight, raucous dance song. Money
Never Runs Out is an engaging fantasy, and Hosea
Woods remarks, snags a line priced immortal:
BEA & BABY
COMING SOON from BEA & BABY RECORDS ~
LP 101 by LITTLE MACK SIMMONS
T I T L E S : J u k e
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I m Y o u r F o o l
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T i m e s A r e G e t t i n g T o u g h e r
Come B a c k T o Me B a b y
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M o t h e r - i n - l a w B l u e s
Y o u G o t t o H e l p Me
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$2.99 plus $.50 postage & handling
45 s still available at $1.00 each:
Bea & Baby
101. Eddie Boyd: I'm Commin' Home/Thank You Baby
102. L.C. McKinley: Nit Wit/Sharpest Man in Town
103. Daylighters: Mad House Jump/Breaking My Heart
106. Bobby Saxton: Trying to Make a Living/
Earl Hooker: Dynamite
108. Eddie Boyd: Come Homel/You Got to Reap!
109. Little Mac: Times Are Getting Tougher/Don't
Don't Come Back
114. Sampson: It's So Hard/Singing Sam: Sampson
121. Lee Jackson: Christmas Song/
Clyde Lasley: Santa Came Home Drunk
130. The Chances: One More Chance/
It Takes More Than Love Alone
132. Lee Jackson: Apollo 15, Parts 1 & 2
Other Associated Labels
Key Hole 101 — Eddie Boyd & The Daylighters:
Come On Home/Reap What You Sow
Key Hole 114 — Eddie Boyd: All the Way/
Where You Belong
Miss 122 — Rev. Samuel Patterson: Judgement Day/
Climbing High Mountains
Miss 621 - Pilgrim Harmonizers: Witness There Too/
Over the Hill
Ronald 1001 — Andre Williams: I Still Love You/
Please Give Me a Chance
Lucky Inc. 0017 — Doc Oliver:
Going Thru' a Change of Love, Parts 1 & 2
Lucky Inc. 1778/9 — Doc Oliver & The Sergeons:
Tighten Hp Your Game, Parts 1 & 2
Dubb Intl. 991 — Mato & The Mystics:
Soul Groove, Parts 1 & 2
P.M. 101 — The 3 Simmons:
You Are My Dream, Parts 1 & 2
Please remember to add 50<t per order to cover
postage and handling charges.
Dealers' and distributors' prices available upon
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Send all orders to: BEA & BABY BECOBDS
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41
"I don't care if I never wake up." And Prison Wall
Blues is a masterpiece, surely one of the great
prison blues, the lyrics again superb: "This is the
first fence I ever saw in my life that I can't climb.
This fence will make a high yellow girl turn dark,
and a weak-eyed man go bli.nd . . "
The rest of the album is equally fine; there
are good liner notes by Richard Spottswood. Historical
has been a highly frustrating company in
the past, and deserves all support for this, one of
the best, most completely satisfying reissue albums
in a long time.
— John Simmons
John Lee Hooker, I WANNA DANCE ALL NIGHT
(French) America 1601
Hey Baby You Look Good To Me/l Wanna Dance All
Night/Mean Woman/Why Put Me Down/My Name Is
Ringing/What The Matter Baby/Baby Don't You
Wanna Go/Talk To Your Daughter/You Move Me/
The Things I Tell You To Do
John Lee Hooker, I FEEL GOOD (French)
Carson 3662; reissued in U.S. on Jewel LPS 5005
I Feel Good/Baby Baby/Dazie Mae/Stand By/
Going Home/Looking Back Over My Day/Roll And
Tumble/Baby Don't Do Me Wrong/Come On Baby
John Lee Hooker, GET BACK HOME IN THE U.S.A.
(French) Black & Blue 333023
Get Back Home In The U.S.A./TB Is Killing Me/
Cold Chills/I Had A Dream Last Night/Love Affair/
Little Rain/When My First Wife Left Me/Big Boss
Lady/Back To Your Mother/Boogie Chillen
In 1969 John Lee Hooker visited France several
times, where he recorded three albums, accompanied
by S. P. Leary on drums and Eddie Taylor
on bass guitar. I call these two names, because it
sounds as if John Lee used them on all three LPs.
The liner notes do not list personnel. The America
LP starts with a belch-number Look Good-probably
recorded at a dry studio using fine red wine and
beer. Dance is a nice fast title, Mean Woman is
well-known, and My Name has nice lyrics. Talk To
Your Daughter is not the J. B. Lenoir sons. Collectors
should note that this America LP is an
original record and not a reissue as are the other
four by Hooker on this label. The Carson LP features
the same unbeauty as the America album*,
the bass guitar player, whoever it really is, plays
too loud for Hooker's guitar. On Stand By John Lee^
introduces "I hear Lowell Fulson in that tune,"
on Looking Back, "I hear vou Lowell." The
Black & Blue is the best of the three French, featuring
finally some very excellent guitar by Hooker,
and only real backgrounding bass and drums. Powerful
guitar on Dreams, reminiscent of his early
days, as is Rain. Affair sounds like Reed. Mother,
one of a few tracks without drums and bass, is a
damn good slow blues, and one of the most real
things he's cut in recent years. 6 —NorbertHess
Furry Lewis, LIVE AT THE GASLIGHT
AD GO GO, Ampex A10140
AT THE
Introduction/Paer Lee/My Dog Got the Measles/Nero
(sic) My God to Thee/The Accident/East St. Louis/
Waiting for a Train/When I Lay My Burdon (sic) Down
/Introduction for Ward Schaffer/Move to Kansas City/
Pallet on the Floor/Brownsville/Furry's Blues/The
President/John Henry/Turn Your Money Green/K.C.
Jones
Furry Lewis on a major label! Recorded live at a
well-known New York nightspot even! This particular
album came as a real surprise considering this is the
first blues that I have ever seen on Ampex.
As for Furry's performance, it is generally good.
There are several sloppy, mistake-plagued tracks —
Pallet on the Floor and East St. Louis — but his execution
on the other tracks is fine. He really gets involved
in playing Furry's Blues and Turn Your Money
Green, and these, along with a fine version of When I
Lay My Burden Down, rank as the best songs here.
Most of the other songs are familiar to you if you have
an LP or two by him already, but he does throw in a
surprise by including Jimmie Rodgers' Waiting for a
Train and an unfamiliar song, My Dog Got the Measles.
By virtue of the fact that this is a live LP, we
must put up with a certain percentage of Furry's minstrel
show background, coming through by way of
some very annoying talk and bad jokes. Some of them
are really lousy too!
A typical Furry Lewis LP of the type he has
made a number of in the last few years. If you don't
have any of them, then this is as good as any, I suppose.
Or for the fan who wants yet another familiar rereworking
pf a familiar Furry Lewis standard. It has
its moments, though.
— Kip Lornell
T-Bone Walker, Joe Turner, and Otis Spann, with
George Smith and others. SUPER BLACK BLUES,
BluesTime BTS 9003
Paris Blues/Here I AmBroken Hearted/Jot's Blues/
Blues Jam
"Super sessions" became quite the rage in
the music world a couple of years back, and a lot
6U)ES RECORDS . AVAILABLE FEOM OUR FAST MAIL
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42
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of musicians were slapped together on record,
supposedly to produce spontaneous supermusic. The
results, however, rarely could be called "super"
in any sense. But SUPER BLACK BLUES is one
record that really deserves the adjective. Not super
in that one celebrity after another delivers long,
aimless, dynamite solos, but super in that eight
musicians have created a free, flowing beautiful
musical statement that's far better than most Oi the
music being recorded today.
Jams like SUPER BLACK BLUES may occur
on good nights at blues clubs, but it's a rare treat
to hear such music on record. Every musician is
good, and everyone is perfectly together. In a sense
it's T-Bone's music, since he gets composer's
credits for the three long jam numbers, plays lead
guitar, and splits the vocal chores with Joe Turner
and occasionally Otis Spann. But everybody deserves
credit-the singing is relaxed and mellow, Spann's
piano is superb, and George Smith fits right in on
harp. Equally important are the excellent back-up
musicians: guitarist Arthur Wright, drummer Paul
Humphrey, saxophonist Ernie Watts, and especially
bassist Ron Brown. The music is dynamic, swaying,
and'never draggy. The band will build up to an,
increasingly loud and driving level, then settle
back and float along, give a solo to T-Bone, Spann,
Smith or Watts, and another vocalist will take over,
the band will lay back and come on strong again;
and the whole album is just beautiful.
—Jim O'Neal
W£ UtfUlt AS°ur hlllP^
Q u o o t h e r a
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Blue Flame
New b l u e s n e w s p a p e r p r o d u c e d b y l i b e r a l C h i c a g o s t u d e n t s .
I n f o r m a l f o r m a t , d i s c o g r a p h i c a l d a t a , n e w s , d i s c o v e r i e s , b o o k /
f i I m / r e c o r d / c o n c e r t r e v i e w s , r e g i o n a l n e w s , e t c . SOON: s e r i e s
o f a r t i c l e s o n t h e w i d e s p e c t r u m o f n a t u r a l I i f e - - - - o r g a n i c f a r m i
n g , communal l i v i n g , t h u m b i n g t h r u USA, e t c . A r t i c l e s o n t h e s e
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25<£ e a . p l u s 8<£ s t a m p t o i n s u r e p r o m p t n e s s (USA) o r p l u s o n e
IRC ( f o r e i g n ) . B l u e F l a m e P r o d u c t i o n s , 2 7 0 1 Birchwood A v e n u e ,
W i l m e t t e , I l l i n o i s 6 0 0 9 1 , USA.
45's
Fenton Robinson, The Sky Is Crying/Let Me Come
On Home, Seventy 7 #105
Sky is the only blues record getting regular airplay
over WLAC this fall (it was produced by the station's
DJ John R.). It's nice that Fenton Robinson
is getting some exposure, but it's a real shame
that more use wasn't made of his considerable
talents on this "underground" blues session. He
doesn't play guitar, and his vocals have been
better. The heavy, raucous guitarist may impress
some, but leaves me cold; the band is competent
but methodical.
Bobby Bland, I'm Sorry/Yum Yum Tree , Duke 466
Bland does an excellent job on the Sonny Thompson
composition, Sorry, a slow, moving blues ballad.
Yum Yum leaves a bad taste, however, with its
Las Vegas show tune arrangement.
W. Williams and Sonny Wash/W. Williams and His
Blues Men, Don't Lie To Me Lover/Mississippi
Round House Part 1 Little Lynn 133-569
The best record to come from Lynn's Productions
in Greenville, Mississippi, in quite a while. A funky
uptempo blues, with Chicago drummer W. Williams'
three-piece group backing up vocalist Wash. Flip is
a nice pure blues instrumental. One of the very few
records that recreates the raw sounds of Chicago's
live blues clubs.
Albert Washington, Ain't It A Shame/Somewhere
Down The Line, Deluxe 135
Not a bad blues, except for the singing girls who
have plagued many nice records over the years.
(Ain't it a shame?) Somewhere isn't really blues,
but it's a good number with a catchy arrangement.
Lightning Hopkins, Easy on Your Heels/No Education,
Vault 965
Lightning Hopkins, Please Settle in 'Viet Nam/Once
a Gambler, Joliet 205
Lightning Hopkins, Rock Me Mama/Love Me This
Morning, Jewel 819
Well, here are three more Lightning Hopkins records.
So what else is new? The records are good, as Light?
ning's usually are, but there's nothing new or fantastic
here. Lightning's in best form on the Vault 45,
not quite as loose on the Joliet. He sounds a bit
labored on Love Me and doesn't play much on Rock
Me, but Hopkins fans may want all three.
Robert Pete Williams, Goodbye Slim Harpo/Vietnam
Blues, Ahura Mazda 101
A pair of topical blues convincingly sung and played
in Robert Pete's unique style. Genuine emotion fills
his tribute to fellow Louisiana bluesman Slim Harpo.
Definitely worth having, expecially since these
songs are unavailable on LP.
44
Bill Wrick, Just One More Time/Adore, JOB 0010
Willie Cobbs, You Don't Love/Slow Down Baby,
Ruler 900
These two releases mark the return of Joe (JOB)
Brown to recording activity, and the new JOB sound
certainly isn't what it used to be. Adore features
wah-wah guitar, mellow vocal, and a rather nice
modern blues sound; flip is an average dance number,
except for the really powerful guitar breaks.
Two of Cobbs'finestblues (with titles slightly altered)
are reissued on the Ruler single. You Don't
Love (Me) is a must if you don't have it on any of
the many labels it's already appeared on. Wahwah
was unfortunately dubbed on Slow Down,
an intense slow blues which sounded much better
in its unadulterated version.
Frank Butler, The Love I Need/If Love Don't
Change, J.V. 2502
Ex-Vee-Jay man Jimmy Bracken is still in business
too. This blues record, recorded last year, is nothing
great, but Bracken says it sold well on the West
Side. The band includes organ, guitar and horn section.
Organ predominates on Love I Need, which borrows
its bass line from Help Me; flip features more
guitar.
Harmonica Frank, Swamp Root/Step It Up and Go/
Great Medical Menagerie/Rockin' Chair Daddy
D & L
An unusual transparent green plastic EP of Chess
and Sun sides by the legendary white harmonica/
guitar player Frank Floyd. Root and Menagerie
arecomical narrations told above simple guitar patterns;
Frank adds harp on the two blues numbers,
Step and Daddy, which sound more like rural East
Coast blues than Memphis blues. Available from
Darryl Stolper, 16141 Sunset Blvd., Pacific Palisades,
California 90272, for $3.50.
— All above reviews by Jim O'Neal
Lee Jackson, Ordinary People/Life Ain't Easy,
JAS 520
This is mainly a precautionary review....this is NOT
the Lee Jackson that recorded for Cobra, CJ, and Bea
& Baby. Instead, this is a funky soul singer. People
is very "Memphisy," while Life is a slow ballad with
gospel-influenced organ. Primarily a gospel label,
based in New York.
— Cary Baker
Jimmie (Preacher) Ellis & The Odd Fellows, Put
Your Hoe to My Row/I Gotta See My Baby, Round
1036
The one thing noticeable on this blues single is the
lack of organization. Everything happens at once! A
female vocal trio smothers a screaming sax battled by
Ellis' Otis Redding-influenced voice and a tumed-up
bass. A 12-bar uptempo blues, but a little cluttered,
Hoe less so than Gotta.
— Cary Baker/Steve Collins
We can afford to show you only one
LP at a time! We'll mail it to you for
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record shops. But there are over 120
Blues, Folk, and Jazz LPs in our catalog
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BRITAIN'S FIRST BLUES MAGAZINE - l n = D e p t h C o v e r a g e o f
t h e B l u e s T r a d i t i o n , Y e s t e r d a y a n d T o d a y . R e s e a r c h , R e v i e w s ,
News, A n a l y s i s , P h o t o s . U . S . s u b s c r i p t i o n s : 1 0 i s s u e s $ 6 . 7 0 ;
f i v e i s s u e s $ 3 . 4 0 ; s i n g l e i s s u e 7 0 ^ „ P e r s o n a l c h e q u e o r I n t e r =
n a t i o n a l Money O r d e r a c c e p t e d . B l u e s U n l i m i t e d , 3 8 a S a c k v i l l e
R o a d , B e x h i I l - o n - S e a , S u s s e x , U . K . ( U . S . a g e n t : W a l t e r C . A l l e n ,
P . O . Box 5 0 1 , S t a n h o p e , N . J . 0 7 8 7 4 . )
Blues World
T h e f o r e m o s t m a g a z i n e o f b l u e s a p p r e c i a t i o n . A r t i c l e s b y l e a d i
n g b l u e s w r i t e r s . S t u d i e s o f b l u e s m e n , f a m o u s a n d o b s c u r e .
News a n d r e s e a r c h , r e c o r d & b o o k r e v i e w s , i n t e r v i e w s , c o n c e r t
r e p o r t s , l y r i c t r a n s c r i p t s p l u s s p e c i a l c o l l e c t o r s ' f e a t u r e s , e t c .
1 9 7 1 s u b s c r i p t i o n r a t e : £ 1 ( $ 3 ) f o r 4 i s s u e s ( s u r f a c e m a i l ) . £ 2
( $ 6 ) a i r m a i l . A l l 1 9 7 0 i s s u e s (BW 2 6 - 3 7 ) s t i l l a v a i l a b l e a t 2 0 p
( 6 0 < £ ) p e r c o p y . B l u e s W o r l d , 2 2 Manor C r e s c e n t , K n u t s f o r d ,
C h e s h i r e , U . K .
45
books
The second four books in The Blues Series
(edited by Paul Oliver) have been issued in England
by Studio Vista. They have not been published
in this country and may not be for quite
awhile. The books are DEEP SOUTH PIANO, The
Story of Little Brother Montgomery, by Kqrl Gert
zur Heide; MEMPHIS BLUES, by Bengt Olsson;
CHARLEY PATTON, by John Fahey; and BLUES
FROM THE DELTA, by William Ferris, Jr. Just released
but unavailable for review are TOMMY
JOHNSON, by David Evans; THE BLUES REVIVAL,
by Bob Groom; THE DEVIL'S SON-IN-LAW, by
Paul Garon; and CRYING FOR THE CAROLINES,
by Bruce Bastin.
One half of DEEP SOUTH PIANO is a
"Who's Who,"including short biographical sketches,
of musicians who were friends or associates
of Little Brother Montgomery. The first half is the
saga of Little Brother —his life, his travels, his
music —described by Gert zur Heide and enlivened
occasionally by enticing quotes from Little Brother.
Appended is a discography and a 10-page section
of lyric transcriptions.
MEMPHIS BLUES is a compendium of 1-5-page
vignettes about various musicians associated with
the Memphis area. Although much information has
been unearthed and published here for the first
time, the lack of coherence and direction keeps
the book from being as effective as it might have
been. Still, there are many great and rare photographs
and much interesting material, as well as a
discography of selections available on LP, a bibliography,
and a section of lyric transcriptions.
The CHARLEY PATTON book contains a
biography of Patton and a 35-page section of good
lyric transcriptions, complete with musical notation.
There's also a useful annotated discography.
The most valuable part of the book is perhaps the
full musicological analysis following the biography,
but for the reader whose knowledge of music is
slight, this section will be the dullest. In any
case, Fahey's book is a studied and valuable
piece of scholarship.
BLUES FROM THE DELTA is another scholarly
work. Ferris touches on subjects too diverse
to be enumerated here, but the implications of his
finding are powerful in that they explode a number
of conceptions held by many blues fans and collectors.
Although many enthusiasts state that one
of the most attractive features of the blues is its
improvisational nature, there is still a widespread
tendency to conceive ofa record as an established,
limited "song," rather than as a spontaneous, current
(at the time of recording) cross-section of the
singer's entire repertoire. Ferris' study implies
that the verses of a blues may never again occur
in the same pattern and that the same accompaniment
may never again be heard behind a particular
set of verses, for such is the nature of improvisation.
There are exceptions to this, e.g. a "song"
for which an artist becomes famous and which he
repeats verbatim for every audience, but Ferris'
book plays an important part in uncovering the real
scope and essence ofwhata blues song actually is,
— Paul Garon
BLUES QUESTIONS & ANSWERS
1 . Who plays guitar on Otis Spann's version of Trouble
in Mind on his Archive of Folk music album
(FS-216)? Also, who i s the guitarist on L i t t l e Walter's
Juke and Off the Wall?
— Marc Dashevsky, Amherst, Mass.
1. Lonnie Johnson plays guitar on the Spapn cut,
which was originally recorded for the Storyville
label (SLP 157) in Copenhagen in 1963. Little Walter's
band on Juke (1952) and Off the Wall (1953) included
Louis Myers, lead guitar; Dave Myers, second
guitar; and Fred Below, drums. Such information is
readily available in the Mike Leadbitter/Neil Slaven
discography BLUES RECORDS 1943-1966 (Oak Publications,
33 W. 60th St., N.Y., N.Y. 10023). This
valuable reference book is now being revised and
greatly expanded; hopefully the new edition will list
the above-mentioned guitarists' surnames as Myers
rather than Miles, the name which has appeared in
most previous accounts. Those interested in data
on early blues recordings should consult the John
Godrich/Robert M.W. Dixon book BLUES AND GOSPEL
RECORDS 1902-1942 (Storyville Publications,
63, Orford Road, London E. 17, U.K.).
Readers are invited to submit questions on any aspect
of the blues. Each question will be published
with a number — when the question is answered, either
by other readers or the LIVING BLUES staff,
it will be published with the same reference number
(usually in a future issue, unless the question is
answered immediately by the staff). Researchers and
authors in need of information are also invited to
make use of this column.
COLLECTORS' AOS
Rates: 10<P per word.
Flyin' Crow Blues Record Service — 45's and 78's
(Wells, Hooker, Littlejohn, L. Jackson, Sam, Reed,
etc). Send IRC or 8$ stamp for catalogue. 1437 Glenview
Road, Glenview, Illinois 60025.
Norbert's Auction #2 — over 300 blues 45's, 78's &
LP's, plus books, photos & record catalogues.
Norbert Hess, 1 Berlin 62, Hauptstrasse 9, W. Germany.
THE L I V I N G BLUES AUCTION L I S T
BLUES 7 8 ' s AND 4 5 ' s
S e n d 1 0 f o r t h e c u r r e n t l i s t t o :
A u c t i o n , c / o L i v i n g B l u e s ,
P . O . B o x 1 1 3 0 3 , C h i c a g o , I l l i n o i s 6 0 6 1 1
m-* mk -m-«. >m
A uA A
nrLJE; iiriyiiiijSi Hi i ...THI mIMpHII ILUil c \b
An anthology of the blues today in Memphis - Vol. I & Vol. 2
THINGS HAVE CHANGED
an anthology of today's blues from
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blues news
A fire in late August gutted the West Side
Chicago building where guitarists John Little -
john and Jimmy Rogers and their families lived.
No one was hurt; John and Jimmy were playing
at Ross and Ma Bea's tavern that night, and
their families escaped safely. However, most of
their possessions were destroyed. On October 3
friends of the band held a benefit at Alice's Revisited,
the North Side coffeehouse where Littlejohn
and Rogers often play. Mighty Joe
Young, Billy Boy Arnold, Buddy Guy, Big Voice
Odom, Little Brother Montgomery, Jimmy Dawkins
and Carey Bell appeared, along with the
Littlejohn-Rogers band. The benefit netted over
$1000 to help the families relocate.
A fantastic blues battle was scheduled for
Saturday, Oct. 2, by Black Expo (Black Business
and Cultural Exposition, sponsored by the
Southern Christian Leadership Conference's Operation
Breadbasket) at Chicago's International
Amphitheatre. B.B. King, Little Milton, Bobby
Bland and Jr. Parker were all advertised, but
Parker was the only bluesman to appear on concert
night. The others were replaced by Curtis
Mayfield, Hugh Masekela, Jerry Butler and 0-
detta, thus limiting blues for the night to Parker's
three songs (Let the Good Times Roll,
Worried Life Blues and Drownin' on Dry Land).
Audience response to Parker was polite but
lukewarm, but the response throughout the night
was never as great as might be expected. Parker
was reunited for the 15-minute set with guitarist
Wayne Bennett, who now plays for the Operation
Breadbasket group. Bennett formerly
toured and recorded with Parker and Bland.
A campaign, initiated by Robert McNown of Seattle
and Cary Baker of Wilmette, 111., is under
way to have Chicago's East 23rd Street renamed
Otis Spann Avenue, in memory of the renowned
blues pianist who died on April 25,
1970. Letters have been circulated, and the
proposal is being presented before zoning authorities.
Bluesman Jump Jackson, who sits on
the city commission, is now in charge of the
project.
Big Bill Hill, long-time Chicago blues
DJ, is still broadcasting* live blues shows
from the West Side. Currently featured acts
at Bill's club, the Salt & Pepper Ballroom,
4740 W. Madison St., include Little Mack
Simmons and his revue, Lee Shot Williams,
Jesse Anderson, Arlean Brown,. Willie Wade,
Little Addison, Luther "Guitar Jr." Johnson,
Little Eddie King and Howlin' Wolf. The live
broadcasts are heard four nights a week on
WOP A (1490 AM), begkmfng at 11 p.m. or midnight.
Blues artists also sometimes appear on
•fell's,Friday night TV dance show Red Hot 'n
Blues on Channel 26.
JAMES "Sonny Ford" THOMAS
A 16 mm sound film on Leland, Mississippi,
blues guitarist James "Sonny Ford"
Thomas is now available from Psychological
Cinema Register, 6 Willard Building, University
Park, Pa. 16802. Delta Blues Singer: James
"Sonny Ford" Thomas, filmed by Bill and Josette
Ferris in 1969, focuses on the black community
of Leland as well as on Thomas' music
and personal history. Rental price for the 45-
minute black-and-white film is $9.60 for one day
of use; the saje price is $220. All royalties
from the sale of the family will go to Thomas &
his family.
LIVING BLUES
P.O. Box 11303
Chicago, Illinois 60611
Third Class Mail (Printed Matter)
Application to mail at second-class postage
rates is pending at Chicago, Illinois.
ADDRESS CORRECTION REQUESTED
VIBRAPHONIST
JAY HOGGARD
APPEARING AT
210 WEST 70th STREET
INFORMATION -362-6079
ONE NIGHT ONLY
FRIDAY, FEBRUARY 15, 1980
W 2 SHOWS—9 PM & MIDNIGHT
WITH
FRANCISCO CENTENO
RAY CHEW
CHICO FREEMAN
NANA VASCONCELOS
BUDDY WILLIAMS
HHJ1
•v.
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Lo
V
ON,
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Lab vegas, Nevada 89121
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Mr.5 Mrs. J. David Hoggan
3440 Momnmtwe mCarmloa mmm

WHO'S
WHO
AMONG
THE DISC
JOCKEYS
Here are threescore
prominent
•'platter spinners,"
often heard but
seldom seen
NEW YORK'S Martin Block interviews Judy Garland, Sid Luft at "Star is Born" premiere.
The profession of disc jockey
has room for "record Romeos,"
jivesters, mambo experts,
specialists in putting you to
sleep or waking you up—men of
every variety of taste. Probably
no group in the music world has
greater influence on public
taste, as the record companies
and artists are well aware.
Your own home-town favorite
may be among the national
gallery of disc jockeys we
present on these pages.
BILL BALLANCE GENE WHITAKER PAT CHAM BURS
WAYNE CODY STAN DALE WALLIE DUNLAP TOM EDWARDS
AMERICA'S RECORD STARS
COUNTRY & WESTERN
TEX HITTER stayed in Texas till he was almost
old enough to vote—but he's been on the
move ever since. Born in Panola County, Tex
went to the University of Texas, moved crosscountry
to Northwestern for his law degree.
When singing 8 to the bar proved more attractive
than law, Tex got out his guitar and
wound up as a triple-threat man on movies,
radio and records ("High Noon"). M.arried,
he lives on his own ranch out California way.
AL TERRY organized his first Western band
while still in high school. With the help of
such stars as Red Foley, Webb Pierce and
the late Hank Williams, Al started, his present
recording outfit, Hickory, in Nashville.
In addition to conducting„AI sings and writes
many of his own songs. His favorite color is
blue; favorite food, pork chops and lima
beans, and his Very favorite song, "September
Song." Latest hit, "Good Deal, Lucille."
DALE EVANS (below, with husband Roy Rogers)
figures everybody knows by now that she was born
in Uvalde, Texas, "because I love to boost my
native state," but there may be two or three fans
around who haven't heard that Dale couldn't ride a
horse when she was first cast in Western movies.
She learned the hard way, by being thrown over the
animals' heads, mostly. Dale's theatrical career started
out in a much more sophisticated way. She sang on
radio and with bands before signing with Republic
in 1943. She stayed there for four and a half years,
acted in 30 pictures as Roy Rogers' leading lady.
Dale and Roy now have their own radio and TV
shows, spend any spare time at their ranch with the
five kids: Cheryl, Linda, Roy Jr., Robin and Dusty.
LONE PINE was born Harold J. Breau in the
small community of Pea Cove, Maine. The
story goes that he got the name _ "Lone
Pine" from the Indian playmates of his-early
youth. In 1940 Lone Pine met and married
Betty Cody and they now perform as a team.
Lone Pine and his wife (biography on p. 29)
star on their own radio show from WWVA,
Wheeling, West Virginia, and have made
countless RCA Victor recordings together.
RAY PRICE of "Grand Ole Opry" went to
North Texas Agricultural College for three
years, fought with the Marines for three
years, realized his dream by organizing his
own band to travel all over his native Texas.
Now, at 29, Ray is well on his way to becoming
a great folk artist, with his songs being
recorded by Columbia. His waxing of You
Always Get By" was another indication that
MARTY ROBBINS was inspired to become a
western singer by his idol, Gene Autry. Today
Marty and Gene often enjoy a iaugh
together over Marty's early Autry heroworship,
which evidently paid off: Marty is
a favorite on "Grand Ole Opry, can boast
of a fan club numbering more than 2,000
members. He also records, for Columbia,
many of his own songs. Marty is married to
his childhood sweetheart, is a homebody.
HANK THOMPSON, tall, handsome 29-yearold
singer-composer from Waco, Texas,
conducts daily radio shows and stage presentations
with his musical Western Cavalcade.
As a Capitol recording star, he's
turned out hits®* like "Whoa Sailor!'' and
"Wake Up, Irene." From childhood, he's had
a true singing voice, a good guitar technique
and a head for writing music, including hits
such as "Swing Wide Your Gates of Love."
RED SOVINE started singing and playing the
guitar at an early age, and in 1937 began
his professional career over Charleston, West
Virginia, station WCHS. He gradually
gained in popularity until today, he is the
featured star on the famous "Louisiana Hayride"
show which originates in Shreveport.
A Decca recording artist, Red is married,
the father of three children. He likes to swim,
hunt and play football in his spare time.
1001 - 3rd Street
Santa Monica, C llfornia
September 8, 19T0
P.O. Box H-116
C/0 Broadcasting
1735 Desales Street IJ.W,
Washington, D.C. 20036
Gentlemen:
Yes, selling radio in a tropical city in Florida sounds wonderful.
As one who has really stood the rigors of winter in Nevada and
the smog and fog of Los Angeles, I long to return horse.
I was born in Durham, North Carolina, and have served in radio
and advertising mostly in the south prior to moving to California
about seven years ago. Soon after arriving in Los Angeles I
Joined the firm of Jack Elliott & Associates in advertising and
sales.
In 1968 I took a leave of absence to become radio salesman at KPTL
at Carson City, Nevada. The principal radio sales consisted of
my selling and instituting summer-fall-winter schedules, heavy
highschool football, "Nevada Days" promotion, coordinating spot
campaigning in western regional territory for Western Auto and
Montgomery Ward, I was very successful in this as these two firms
had not used radio in this territory. I Instituted special tie-in
interviews, both taped and live, with singers and entertainers, at
Cal-Neva Lodge, Harrahs, Sahara, Harolds (Lake Tahoe and Reno),
year around promotions for Reno Merchants Association and Virginia
City Merchants Associations and exceedingly heavy spotting for
Christmas and holiday spots for local stores, I coordinated all
advertising for the Silver Slipper Club and the Nugget. I also
emceed a program called "Debut at the Mint" and we took over the
advertising from the agency syndicate. I was also radio announcer
on Tennessee Ernie*s "Golden Bubble" show, a program of long
standing".'
In addition to all the above, I wrote the copy and serviced all
the station accounts, as well as a regular list of merchants.
(The Sales Manager left to Join another station shortly after my
arrival, and since I did all the selling you could assume that I
was Sales Manager, in fact if not in title). These were my special
promotions.
In 1969 KPTL was sold at public auction. I like selling but 1
could never get used to the extreme cold winters, so I returned to
Jack Elliott & Associates where I am working in Public Relations-
Sales. (Narration of a sales publication course). You will note
that I have been with them, except for my leave of absence, since
1962,
In conclusion, you must realize that it is difficult to write to
a box number. I would like to know where you are located in Florida
continued
COLUMBIA BROADCASTING SYSTEM, INC.
4.85 MADISON AVENUE, NEW YOEK 22, N.Y
PLAZA 5-2000
August 10, 1950
Mr. Gene Whitaker
Radio Station ¥SSB
Durham, North Carolina
Dear Gene:
A big welcome to "CHESTERFIELD'S ABC'S OF MUSIC". We're
delighted you can be one of our guest disc jockeys and to
have you help us make this great new musical with Robert Q.
Lewis, and Ralph Flanagan a great success. And here attached
is the big Chesterfield ABC Report Card. Do fill it out in
duplicate and rush rush it back, for without your choices
I can't go ahead with booking for this particular show.
Let me confirm some of the facts that we discussed on the
telephone.
Program: "CHESTERFIELD'S ABC'S OF MUSIC".
Date of your performance: August 30, 1950 9:30-3.0:00 PM
Contracts: Our legal department is sending you our usual
contract Reference to your perfmaaa&e.,
fee of your per diem o£^3^:C day
for thr ef^tayb" in NOT York to cover hotel and
living expenses.
Transportation and arrival:
Would you let us know how you want your
transportation handled; whether you want to
take care of it yourself and be reimbursed upon
your arrival in NOT York or have us take care
of it here and send you the tickets. If you
choose to have it taken care of here, let us
know if you prefer rail or plane transportation.
It makes no difference to us either way just as
long as you get here in time to meet with the
writer of the show on Tuesday, August 29th at
12:00 noon in my office, room 812, i|.85 Madison Ave.
NEW Y O R K M I R R O R
DAILY A N D SUNDAY
* - 3 5 EAST -45 — STREET
M U R R A Y H I L L 2 - I O O O
;J£- >c
Dear Priend:
Audition- _
at 4:30 D.M.
tlie above date.
You will receive your Daklv Mirror
sharp. This offer is/only good for
letter „ 1JV?! ^"^ant that bring this
™:ri« Lr61itjas^rirKSr«1vt'"»
r°°® ^ y™aySriis°£ you^the
( D ,
Co really yours
(ZJ? (Ka,d.i o /®CKl®nr Sej Mirror) '

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NORTH CAROLINA
AUGUST 2 k , 1 950
OFFICE OF THE MAYOR
DAN K. EDWARDS
MR. GENE WHITAKER
DURHAM, NORTH CAROLINA
DEAR GENE:
ST IS A PLEASURE TO DESIGNATE YOU AS AN AMBASSADOR OF GOOD WILL FROM
THIS COMMUNITY TO BE EFFECTIVE UPON YOUR APPEARANCE ON CHESTERFIELD'S
FINE MUSICAL BROADCAST. YOUR FRIENDLY PERSONALITY WILL, i AM SURE,
CONVEY TO ALL OF YOUR LISTENERS THE FACT THAT WE IN DURHAM ARE TRYING
TO BE MEMBERS OF A COMMUNITY, KNOWN AS THE "FRIENDLY CLTY".
WITH BEST WLSHES,
SINCERELY,
• 2 / 7 -
SPERDVAC % f n j r 1 a,11
BOARD OF DIRECTORS
Larry Gassman
Bobb Lynes
Barbara Walkins
Michael Plett
Don McCroskey
Stuart Lubin
Jerry Williams
HONORARY MEMBERS
IN CHRONOLOGICAL
ORDER OF MEMBERSHIP
Stan Freberg
Marvin Miller '
Doodles Weaver' V.
John Milton Kennedy
Jack Slattery'
Don Hills
Frank Buxton
Olan Soule
Barbara Luddy'
Carroll Carroll
Arch Oboler'
Rudy Vallee' 1/
George Fenneman
Art Gilmore
Les Tremayne
Galen Drake
Bill Zuckert
Naomi Lewis
Marshall Brown
Norman Corwin
Jerry Devine
Dr. Fred Steiner
Lyn Murray i/
Ken Darby
Jim Jordan V
Phil Leslie
Vance Colvig
Elliott Lewis
Betty Lou Gerson
Curley Bradley'
Fred Fox'
Ted Donaldson
Howard Culver'
Tony Thomas
Ben Cooper
Lurene Tuttle'
Glenhall Taylor
Ray Singer
June Foray
Walter O'Keefe'
Ezra Stone
George Balzer
Andre Baruch
Bea Wain /
L.A. "Speed" Riggs' ;/
Jay Stewart t/
Nelson Olmsted
Noreen Gammill
The Society to Preserve and Encourage Radio Drama Variety and Comedy
(A Non Profit Educational Public Benefit Corporation)
P.O. BOX 1587 HOLLYWOOD, CALIFORNIA 90078 (213) 947-9800
T 1
" "
10-27-88
y
Dear ffeae,
Here at last Is the only Your Hit Parade I
could find with. y~u as a part. I will still
continue to look and If I find something I will
let you know.
Thanks for ynur patience.
.The program is from 12-6-47. I hope you will
e t iiry it. I know I've heard you in ^ther shows
such as Jack.Benny but I've not found then yet.
If you have a.ny questions please call me.
Yours Truly,
Larry Gassman
President
213-947-9800
Byron Kane
Cliff Thorsness
John "Bud" Hiestand'
Ray Erlenbom
Jack Kruschen
Charles Crowder
Patrick McGeehan
Robert Bailey'
Arthur Lake'
Virgina Gregg'
Harry Bartell
Peggf Webber
Vic Perrin
John Dehner
Parley Baer
Lou Lauria
Frank Nelson'
Veola Vonn
Ivan Ditmars
Fletcher Markle
Frank Martin
Janet Waldo
Ken McManus
Bob Jensen
Lenore Kingston
Penny Singleton
Herb Ellis
Herb Vigran'
Larry Stevens
Jeanne Bates
Vivi Janiss
Barbara Fuller
Art Hannes
George Walsh
Hugh Douglas
Harry Babbitt
Alice Frost
Bill Idelson
Bob Hastings
Eddie Frrestone. Jr.
Dick York
Budd Tollefson
Daws Butler
Lou Krugman
Alan Young
Candy Candido
Bob Purcell
Pat Walsh
Peter Leeds
Ben Wright
Willard Waterman
Tyler McVey
A C Bryson
Martin Halperin
Hank Kasnar
Bill Stewart
Jay Ranellucci
Una Romay
Elvia Allman
Shirley Mitchell
Alice Backes
Irene Tedrow
Jim Matthews
Monty Margetts
Natalie Masters'
Yvonne Peattie
Milt Josefsberg
Anne Seymour
Vincent Pelletier
Sam Edwards
Bill James
Joan Banks Lovejoy
William N Robson
Sidney Miller
Wendell Niles
True Boardman
Joan Tompkins
Helen Kleeb
Roy Rowan
Charlotte Lawerence
Tom Hanley
Jackie Kelk
Florence Halop'
Helen Andrews
William Froug
Clint Comerford
Michael Ratfetto
Paula Winslowe
Betty Garde
Elliott Reid
Vanessa Brown
Jeanine Roose
Anne Whitfield
Conrad Binyon
Frank Barton
William Woodson
Richard Wilson
Carlton E Morse
Ward Bryon
Jean Rouverol
Dresser Dahlstead
Mary Shipp
Tommy Cook
Rhoda Williams
Sharon Douglas
Charles Flynn
Sean McClory
Doovid Barskin
Gaylord Carter
Larry Dobkin
Lillian Buyeff
Don Diamond
Bernice Berwin
Jerry Hausner
Rosemary DeCamp
Arthur Tracy
Richard Chandlee
Truda Marson
Frank Bresee
Frank Thomas
John Larch
Casey Kasem
Ernie Winstanley
Mel Morehouse
Bob Maxwell
Fred Foy
John Archer
Dwight Weist
Amzie Strickland
Lesley Woods
Howard Caine
Richard Erdman
Jimmy Lydon
George Pirrone
Paul Winchell
Robert Winkler
Sandra Gould
Berry Kroeger
Phil Cohan
Dan Cubberly
John Conte
Jack Brown
Marty Hill
Jack Johnstone
Michael Rye
Hal Kanter
Sol Saks
Tom Koch
Jean Gillespie
Richard Beals
Mary Lee Robb Cline
John Guedel
Howard Duff
Arthur Peterson
Norma Ransom
Harry Ackerman
'Deceased

.jiir; (. 6 r< '6 <>
EXECUTIVE AND GENERAL OFFICES
CAPITOL RECORDS DISTRIBUTING CORP.
HOLLYWOOD AND VINE ® HOLLYWOOD 28, CALIFORNIA • HOLLYWOOD 2-6252
May 9, 1961
Mr. Gene Whittaker
c/o Hollywood Junior Chamber of Commerce
6^20 Sunset Boulevard
Hollywood 28, California
Dear Gene:
1 am writing this letter to express my personal
appreciation for your help on the Convention. There
is no doubt that the Convention's success was a
'tremendous effort and, believe me, everybody's contribution
counted. This was a time for Jaycees to
stand up and be recognized and your help with the
Arrangements and Accommodations was a vital factor
in assuring what was, in my opinion, the best Convention
ever held in the State of California by
Jaycees.
Gene, let's not stop here. We are on an early start
to an excellent Jaycee year. If we put our shoulders
to the wheel, I believe that we can give President
Chuck an excellent reason to have Hollywood's name
placed in nomination for outstanding local in next
year's Convention. «——»
Very best regards,
Donald E. Hassler
DEH:ss • a•"
SKethicg mew hag bem. added and a
delightful newness it is too# I'm
referring to the new live show "Gene
^hitaker Sings" on Station ¥.V#T«G#-
This show features Opl. Gene Whitaksr
perhaps better knovm by the civilian
monicker of Barry whitt. Gene M.C. «s
and sings on the Jungle Network each
Tuesday, Thursday, and Saturday at
5s45* 3*11010 his theme "Cocktails for
Two" to the closer "That's All For
Now" his own tune sign off it's a solid
show, H® takes you in turn thru the
latest hit tune, a medley of something old,
new, borrowed, and blue, and even a preview
of his feature song for the next program#
filling in with requests and ad lib p atter.
Gene bids fair to be called The "G.I. Crosby".
His smooth baritone possesses the better
qualities of Bob Sberly and Frank Sinatra.,
n'hen 1 caught the show he had an instrumental
combo called "Four Cats and A Fiddle" that
ably backed him up on every turn# This
show sounds like bifc time, good as any
transcribed show and sung by a boy we've all
heard and seen singing with his band around
the island. Tune him in each Tues, Thura
and Saturday at 5 t45 aad judge for yourself#
Remember that name Gen® Whitaker, sooner or
later your favorite vocalist#
MARTIN BLOCK'S disc jockey technique of creating an
"in person" illusion and his unusual interviews with
top recording stars on "Make-Believe Ballroom" over
WABC, New York, and "The Martin Block Show"
on the ABC network nationally, account for his being
called "The Dean of Disc Jockeys." Born in
Los Angeles, he originated the Ballroom in 193S on
WNEW, N. Y„ where he stayed for almost 20 years.
Married, Block lives in Englewood, N. J., is mad for
racing cars (he owns 3 of them) and golf.
BILL BALLANCE entered radio while still in college,
"going West" after graduation to KDA in Denver
and then on to Chicago and his own radio and TV
show. He's now heard every afternoon and evening
on KNX in Hollywood, plus four nights weekly on
Columbia Pacific, spinning records and interviewing
celebrities. A real Californian, Bill has his own home,
complete with wife and two sons.
GENE WHITAKER can be heard almost any time
you tune in to WNCA, Siler City, North Carolina,
with shows running the gamut from pop
and country and western to kiddie and religious. '
Htner'os ugoxnxe :JVo lfl uiit)h e aioierrilgUiKnaml,,* s"iWngimin, ga dsipsecc iajol ckoeayLsu, iuay
show featuring a listener-guest (star.
DON BELL, one of the Midwesty outstanding dee-jays,
billed as the KRNT (Des Moines) "music and mirthmaster,"
is heard mornings and afternoons five days
a week, plus Saturday and Sunday mornings. He
finds time for piloting his own plane, building up an
impressive golf score, and chasing around Iowa in
a chartreuse convertible with jacket to match.
PAT CHAMBURS was born only twenty miles from the
WFLA, Tampa, turntables he uses early in the morning
and late in the evening. He started listening to
records while recovering from battle action wounds
and decided this was it. Chambers pens a column on
records for the Tampa. Sunday "Tribune."
WAYNE CODY of KALL, Salt Lake City, is a veteran
of 20 years in radio, before that played vaudeville
circuits and burlesque, tooted a trombone in the Sells
Floto circus. His four-hour daily radio show is a
must in the Intermountain area. Wayne plays 7
different instruments, has a huge record collection.
STAN DALE hopped from pre-med studies into radio,
starting as staff announcer on WNYC. There followed
a tour of staff-announcing that developed into
"Stan the all-night record man." Currently spinning
discs every a.m., over WJJD, Chicago.
WALLIE DUNLAP, the disc jockey for WICC in Bridgeport,
Conn., is heard daily on "Dial Dunlap," is also
-program director and director of TV operations for
the v*ame station. A native of Philadelphia, Pa., he
was railed in New Orleans, La., was a newspaper cub
reporter before he began radio announcing. In 1947
he left the staff of WOR in N. Y. for his present job.
He's married, has two children, lives in Huntington.
TOM EDWARDS of WERE, Cleveland, is known to his
listeners as T.E. Playing pop music daily, he switches
to country-style Saturdays, as "The City Slicker
Turned Hillbilly." He also finds time to emcee a
Saturday evening jamboree. He draws an average of
400 letters weekly from fans. Auburn-haired Tom is
married, spends three nights a week in church and
school activities. He's a native of Milwaukee.
AMERICA'S RECORD STARS
COUNTRY & WESTERN
FLOYD TILLMAN, Oklahoma-born and Texasreared,
played for several years with country
bands before becoming a star in his own
right. Then one of the bands recorded Floyd's
"It Makes No Difference Now"—and it made
a considerable difference to its ambitious
author. This led to further song-writing assignments
and soon Floyd was the leader of
his own country dance group. During World
War II Floyd served with the Air Force.
ERNEST TUBB now makes his home in Nashville,
Tenn., where he runs his own music
publishing house and record shop and is active
on radio. 8orn on a ranch in Ellis County,
Texas, he was weaned on the lullabies of
the bunkhouse. In 1933 the widow of the
late, great Jimmie Rodgers presented young
Ernest with her husband's guitar. Now a
Decca recording star, he also composes
numbers like "Walking The Floor Over You."
T. TEXAS TYLER has been one of America's
best-liked country and western stars for
more than twenty years. A Decca recording
artist, Tex was born near the little town of
Mean, Arkansas (but was never a Mean
little kid). He was the third Western artist
ever to perform in Carnegie Hall and has
worked in movies, television, and radio as
well. Tex is married and has two sons. His
hobbies are hunting, fishing, playing golf.
RUBY WELLS, recently signed by RCA Victor
to its country-western roster, is only 15 years
old. Born Ruby Jean Wright in Nashville,
Tenn., she is a member of the same show
business family you'd suspect (her mother is
Kitty Wells, her father, Johnny Wright). And,
as you might likewise think, she always
wanted to be a country singer. Ruby is a
pretty 5'4" brunette with hazel eyes. She
lives with her family in Madison, Tenn.
SLIM WHITMAN started his singing career
in 1943 when he was in the Navy, was known
as "Yodelin* Slim." Born in Tampa, Fla., in
1924, Slim has sung radio shows from Florida
through Indiana to Shreveport, La.,
where he now appears on "Louisiana Hayride."
His top records (Imperial) are "Indian
Love Call" and "Keep It A Secret." A
lover of baseball, boxing and southern fried
chicken, he is married, the father of one.
COLLEEN AND DONNA WILSON. "The Beaver
Valley Sweethearts," made their debuts at
the ages of li and 13, respectively, when
they entertained during square dance intermissions
in rural Pennsylvania. Today they
are heard on WSL, Chicago, on the "National
Barn Dance" program, and also on
RCA Victor records. The girls are composers
as well as songsters. Their most popular composition
is the melodic "Mockin" Bird Hill."
FARON YOUNG {5*5", black hair, brown eyes)
organized a country music band and had
his own Saturday morning radio show while
still in high school in Shreveport, Louisiana.
During a two-year stretch in the Army, Faron
recorded for Capitol when on furlough and
joined "Grand Ole Opry" after his discharge.
Now 23, Faron's hobbies include
hunting, fishfe^', writing most of his own songs
and collecting photos of his numerous fans.
DISC JOCKEYS continued
LARRY GENTILE in his nightly home, his studio. LANNY ROSS, Joan Edwards both spin and sing.
LARRY GENTILE'S "Informal Houseparty" show is in
its 22nd year over WJBK, Detroit. Larry plays requests
from 9:30 p.m. to 1 a.m. six nights a week,
presents many big names in person. His genial personality
has kept him a favorite through the years.
LANNY ROSS studied dramatics at Yale with Monty
Woolley, got his law degree from Columbia. Then
music came up from behind and Lanny made his
radio debut Christmas morn, 1928. He's starred on
many of radio's all time great programs, now has a
popular disc jockey spot over WCBS daily.
JOAN EDWARDS, who has her own disc jockey show
over WCBS in New York City, is the niece of the
late Gus Edwards. For five years, Joan was the
star of "Your Hit Parade," has sung at top supper
and night clubs. Joan is also a composer. She is
married and has three children.
LOO EMM, WHIO, Dayton, started in radio at 18, has
been plugging (successfully—he's a sponsor's delight)
ever since, except for a stirit on a B-24 during World
War II. Now chief announcer ;at WHIO, he has
daily record shows, doubles as a sports announcer.
JOHNNY FAIRCHILD, at WORZ in Orlando, Florida,
barely a year, has three fan clubs. Listeners include
all age groups, the military and shut-ins. Johnny
believes participation in civic activities a deejay
"must." His night show features telephone quizzes.
JOE GRADY and ED HURST pilot the "950 Club"
hours daily over WPEN, Philadelphia, featuring top
record hits, guest celebrities, all kinds of interviews.
Saturday mornings the boys switch over to WPTZTV
for an hour-long program, on Monday nights
hold forth as hosts on Arthur Murray Dancing Party.
NORMAN HALL has been a deejay for the past ten
yeajs, is probably Indiana's best-known record spinner.
He is co-owner of WBTO, Lincoln, and WBNL,
Boonville, and is buying into a third station. His
pride and joy is a two-hour afternoon segment where
he's aided by a mythical engineer, "Onionhead."
BUDDY HARRIS made his debut when radio was in
swaddling clothes, and has been there ever since. He's
conducted, sung, worked as a "man-on-the-street"
38
AMERICA'S RECORD STARS
POPULAR ARTISTS
tesar
LOU EMM JOHNNY FAIRCHILD
JOE GRADY, ED HURST NORMAN HALL
BUDDY HARRIS ART HELLYER
IRWIN JOHNSON ARTY KAY
out in Hollywood. Buddy's heart was back in Texas,
though, so he returned to Dallas in 1939, is heard
there daily over KGKO.
ART HELLYER is heard on over 200 shows weekly on
WCFL, WIND, WMAQ, WJJD, WAIT, WAAF,
Chicago—his voice is there for the listening from
6:30 a.m. until 11 p.m. seven days a week. Chicago's
zaniest deejay hates pop music, plays records
because "a fill is required by the FCC between commercials."
Favorite artist: Stan Freberg.
IRWSN JOHNSON is an ex-professor of French, with
two degrees and a Phi Beta Kappa key. He plays
records 28 hours a week for WBNS, Columbus, O.
Part of his show originates from his home. Irwin
has ninety sponsors, a wife, a daughter, and a dog,
Sir Bouncelot.
ARTY KAY,' WVLK, Lexington, Kentucky, first ventured
into radio as an actor, then switched to announcing,
finally got around to disc spinning in
Monroe, La., has been at WVLK turntables since
1946. JHappily married, Kay has one child, a boy.
JAN GARBER wanted to be a baseball player,
was a bat boy tor the Philadelphia Athletics:
then broken nose caused him to
turn seriously to music. He led a semi-concert
band under Meyer Davis' banner, then
formed his own. With many hits on Capitol
records, the band has played every state in
the union. Jan, who co-authored "Baby,
Face," is married, has a daughter, Janis,
and a hobby, golf, at which he's no slouch.
JUDY GARLAND, who has just made her triumphant
film comeback in "A Star Is Born,"
hails from Grand Rapids, where her father
owned the local theatre. She first found international
fame in the movie role of Dorothy,
the child heroine of "The Wizard Of
Oz," in which she both sang and danced.
Today she is recognized as one of the alltime
show-business greats. Married to director
Sid Luft, Judy records for Columbia.
ERROLL GARNER began his career in his
early teens, working with small combos.
After an engagement with Slam Stewart in
New York he decided to work only as a
soloist or the leader of a trio. Born in Pittsburgh,
Pa., in 1923, Erroll has become qne
of the country's outstanding popular pianists,
even though he has never learned to
read music. He has two styles: one to set you
dreaming, the other to start you bouncing.
ARTHUR GODFREY is almost a national institution.
Left home at 15, worked as coal
miner, taxi driver, aviator—you name it,
Arthur did it. Starting with an early morning
radio show in Washington, he was soon
summoned to Ndw York. He's a "One Man
Blitz"—with a .schedule that would down six
average men. Rises at 5:30 a.m., eats breakfast
during morning TV program. Godfrey's
real pride is his 1,700-acre Virginia farm.
BENNY GOODMAN found himself at 13 playing
clarinet with Bix Beiderbecke's orchestra,
followed this course with other top
bands. In the 1930s he formed his own,
opened at the Paramount and was a sensation.
Gave a history-making jazz concert at
Carnegie Hall. Active also in the classical
field, Goodman is a perfectionist. He is
greatly responsible for popularity and respect
of jazz as a form. Heard on Columbia.
EYDIE GORME was born and brought up in
the Bronx, New York, and soon evidenced a
desire to get into the music business. She
played in night clubs and hotels, then worked
as a vocalist with the Tommy Tucker and
Tex Beneke bands. Last year she was chosen
by Steve Allen to be the girl singer on his
local late night television show and stayed
with him when the show went network this
past fa!!. She can be seen on it, "Tonight."
DOLORES GRAY is an American who was discovered
in England. Schooled on the West
Coast, she was determined to devote herself
to the living theatre. Rudy Vallee heard
her sing, engaged her for his radio show. She
did a couple of Broadway musicals, then
went to London where she electrified staid
London critics in "Annie Get Your Gun,"
And the unknown came home an exciting
new star. Dolores is heard on Decca Records.
- m
DISC JOCKEYS
continued
SHERM FELLER has two good ears and a strong voice,
GENE KLAVAN and Dee Finch make strong men weep at WNEW, New York.
JIM AMECHE ED BONNER
PAUL FLANAGAN TINY MARKLE
JERRY MARSHALL ROBIN SEYMOUR
WARREN STAMPER JACK STERLING

s. F. NIXON
W.J.DAVIS
H.J. POWERS
OWN ERS
SEASON
1 9 0 3
AND
190-4
P1TTSBURGS
NEW
HIGH-CLASS
THEATRE
MR.S.F.NIXON MANAGER MR. THOS.F. KIRK RESIDENT MANAGER
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210 *#URTH AVENUE,
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with oilt - Tinist Officer
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< $1,830,000.00
FASTEN YOUR SEAT BELTS!!!
(IT'S GOING TO BE A PARTY NIGHT!!)
ACT I
AT HOME!!!
The Homebodies "Whitey" Crouse, Mary Woolworth Donahue,
Peter Fortier, Christopher George, Linda Day George, Marjorie Gubelman, Angelica llyinski, Denise Miranda,
"Miss Piggy", Peter Rapaport, Jim Wearn
Featuring Ralph Demers
OFF FOR A PARTY!!
The Stewardesses Vicki Bruder, Linda Crouse, Susan Gubelman,
Denise Hanley, Ann Hokanson, Dragana Lickle, Becky Perry, Jan Price, Patsy Wearn, Carmen Wheelis
STEPPIN' OUT!!
Featuring
The Steppers Etonella Christlieb, Joan Dyess, Trish Faegre,
J. Iverson, Tori Korshak, Patty Kukes, Nancy Leibovit, Gillian Moore, Susan Polan, Dorothy Riggio
ALL ABOARD!!
The Captain Bob Eigen
The Passengers Yolanda Ahne, Olivia Andrego, Sally Bennett,
Paul Bennett, Sy Cole, Carol Comyns, Myra Mann, Candy McMaster, Paul Nystrom, Anne Obolensky, Ellen
Pearl, Helen Pearl, Kiki Christina Shapero, Ann Small, Michael Small, Nancy Stone, Sandra Thomas, Tom Tio
OKTOBERFEST!!
Oktoberfest Singers Bill Allston, Laura Boccaletti, Donald Condon,
Cecelia Crouse, Dan Crouse, Linda Crouse, Bob DeMario, Ralph Demers, Brooke Huttig, Robert Klein, Paul
Nystrom, Peter Rapaport, Ann Robinson, Blitz Robinson, Laura Shepherd, Mitchell Slotkin, Joan Steel, Stacey
Thieme, Jim Throumoulos, Jack Valdes, Gene Warren
Featuring on Concertina Philip Steel
Bless Our Land!
Featuring aob„., Klein
Roll Out That Barrel!!
The Polkaers Olivia Andrego, Vicki Bruder, Carol Comyns,
Debi Failla, Mary de Harriet, Alex Hayes, Patty Kukes, Laura Shepherd, Raphael Beriro, Bill Bruder, John
Failla, Chuck Faegre, Raoul Dabdoub Fernandez, Jeff Kukes, Louis Mendez, Tommie Tio
A WIIMDY CITY PARTY!!
The Hostess D . „ ,
Tho cio™ Cook
A , ® ' P P ® " I " " ' • ' • S u n n y B ' P P U S R h o d a C o l e , S a r i G i l m a n ,
Alex Hayes, Carolyn Hoover, Mimi Kemble, B.J. Kemo. Laura Shepherd
The 23 Skidooers: Sy Cole, Donald Condon, Ricardo Marquez,
David Gilman, Jeff Kukes, Louis Mendez, Wiley Reynolds III, Blitz Robinson
The Bunnies Joan Dyess, Trish Faegre, Barbara Hessee,
Patty Kukes, Joanne Leibovit, Liza Leidy, Nina McCallum, Gillian Moore, Lans Peterson, Susan Polan Liz
Sloane, Nadya Woodward
Razzlin' and Dazzlin' 'Em
Featuring Pat Cook
The Ultimate Chorus Line E. W. Cook, Paul llyinsky, HAP Perry, Paul
Thibadeau, Rod Titcomb, Peter Van Winkle, Ralph Warren, Jr.
LeRoy Comes to Town!!
Featuring valdes
The Mobsters Paula D'Agostino, Sheila Haisfield, Patty Kukes,
Nancy Leibovit, Liza Leidy, Nina McCallum, Gillian Moore, Liz Sloane
Windy City Wind Up! Flappers and the 23 Skidooers
OFF ON A HAYRIDEM
Featuring Country Cousin: "Whitey Crouse
Hayriders Bill Allston, Sally Bennett, Laura Boccaletti, Donald Condon,
Cecelia Crouse, Linda Crouse, Paul Nystrom, Peter Rapaport, Ann Robinson, Laura Shepherd, Mitchell
Slotkin, Joan Steel, Philip Steel, Gene Warren
Minnie Pearl: Hokanson
On Country Roads!!
^®at"nng. ; Bob DeMario, Peter Rapaport, Stacey Thieme
The Dancin' Cousins Olivia Andrego, Fortune Beriro, Sunny Bippus
Catherine Bradley, Vicki Bruder, Denis Katajisto, Ann Spicer, CarmenWheelis, H. Loy Anderson, Raphael
Beriro, Donald Condon, Robert Driscoll, Raoul Dabdoub Fernandez, Arvo Katajisto, Louis Mendez Dwiaht
Stevens ' v y
COME TO THE MARDI GRAS!!
A Masquerade!
Featuring • Ralph Demers
*.arem "" s Gail Cohen, Debi Failla, Judy Grubman
Liza Leidy, Eve Masiello, Becky Perry, Puey Salisbury, Liz Sloane, Ann Sterling
Cape Girls Dorothv Ahlgren, Buffy Donlon, Susan Gubelman,
Mary de Harriet, B. Hilton, Brooke Huttig, Denise Mirandi, Susan Polan, Jan Price, Gigi Tylander
Clowns Don't Cry!
Featuring ^
T. _. Pat Cook
l he Clowns Yolanda Ahne, Bill Allston, Sy Cole,
Donald Condon, Linda Crouse, Bob DeMario, Myra Mann, Candy McMaster, Paul Nystrom, Ellen Pearl, Peter
Rapaport, Blitz Robinson, Kiki Christina Shapero, Mitchell Slotkin, Stacey Thieme, Jack Valdes
Join Our Circus!
T-h e Mardi Grars. R, o^ck ettes Vv/•i c.k i BD rud.e r, G~ ail C~ oh, en,
rol Comyns, Debi Failla, Liza Leidy, Margie Lynn, Becky Perry, Lans Peterson, Puey Salisbury, Liz Sloane
Pam Slotkin, Ann Sterling
and
Mary Woolworth Donohue
THERE WILL BE A 20 MINUTE INTERMISSION
PATRON SEATS: Please exit at the right front of the theater for your complimentary refreshments
RESERVED SEATS: Please exit through the lobby for your refreshments
Pepsi Cola Co.
We would like to thank the following for donating the refreshments
Scotti Wines & Liquors Palm Beach Groves
ACT II
COCKTAIL PARTY!! - HOLLYWOOD STYLE!!
The Maids ~ „ , . , _
» e I, Ai 0 _ Cecelia Crouse, Linda Crouse, Laura Shepherd,
Ann Small, Nancy Stone, Stacey Thieme
The Party Goers Yolanda Ahne, Olivia Andrego, Sally-Bennett,
Paul Bennett, Sy Cole, Carol Comyns, Myra Mann, Paul Nystrom, Ann Obolensky, Ellen Pearl, Helen Dean,
Ann Small, Michael Small, Nancy Stone, Sandra Thomas, Tom Tio, Peter Rapaport WAiZF^gA/
The Celebs:
Valentino: Tony Hayes Jane: Linda Day George
Tarzan: Peter Fortier Buzzi: Jan Terrana
Groucho: Bill Allston Mae: Marie Hetherington
Harpo: Bob DeMario Late Comer: Kiki Christina Shapero
Chris: Christopher George Hedda Hopper: Laura Boccaletti
Shirley Temple: Candy McMaster Coop: Ralph Demers
Fred and Ginger Step Out!
Featuring Joan Eigen & Gene King
?he Gingers Fortune Beriro, Sunny Bippus, Vicki Bruder,
Florence Burn, Paula D'Agostino, Carolyn Hoover, Denis Katajisto, Mimi Kemble, Jara Miller, Evelyn Wallace
The Freds H. Loy Anderson, Raphael Beriro, Bill Bruder,
Richard Burn, Robert Driscoll, Ricardo Marquez, Louis Mendez, Ken Richter, Dwight Stevens, John Tooker
VIVA! VEGAS!!
The Vegas Showgirls Dorothy Alghren, Buffy Donlon, B. Hilton
| Ann Hokanson, Liza Leidy, Denise Mirandi, Pam Slotkin, Gigi Tylander
y.&MMM. ±.. 5 nv. |
Dancing Donna McGowan, Wiley Reynolds III
At The Copa!
Featuring Bill Allston
The Copa Cuties Sunny Bippus, Vicki Bruder, Rhoda Cole, Sara Gilman,
Mimi Maddock Kemble, B.J. Kemp, Jara Miller, Laura Shepherd
The Latin Lovers Bill Bruder, Sy Cole, Ricardo Marquez, David Gilman,
Michael Parsons, Wiley Reynolds III, Blitz Robinson, Dwight Stevens
TOPPING IT OFF!!
(Starring in alphabetical order . . so there are no complaints about billing)
PAT COOK LINDA DAY GEORGE - CHRISTOPHER GEORGE
TONY HAYES ED MITCHELL GEORGE MURPHY
LUAU!!
H?jla Giris ' Fortune Beriro, Catherine Bradley, Carol Comyns,
Judy Grubman, Janne Janson, Denis Katajisto, Patty Kukes, Judy Messing, Jara Miller, Carmen Wheelis
Her Occasional Man!
Featuring
Ellen Pearl
I he Natives Get Restless???
The Natives H. Loy Anderson, Raphael Beriro, Sy Cole,
Donald Condon, Bob Daun, Chuck Faegre, Raoul Dubdoub Fernandez, Dan Hall, Arvo Katajisto, Jeff Kukes,
Louis Mendez, Gil Messing, Dwight Stevens, Jim Throumoulos, Tom Tio
ON BOARD ENTERTAINMENT
A Tribute To The Child!
Featuring Ralph Demers
A THEATRE PARTY!!
On 42nd Street!
Featuring Sandra Thomas
42nd Streeters: Olivia Andrego, Catherine Bradley, Rhoda Cole,
Sari Gilman, Patty Kukes, Ellen Pearl, Ann Spicer, Carmen Wheelis, Sy Cole Donald Condon, Robert Driscoll,
Chuck Faegre, David Gilman, Dan Hall, Jeff Kukes, Jim Throumoulis
Show Time On Broadway!
Show Time Singers Sally Bennett, Linda Crouse, Candy McMaster,
Ellen Pearl, Kiki Christina Shapero, Laura Shepherd, Joan Steel, Stacy Thieme, Bill Allston, Sy Cole, Ralph
Demers, Peter Rapaport, Phil Steel, Jack Valdes, Gene Warren
Our One and Only!
The Chorus Line Etonella Christlieb, Joan Dyess, Trish Faegre,
Sheila Haisfield, Barbara Hessee, Tori Korshak, Joanne Leibovit, Nancy Leibovit, Donna McGowen, Lans
Peterson, Susan Polan, Nadya Woodward
DOLLY Mary Woolworth Donohue MAME: Brownie McLean ELIZA: Joan Eigen
Broadway Salutes Fiddler!
Featuring Golde: Lenore Siegel,
Daughter Trio: Cecilia Crouse, Nancy Stone, Sandra Thomas Tevye: Sy Cole,
The Villagers Yolanda Ahne, Olivia Andrego, Paul Bennett,
Laura Boccaletti, Carol Comyns, Donald Condon, Bob DeMario, Robert Klein, Myra Mann, Paul Nystrom, Ann
Obolensky, Helen Pearl, Dorothy Riggio, Blitz Robinson, Ann Small, Michael Small, Jim Throumoulos
AN ENCORE!!
The Entire Cast
SHOULD OUR FLIGHT TONIGHT BE RE-ROUTED ... OR ANY PASSENGERS BUMPED
OUR APOLOGIES
MUSICAL DIRECTOR
JAY LEE AT THE PIANO
Bass - Walter Ellefson Drums - Rich LaPlante
The Concerned Residents for a Recreation Center
and
The Follies Committee and Cast
Thank you for your support!!
4tea&lu?<zv r
*M6j)\cSh ovx/
Produced by RAY MUSE
Sunday Afternoon
1-Ray & Dorothy Muse.
2-Marvin^ 3-David
Steward, 4-Ed Rock,
5-George McAthey.
10 -Feature ^
J\ Grq&j >S/lOU/
Hollywood Entertainers here this week.6
#See "WHAT'S DOING" column.#
1- G'Ann Beyers, 2-Dorothy Ertel, 3- Sheila
Harrington, 4-Jill Stevens.
£ DOUGLAS AERONADORS » BIG SHOW #
Here Friday "
Center: Paul Taylor Famous Choral Leader
COMMUNICATIONS CORPS HUFSTKSSKS" ....
. . . FREE REFRESHMENTS . . .
FINE STAGE SHOW AT 9; 00 P.M. . .
HARRY SULLIVAN. Maglcl'an '
JEANNE STEWART. VocaIl3t
CAROLYN GRYDER. Dancer
J PAN FALKEN, Soprano
NANCY WILLIAMS, Spanish Lancer
GERRY SMITH
JILL STEVENS, Tap Lancer
—LANCING to Paul Hauser1 s band, "~
—CHARMING HOSTESSES for dancing, games, socialibility
outstanding party.
4foUyu/o-ocl 'Part/ /Ci9ht~~
* * * * FREE REFRESHMENTS * * «
* * * SHOW A:00 P.M. # * *
« # ON OUR STAGE * *
SHEILA HARRINGTON, Ventriloquist
IVINNIE WALWORTH, Acrobatic Dancer
GILBERT BROTHERS. ' Dance Team
GENE WHITAKER. Tenor
EDWINA MERRITT, Soprano
"DOROTHY ERTEL, . Acrobat
PAT PERRIN, Vocalist
--DANCING to Ernie Star's Orchestra#
--GIRLS Charming Hollywood "G.S.O. GIRLS"
for games and dance partners.
your hostesses
CDou^lasflerohA^ora Stave SKoW
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* * » A GREAT STAGE SHOW » » *
* » BT A FAMOUS GROUP OF ENTERTAINERS
—Your special hosts The Los Angeles Lions'
to this big event - - everything for a grand time
"Lorraine 3c Escorts" play for Dancing - - Free Party
HUT1 THE-BIG EVENT COMES AT 9:00 P.M. when
Club invite you
Refreshments -
the famous DOUGLAS AERONADORS
for their Radio Broadcasts
their marvelous choral sing(
our stage.
--Tell all your friends to
(known throughout the world
ir great stage shows --
present their fine show on
a date '
-saw * * MOONLIGHT and ROSES DANCE *
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* 8:30 P.M. to Midnight A VERY SPECIAL PARTY NIGHT # *
Attractive Junior Hostesses in formal dress. "Moonlight"
and dozens of Roses. Charles and Gabrlelle of Night Club
fame in a series of Exhibition Dances.
—Floor Show - - Grand March - - Prize Waltz.
* -a-Dance all evening to the smooth music of ERNIE STAR and
HIS MUSIC MASTERS. III A'M' iJuoh'flol&ncWs Musical Houv
**Thls genius of the piano presents a most unusual program
in his inimical technique, '
THE SOCIETY OF AMERICAN MUSICIANS presents
&reat Hecft liters k$0PWdirected
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.7:00 P.M. FREE DANCE CLASS DIRECTED BY TITO MONTANARE
„ — „ for a11 servicemen and Women. ~'
8:00 P.M. to 11:00 P.M. DANCING TO THE
'JIVIN' JESTERS
THINKING THINGS OVER
By Vermont R o y s t e r
J o b a n d " D i g n i t y "
"To b e a busboy i s a n u n a c c e p t a b l e
j o b f o r a b l a c k . . . B l a c k s w i l l n o t
t a k e i t . "
T h a t o b s e r v a t i o n i s b y S a r L e v i t a n ,
economics p r o f e s s o r a t George Washi
n g t o n U n i v e r s i t y , a s q u o t e d i n a
New York Times s u r v e y o n t h e c a u s e s
o f h i g h unemployment among young
b l a c k s .
I t w a s n ' t i n t e n d e d a s a s u p e r c i l i o u s
remark t o e x p l a i n away i n a n o f f hand
f a s h i o n t h a t h i g h unemployment
r a t e . The c a u s e s o f t h i s p e r p l e x i n g
s o c i a l , problem a r e t o o complex f o r
a s i n g l e , s i m p l e a n s w e r .
N o n e t h e l e s s t h e o b s e r v a t i o n c o n t a i n s
a t r u t h a b o u t t h e changing a t t i t u d e s
i n o u r s o c i e t y toward work i n g e n e r a l
a n d c e r t a i n k i n d s o f j o b s i n p a r t i c
u l a r . The a t t i t u d e i t sums u p i s b y
n o means l i m i t e d t o b l a c k s o r t o t h e
young.
T h a t a t t i t u d e , i n b r i e f , i s t h a t
t h e r e a r e some k i n d s o f j o b s t h a t a r e
a t b e s t " b e n e a t h o n e ' s d i g n i t y " a n d
a t w o r s t demeaning.
They r a n g e from a n y k i n d o f p e r s o n a l
s e r v i c e j o b s - f r o m b e i n g , s a y , a busboy
o r a " s e r v a n t " - t o t h o s e i n v o l v i n g
what i s t h o u g h t o f a s u n d i g n i f i e d l a b o r
s u c h a s sweeping f a c t o r y f l o o r s o r
d i g g i n g d i t c h e s . B e t t e r t o b e o n t h e
p u b l i c r e l i e f r o l l s , s o r u n s t h i s a t t i
t u d e , t h a n t o e a r n a s much o r more
a t t h a t k i n d o f l a b o r .
Nor i s t h i s changing work e t h i c l i m i t e d
t o t h o s e a t t h e l o w e r e n d o f t h e s o c i o economic
g r o u p . I t ' s r e f l e c t e d , though
i n a n e n t i r e l y d i f f e r e n t way, i n t h e view
o f many w e l l - e d u c a t e d women toward b e i n g
a n o f f i c e s e c r e t a r y o r a "mere h o u s e w i f e . "
Both t h e s e o c c u p a t i o n s a r e t h o u g h t b y many
women n o t t o b e a p p r o p r i a t e t o t h e i r newiy
emancipated c a r e e r o p p o r t u n i t i e s , o r a t
l e a s t a p p r o p r i a t e o n l y t o t h e i r u n f o r t u
n a t e .
s i s t e r s who a r e o l d - f a s h i o n e d o r l a c k i n g
i n a m b i t i o n . Where i s t h e s e l f - f u l f i l l ment
i n t a k i n g d i c t a t i o n o r l a b o r i n g a l l
d a y w i t h d i r t y d i a p e r s ?
B u t i t i s among t h e young a n d e s p e c i a l l y
among t h e p o o r l y e d u c a t e d o r i l l - t r a i n e d
young t h a t t h i s changing a t t i t u d e toward
c e r t a i n k i n d s o f j o b s h a s i t s most d e v
a s t a t i n g e f f e c t . I t h e l p s e x p l a i n t h e
paradox o f t h o u s a n d s o f j o b s g o i n g u n f i l l e d
w h i l e t h o u s a n d s o f unemployed young p e o p l e
walk t h e s t r e e t s .
I n t h e c a s e o f b l a c k y o u t h t h e a t t i t u d e may
b e u n d e r s t a n d a b l e . F o r y e a r s m e n i a l o r
manual l a b o r j o b s were a l m o s t t h e o n l y o n e s
a v a i l a b l e t o t h e m . The e x p l o s i v e openinq
u p o f o p p o r t u n i t i e s f o r b l a c k s h a s n o t unn
a t u r a l l y g i v e n r i s e t o g r e a t e r e x p e c t a t i o n s
e v e n among t h o s e l a c k i n g t h e s k i l l s t o s e i z e
t h e o p p o r t u n i t i e s . F o r them i t ' s e a s y t o
t h i n k t h e world u n j u s t t h a t o f f e r s t h e r n n o
j o b s b u t t o b e a b u s b o y . I t ' s n o l e s s unf
o r t u n a t e , however, f o r b e i n g u n d e r s t a n d a b l e .
P e r h a p s i t ' s a consequence o f t h e a f f l u e n t
s o c i e t y b u t what h a s happened, i t seems t o me,
i s a change i n t h e t r a d i t i o n a l work e t h i c .
We s t i l l p r i z e w o r k , o f c o u r s e , a n d b y a n d
l a r g e we a r e a h a r d working s o c i e t y . What
we n o l o n g e r b e l i e v e , a s C a r l y l e p u t i t , i s
t h a t " a l l work i s n o b l e . " I n t h e a f f l u e n t
s o c i e t y we t h i n k some o f i t i g n o b l e .
i ' h e r e i s much p o l i t i c a l c o n t r o v e r s y t o d a y ,
f o r example, a b o u t t h e f l o o d o f Mexican
m i g r a t o r y workers c r o s s i n g o u r b o r d e r s t o
h a r v e s t g r a p e s o r o t h e r p r o d u c e . What we
h a r d l y s p e a k o f i s t h a t t h e y came o n l y b e c
a u s e i n t h i s c o u n t r y t h a t k i n d o f work i s
c o n s i d e r e d d e g r a d i n g , f i t o n l y f o r Mexicans.
I t i s h a r d w o r k , c e r t a i n l y . I t i s n o t t h e
most d e s i r a b l e w o r k . I t i s low p a y i n g work
compared t o t h e wages o f s k i l l e d workers i n
o f f i c e o r f a c t o r y . B u t i g n o b l e ? How c a n i t
b e i g n o b l e t o l a b o r t o f e e d o n e s e l f a n d o n e ' s
f a m i l y a n d , w i t h a l , d o needed work t o t h e
b e n e f i t o f s o c i e t y :
Those Mexicans d o n o t t h i n k s o , a n d r i g h t l y .
Thinking Things Over
By Vermont Royster
Job and "Dignity" cont.
The poorest of them doing his
bitter labor has a dignity and
self-pride that escapes those
who scorn such labor even though,
thanks to the public generosity,
they may live better on the unemployment
relief rolls.
So it would be too with those
ill-trained youth, black or
white, if instead of lounging
on street corners they labored
as busboys or floor-sweepers.
Our shame is that both by preachment
and misguided public policy
we risk raising generations of an
underclass with no pride, no hope,
no sense of place in society.
If today we have an affluent society
it's because, once, no labor was scorned.
It was hard labor that opened our prairies,
built our railroads and our factories. Those
who peopled the country from the old world
did not come here disdaining this job or that
Thev did the labor that was here to be done.
We serve our young badly whenever, by example
or precept, we teach them that some work is
ignoble, that it is better to live in idlenes
than to carry dirty dishes in a cafeteria.
THE WALL STREET JOURNAL, Aoril 18, 1979
Consider the statistics. In the
past 12 months alone our economy
has created 3.5 million new jobs.
The overall unemployment rate is
less than 6%; for adult males only
4%; for adult women 5.7%. This is.
realistically, very close to full
employment. But among all teenagers
15% are unemployed, among
black teen-agers the rate is twice
that.
Economists call much
tural unemployment."
it's tragic.
of this "struc-
By any name
Much of the blame for this lies with
our educational system, which after
12 years of schooling turns out
illiterates unqualified for any but
the lowliest jobs. Add to this a
misquided minimum wage law, which
forces the pay for simple labor
higher than simple labor is worth,
and the misguided high unemployment
relief payments inciiscriminantly
applied, which for many makes idleness
as profitable as working. Altogether
a demoralizing situation for the
young created by public policy.
But our changing attitude towards
work in general, preached in many
ways, should not escape a whipping.
Distributed by the
Economic Opportunity Board
Clark County
2228 Comstock Drive
Las Vegas, Nevada 89106
647-2010
May. 1979
of
'THE ENGLISH LANGUAGE IS MY ENEMY'
Ossie Davis
Noted actor and writer Ossie Davis gave one of the
most provocative addresses at the AFT's Racism in Education
Conference last December — so provocative
that the American Teacher has been beseiged with requests
to print it.
In the space of a few minutes, Davis pulled aside
the curtain surrounding the English language, and
showed how3 in his opinion, simple, everyday words
promote racism among school children and their teachers.
Ee challenged educators to re-examine their most
inward thoughtsattitudess and, teaching practices.
I stand before you, a little nervous, afflicted to some degree with stage
fright. Not because I fear you, but because I fear the subject.
The title of my address is, "Racism in American Life — Broad Perspectives
of the Problem," or, "The English Language is My Enemy."
In my speech I will define culture as the sum total of ways of living
built up by a group of human beings and transmitted by one generation to
another. I will define education as the act or process of imparting and judgment
and generally preparing oneself and,others intellectually for a mature life.
AN EDUCATION IN WORDS
I will define communication as the primary means by which the process of
education is carried out.
I will say that language is the primary medium of communication in the
educational process and, in this case, the English language. I will indict the
English language as one of the prime carriers of racism from one person to
another in our society and discuss how the teacher and the student, especially
the Negro student, are affected by this fact.
The English language is my enemy.
Racism is a belief that human races have distinctive characteristics,
usually involving the idea that one's own race is superior and has a right to
rule others. Racism.
1 • "• , h" /
The English language is my enemy.
But that was not my original topic — I said that English was my goddam
enemy. Nov; why do I use "goddam" to illustrate this aspect of the English
language? Because I want to illustrate the sheer gut power of words. Words
which control our action. Words like "nigger", "kik(L", "sheeny", "Dago",
'black power" — words like this. Words we don't use in ordinary decent
conversation, one to the other. I choose these words deliberately, not to
flaunt my freedom before you.
"The English Language Is My Enemy" (continued) page -2-
If you are a normal human being these words will have assaulted your
senses, may even have done you physical harm, and if you so choose, you could
have me arrested.
Those xrords are attacks upon your physical and emotional well being;
your pulse rate is possibly higher, you breath quicker; there is perhaps a
tremor along the nerves of your arms and your legs; sweat begins in the palms
of your hands, perhaps. With these few words I have assaulted you. I have
damaged you, and there is nothing you can possibly, possibly do to control
your reactions — to defend yourself against the brute force of these words.
These words have a power over us; a power that we cannot resist.
For a moment you and I have had our deepest physical reactions controlled,
not by our own wills, but by words in the English language.
WHAT ROGET REVEALS
A superficial examination of Roget's Thesaurus of the English Language
reveals the following facts: the word "whiteness" has 134 synonyms, forty-four
of which are favorable and pleasing to contemplate. For example: "purity",
"cleanness", "immaculateness", "bright", "shiny", "ivory", "fair", "blonde"'
•stainless", "clean", "clear", "chaste", "unblemished", "unsullied", "innocent",
'honorable", "upright", "just", "straightforward", "genuine", "trustworthy",
- and only ten synonyms of which I feel to have been negative and then only
in the mildest sense, such as "gloss-over", "whitewash", "gray", "wan", "pale"
ashen", etc. '
The word blackness" has 120 synonyms, sixty of which are distinctly
unfavorable, and none of them even mildly positive. Among the offending sixty
were such words as "blot", "blotch", "smut", "smudge1, "sullied", "begrime",
soot , becloud", "obscure", "dingy", "murky", "low-toned", "threatening",
downing , foreboding", "forbidding", "sinister", "baneful", "dismal",
thundery , 'wicked", 'malignant," "deadly", "unclean", "dirty", "unwashed",
foul , etc. In addition to this is what really hurts, twenty of those words
I exclude the villanious sixty above are related directly to race
such as "Negro", "Negress', "nigger", "darkey", "blackamoor", etc.
'THINKING...IS SUBVOCAL SPEECH1
If you consider the fact that thinking itself is subvocal speech (in
other words, one must use words in order to think at all), you will appreciate
the enormous trap of racial prejudgment that works on any child who is born
into the English language.
-u r , A?y creature> £°od or bad> white or black, Jew or Gentile, who uses
the Englxsh language for the purposes of communication is willing to force
the Negro child into sixty ways to despise himself, and the white child, sixtv
ways to aid and abet him in the crime.
j ^ Language is a means of communication. This corruption, this evil
of racism, doesn't affect only one group. It doesn't take white to make a
person a racist. Blacks also become inverted racists in the process.
A part of our function, therefore, as teachers, will be to reconstruct
the Englxsh language. A sizable undertaking, but one which we must undertake
xf we are to cure the problems of racism in our society.
"The English Language Is My Enemy" (continued) page -3-
DEMOCRATIZING ENGLISH
The English language must become democratic. It must become respectful
of the possibilities of the human spirit. Racism is not only reflected in
xrords relating to the color of Negroes. If you will examine some of the synonyms
for the word Jew, you will find that the adjectives and the verb of the
word Jew are offensive. However, if you look at the word Hebrew, you will see
that there are no offensive connotations to the word.
When you understand and contemplate the small difference between the
meaning of one word supposedly representing one fact, you will understand the
power, good or evil, associated with the English language. You will understand
also why there is a tremendous fight among the Negro people to stop using the
word "Negro" altogether and substitute "Afro-American".
You will understand, even further, how men like Stokely Carmichael
and Floyd McKissick can get us in such serious trouble by using two words
together: Black Power. If Mr. McKissick and Mr. Carmichael had thought a
moment and said Colored Power, there would have been no problem.
We come today to talk about education. Education is the only valid
transmitter of American values from one generation to another. Churches have
been used from time immemorial to teach certain values to certain people, but
in America, as in no other country, it is the school that bears the burden
of teaching young Americans to be Americans.
Schools define the meaning of such concepts as success. And education
is a way out of the heritage of poverty for Negro people. It's the way
we can get jobs.
THE ONE-BY-ONE ROUTE
Education is that which opens that golden door that was so precious
to Emma Lazarus. But education in the past has basically been built on the
theory that we could find those gifted individuals among the Negro people and
educate them out of their poverty, out of their restricted conditions, and then,
they would, in turn, serve to represent the best interests of the race; and if
we concentrated on educating Negroes as individuals, we would solve the problem
of discrimination by educating individual Negroes out of the problem. But
I submit that that is a false and erroneous function and definition of education.
We can no longer, as teachers, concentrate on finding the gifted black
child in the slums or in the middle-class areas and giving him the best that
we have. This no longer serves the true function of education if education
indeed is to fulfill its mission to assist and perpetuate the drive of the
Negro community on the same terms as all other communities have come.
Let us look for a brief moment at an article appearing in Commentary
in February, 1964, written by the associate director of the American Jewish
Committee. "What is now perceived as the revolt of the Negro amounts to this",
he says. "The solitary Negro seeking admission into the white world through
unusual achievement has been replaced by the organized Negro insisting upon
a legitimate share for his group of the goods of American society. The white
liberal, in turn, who, whether or not he is fully conscious of it, has generally
conceived of progress in race relations as the cne-by-one assimilation
"The English Language Is My Enemy" (continued) page -4-
of deserving Negroes into the larger society, now finds himself confused and
threatened by suddenly having to come to terms with an aggressive Negro community
that wishes to enter en masse.
"Accordingly, in the arena of civil rights, the Negro revolution
has tended to take the struggle out of the courts and bring it to the streets
and the negotiating tables. Granting the potential of unprecedented violence
that exists here, it must also be borne in mind that what the Negro people are
now beginning to do, other ethnic minorities who brought to America their
strong traditions of communal solidarity did before them. With this powerful
asset, the Irish rapidly acquired political strength and the Jews succeeded
in raising virtually an entire immigrant population into the middle class
within a span of two generations. Viewed in this perspective, the Negroes
are merely the last of America's significant ethnic minorities to achieve . y-.ri,
communal solidarity and to grasp the role of the informal group power structure
in protecting the rights and advancing the opportunities of the individual
members of the community".
LIBERAL 'GRADUALISM'
Liberal opinion in the North and in the South thus continues to
stand upon its traditions of gradualism — that of one-by-one admission of
deserving Negroes into the larger society and rejection of the idea that to
help the Negro it must help first the Negro community.
. \'j JO' ' - V U
Today in America, as elsewhere, the Negro has made us forcefully
aware of the fact that the rights and privileges of an individual rest upo.n
the status obtained by the group to which he belongs.
' i ' ' . Y ! ' , ; r '
In the American pattern, where social power is distributed by groups,
the Negro has come to recognize that he can achieve equal opportunities only
through concerted action of the Negro community. We can't do it one by one
anymore: we must do it as a group. p. .
Now, how is education related to the process not, ;of lifting
individuals but of lifting a whole group by its bootstraps and helping it
climb to its rightful place in American society?
One of the ways is by calling such meetings as this to discuss Negro
history — to discuss those aspects of Negro culture itfhich are important for
the survival of the Negro people as a community. There is nothing in the
survival of the Negro people as a community that is inherently hostile to the
survival of the interests of any other group. .*
So when we say Black Power and Black Nationalism we do not mean that
that is the only power or that that is the only nationalism that x-re are concerned
about or that it is to predominate above all others. We merely mean
that it should have the right of all other groups and be respected as such
in the American way of life.
WHY TEACHERS FAIL
Teachers have a very important function. They have before them the
raw materials of the future. And if we were satisfied by the job that was
being done in our country and in our culture it would not be necessary to
call a protest conference. It would he necessary only to call a conference
to celebrate.
YMCA Urban Crisis Workshop - Resource Document H1