Sun 30 Dec 2012
|Pee Wee Crayton||Central Avenue||The Modern Legacy Vol. 1|
|Pee Wee Crayton||Louella Brown||The Modern Legacy Vol. 1|
|Pee Wee Crayton||Texas Hop||The Modern Legacy Vol. 1|
|Big Mama Thornton||Cotton Picking Blues||1950-1953|
|Big Mama Thornton||Let Your Tears Fall Baby||1950-1953|
|Big Mama Thornton||They Call Me Big Mama||1950-1953|
|Johnny "Guitar" Watson||Motor Head Baby||1952-1955
|Johnny "Guitar" Watson||Half Pint of Whiskey||1952-1955
|Johnny "Guitar" Watson||What's Goin' On||1952-1955
|Pee Wee Crayton||Blues After Hours||The Modern Legacy Vol. 1|
|Pee Wee Crayton||Change Your Way of Lovin'||The Modern Legacy Vol. 1|
|Pee Wee Crayton||Rockin' The Blues||The Modern Legacy Vol. 1|
|Big Mama Thornton||Walking Blues||1952-1955
|Big Mama Thornton||Hard Times||1952-1955
|Big Mama Thornton||Hound Dog||1952-1955
|Johnny "Guitar" Watson||I Love to Love You||1952-1955
|Johnny "Guitar" Watson||Hot Little Mama||1952-1955
|Johnny "Guitar" Watson||Too Tired||1952-1955
|Pee Wee Crayton||The Telephone Is Ringing||Taste of the Blues, Vol. 1|
|Pee Wee Crayton||When It Rain It Pours||Complete Aladdin & Imperial Recordings|
|Big Mama Thornton||Willie Mae's Blues||1950-1953|
|Big Mama Thornton||I Smell A Rat||Hound Dog: The Peacock Recordings|
|Big Mama Thornton||Rockaby Baby||Hound Dog: The Peacock Recordings|
|Johnny "Guitar" Watson||Someone Cares for Me||Hot Just Like TNT|
|Johnny "Guitar" Watson||Don't Touch Me (I'm Gonna Hit the Highway)||Hot Just Like TNT|
|Johnny "Guitar" Watson||Those Lonely, Lonely Nights||Hot Just Like TNT|
|Johnny "Guitar" Watson||Three Hours Past Midnight||Hot Just Like TNT|
|Big Mama Thornton||Stop A-Hoppin' on Me||Hound Dog: The Peacock Recordings|
|Pee Wee Crayton||Do Unto Others||Complete Aladdin & Imperial Recordings|
|Johnny "Guitar" Watson||One Room Country Shack||The Original Gangster of Love: The Keen Records Sessions
|Pee Wee Crayton||Runnin' Wild||Complete Aladdin & Imperial Recordings|
|Big Mama Thornton||Yes, Baby||Hound Dog: The Peacock Recordings|
|Johnny "Guitar" Watson||Gangster of Love||The Original Gangster of Love: The Keen Records Sessions
|Johnny "Guitar" Watson||Looking Back||The Original Gangster of Love: The Keen Records Sessions
|Pee Wee Crayton|
Today's show is the third of a series spotlighting some fine West Coast artists that I wanted to feature in more depth, the bulk form Texas and California, who cut sides for the myriad labels that popped up in the immediate port-war era. In California the blues thrived around around the Los Angeles, Richmond, Oakland and San Francisco Bay areas. Many of the artists were transplanted Texans who had come to California during the war year to find jobs in the booming defense industry in the Oakland-San Francisco Bay area. Connie Crayton was a transplanted Texan who relocated to Los Angeles in 1935, later moving north to the Bay Area. He signed with the Bihari brothers' L.A.-based Modern logo in 1948, and continued through the 50's cutting fine sides for Imperial and Vee-Jay. Big Mama Thornton was born in Alabama, spent several years singing with Sammy Green's Georgia-based Hot Harlem Revue before relocating to Houston in 1948. In Houston she recorded for the locally based Peacock label through the end of the 50's before settling in San Francisco. Johnny Watson was born in Houston and started playing the jule joints as a teenager, performing as a vocalist, pianist, and guitarist . He moved to Los Angeles around 1950 where he made his debut for Federal in 1952.
Connie Crayton was a transplanted Texan who relocated to Los Angeles in 1935, later moving north to the Bay Area. Crayton told interviewer John Breckow, "We got to be real good friends", speaking of T-Bone Walker. According to another Pee Wee interview, T-Bone "showed me how to string up the guitar to get the blues sound out of it. T-Bone was gonna try to help me learn how to play. My timing was real bad. T-Bone helped me with my timing. He would play the piano or the bass and show me how to play in time." The two went on to stage friendly battles, and when T-Bone's health problems interfered with his gigs late in life, Crayton was on call to fill in whenever he was available. Pee Wee was also influenced by Charlie Christian who he saw perform in 1941 and John Collins who worked with the Nat King Cole Trio. In 1946 he joined Ivory Joe Hunter’s band and appeared on a half-dozen recordings issued on the Pacific label.
Crayton signed with the Bihari brothers' L.A.-based Modern logo in 1948, quickly hit with the instrumental "Blues After Hours" , which topped the R&B charts in late 1948. "Texas Hop" trailed it up the charts shortly thereafter, followed the next year by "I Love You So." But Crayton's brief hitmaking reign was over soon over. After recording prolifically at Modern to no further commercial avail, Crayton moved on to Aladdin and, in 1954, Imperial. Under Dave Bartholomew's production, Crayton made some of his great waxings in New Orleans: "Every Dog Has His Day," "You Know Yeah," and "Runnin' Wild” among others.
In 1957 he hooked up with Vee-Jay in Chicago cutting some find sides, including one of his best, "The Telephone Is Ringing." The next decade brought Pee Wee his least glorious musical period as he mostly drove a truck and played locally. A fine LP he recorded didn't even credit him, appearing under the name of The Sunset Blues Band. Johnny Otis showcased Pee Wee in a memorable program at the 1970 Monterey Jazz Festival (issued on Epic), leading to a comeback LP on Vanguard (The Things I Used To Do), and Otis later recorded an LP by Pee Wee for his Blues Spectrum label. Pee Wee continued to record sporadically and added some prestigious festivals and international tours to his resume. Pee Wee's last two albums were recorded in Riverside, California for Murray Brothers, at the instigation of the label's A & R man, blues harpist Rod Piazza. Pee Wee passed in 1985.
Big Mama Thornton was born in Ariton, Alabama and her introduction to music started in a Baptist church, where her father was a minister and her mother a church singer. Thornton left Alabama at age 14 in 1941, following her mother's death. She joined Sammy Green's Hot Harlem Revue. She spent seven years with them in which she toured the South. In 1948, she settled in Houston, Texas, where she hoped to further her career as a singer She was also a self-taught drummer and harmonica player, and frequently played each instrument onstage. Thornton began her
recording career in Houston, signing a recording contract with Peacock Records in 1951.
While working with another Peacock artist, Johnny Otis, she recorded "Hound Dog," written by young songwriters Jerry Leiber and Mike Stoller as requested by Johnny Otis. The record was produced by Johnny Otis, and went to number one on the R&B chart. Although the record made her a star, she saw little of the profits. She continued to record for Peacock until 1957 and performed with R&B package tours with Junior Parker and Esther Phillips.
Her career began to fade in the late 1950's and early 1960's. She left Houston and relocated to the San Francisco Bay Area, where she mostly played local blues clubs. In the arly-'60s she cut 45s for West Coast labels like Irma, Bay-Tone, Kent, and Sotoplay. In 1966, Thornton recorded Big Mama Thornton With The Muddy Waters Blues Band and in 1968 the album Ball 'n' Chain. Thornton performed at the Monterey Jazz Festival in 1966 and 1968, and at the San Francisco Blues Festival in 1979. In 1965 she performed with the American Folk Blues Festival package in Europe. While in England that year, she recorded Big Mama Thornton in Europe and followed it up the next year in San Francisco with Big Mama Thornton with the Chicago Blues Band. Both albums came out on the Arhoolie label. She record through the 70’s, most notably for Vanguard, before passing in 1984. The funeral was led by her old friend, now Reverend Johnny Otis, and many artists paid tribute.
Johnny Watson was born in Houston on February 3, 1935. His father was a pianist who instructed his son in the rudiments of music, and at age 11 Watson was given a guitar by his grandfather, a preacher who disapproved of the blues and made the gift conditional on his never playing that most secular of musical forms. But "that was the first thing I played," Watson recalled in an interview. As a youth, Watson had heard the blues guitar of fellow Texan T- Bone Walker. He was also influenced by guitarist Clarence "Gatemouth" Brown. Moving with his family to Los Angeles around 1950 and entered and won a variety of talent contests and shows. This exposure led to work as a sideman (sometimes still on piano) in various West Coast jump blues and jazz bands of the time, including those led by Chuck Higgins and Amos Milburn. Watson debuted on the Federal label in 1953, billed as "Young John Watson", cutting three sessions for the label through 1954.
After his session for the Federal label he hooked up with RPM, a subsidiary of Modern, cutting several sessions for the label through 1956. He scored his first hit in 1955 for RPM with a note-perfect cover of New Orleanian Earl King's two-chord swamp ballad "Those Lonely Lonely Nights." One day, Watson and company co-owner Joe Bihari went to see the 1954 Sterling Hayden film "Johnny Guitar," and Watson acquired the nickname that would stick with him for his entire performing career.Johnny Watson was born in Houston on February 3, 1935. His father was a pianist who instructed his son in the rudiments of music, and at age 11 Watson was given a guitar by his grandfather, a preacher who disapproved of the blues and made the gift conditional on his never playing that most secular of musical forms. But "that was the first thing I played," Watson recalled in an interview. As a youth, Watson had heard the blues guitar of fellow Texan T- Bone Walker. He was also influenced by guitarist Clarence "Gatemouth" Brown. Moving with his family to Los Angeles around 1950 and entered and won a variety of talent contests and shows. This exposure led to work as a sideman (sometimes still on piano) in various West Coast jump blues and jazz bands of the time, including those led by Chuck Higgins and Amos Milburn. Watson debuted on the Federal label in 1953, billed as "Young John Watson", cutting three sessions for the label through 1954.
Watson toured with such luminaries as Little Richard and acquired a reputation for exciting stage theatrics. "I used to play the guitar standing on my hands," he recalled in an interview. "I had a 1 50-foot cord and I could get on top of the auditorium–those things Jimi Hendrix was doing, I started that." During this period he also began to style himself as the "Gangster of Love," after the title of a 1957 single Watson cut for the Keen label. Watson scored a number six rhythm-and-blues hit with "Cuttin' In" on the King label in 1962. During the 1960s he also teamed frequently with vocalist Larry Williams, with whom he toured successfully in Britain as well as in the U.S. and recorded the much-covered "Mercy Mercy Mercy" in 1967.