Difference between revisions of "Jimmy Reed" - New World Encyclopedia
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Reed soon began to break into the growing blues scene in Gary and nearby Chicago. By the early 50s, he had established himself as a popular musician known for his ability to play guitar and harmonica simultaneously by using a harmonica-holder hung over his neck. He joined the "Gary Kings, " playing harmonica with with guitarist [[John Brim]] with whom he also recorded. However, he attempted but failed to gain a [[recording contract]] with [[Chess Records]], the premier record company for Chicago-based blues artists. With the help of Brim's drummer and future guitar legend, [[Albert King]], he then signed with [[Vee-Jay Records]]. At Vee-Jay, Reed began playing again with his old mentor, Eddie Taylor. His third single, "You Don't Have to Go," was his first [[hit record]], reaching number five on the Billboard [[R&B]] chart. | Reed soon began to break into the growing blues scene in Gary and nearby Chicago. By the early 50s, he had established himself as a popular musician known for his ability to play guitar and harmonica simultaneously by using a harmonica-holder hung over his neck. He joined the "Gary Kings, " playing harmonica with with guitarist [[John Brim]] with whom he also recorded. However, he attempted but failed to gain a [[recording contract]] with [[Chess Records]], the premier record company for Chicago-based blues artists. With the help of Brim's drummer and future guitar legend, [[Albert King]], he then signed with [[Vee-Jay Records]]. At Vee-Jay, Reed began playing again with his old mentor, Eddie Taylor. His third single, "You Don't Have to Go," was his first [[hit record]], reaching number five on the Billboard [[R&B]] chart. | ||
| − | A string of blues hits soon followed. Reed's simple, straightforward style was easy for fans to relate to and also highly danceable. He was soon outselling even the great Chess blues stars like [[Muddy Waters]], [[Howlin' Wolf]], and [[Little Walter]] | + | A string of blues hits soon followed. Reed's simple, straightforward style was easy for fans to relate to and also highly danceable. He was soon outselling even the great Chess blues stars like [[Muddy Waters]], [[Howlin' Wolf]], and [[Little Walter]]. |
Like some other successful bluesmen Reed suffered from [[alcoholism]] but, unlike some of the them, did not hold is liquor well. He became notorious for being drunk on stage, slurring and forgetting his words, and losing the [[beat]]. Sometimes, his wife had to help him remember the [[lyrics]] to his songs while performing. His bouts we ''[[delirium tremens]]'' were so common that when he was stricken with [[epilepsy]] in 1957, the disease went undiagnosed for months. | Like some other successful bluesmen Reed suffered from [[alcoholism]] but, unlike some of the them, did not hold is liquor well. He became notorious for being drunk on stage, slurring and forgetting his words, and losing the [[beat]]. Sometimes, his wife had to help him remember the [[lyrics]] to his songs while performing. His bouts we ''[[delirium tremens]]'' were so common that when he was stricken with [[epilepsy]] in 1957, the disease went undiagnosed for months. | ||
| + | |||
| + | Despite these problems, reed continued to succeed as a recording artist. He reaches his peak in 1961 with the classic "Big Boss Man," followed by "Bright Lights, Big City," which reached number three on the R & B charts. | ||
===Decline and death=== | ===Decline and death=== | ||
Revision as of 03:50, 22 January 2009
| Jimmy Reed | |
|---|---|
| File:JimmyReed.jpg | |
| Background information | |
| Birth name | Mathis James Reed |
| Born | September 6 1925 Dunleith, Mississippi |
| Died | August 29 1976 (aged 50) Oakland, California |
| Genre(s) | Blues |
| Instrument(s) | Vocals, Harmonica, Guitar |
| Years active | 1940s-1976 |
Mathis James "Jimmy" Reed (September 6, 1925 - August 2, 1976 was an American blues singer notable for bringing his distinctive style of blues to mainstream audiences. His classic blues hits include "Big Boss Man," and "Baby What You Want Me To Do," and "Aint That Lovin' You Baby."
Reed was a early major player in the field of electric blues, as opposed to the more acoustic-based sound of many of his contemporaries. His lazy, slack-jawed singing, piercing harmonica, and hypnotic guitar patterns were one of the blues most easily identifiable sounds in the 1950s and 60s.
Biography
Early years
Reed was born on a plantation near Dunleith, Mississippi in 1925, where he lived until the age of 15. He learned the basics of harmonica and guitar from local semi-pro Eddie Taylor, who became a close friend.
After spending several years performing and playing for tips in the area, Reed move to Chicago, Illinois in 1943 before being drafted into the United States Navy during World War II. In 1945, Reed was discharged and moved back to Mississippi for a brief period, marrying his girlfriend, Mary "Mama" Reed, before moving to Gary, Indiana to work at an Armour & Co. meat packing plant.
Chicago and success
Reed soon began to break into the growing blues scene in Gary and nearby Chicago. By the early 50s, he had established himself as a popular musician known for his ability to play guitar and harmonica simultaneously by using a harmonica-holder hung over his neck. He joined the "Gary Kings, " playing harmonica with with guitarist John Brim with whom he also recorded. However, he attempted but failed to gain a recording contract with Chess Records, the premier record company for Chicago-based blues artists. With the help of Brim's drummer and future guitar legend, Albert King, he then signed with Vee-Jay Records. At Vee-Jay, Reed began playing again with his old mentor, Eddie Taylor. His third single, "You Don't Have to Go," was his first hit record, reaching number five on the Billboard R&B chart.
A string of blues hits soon followed. Reed's simple, straightforward style was easy for fans to relate to and also highly danceable. He was soon outselling even the great Chess blues stars like Muddy Waters, Howlin' Wolf, and Little Walter.
Like some other successful bluesmen Reed suffered from alcoholism but, unlike some of the them, did not hold is liquor well. He became notorious for being drunk on stage, slurring and forgetting his words, and losing the beat. Sometimes, his wife had to help him remember the lyrics to his songs while performing. His bouts we delirium tremens were so common that when he was stricken with epilepsy in 1957, the disease went undiagnosed for months.
Despite these problems, reed continued to succeed as a recording artist. He reaches his peak in 1961 with the classic "Big Boss Man," followed by "Bright Lights, Big City," which reached number three on the R & B charts.
Decline and death
Although he had more hit songs than many of his peers, Reed's personal problems prevented him from achieving the same level of fame as other popular blues artists of the time. When Vee-Jay Records closed down, Reed's manager signed a contract with the fledgling ABC-Bluesway label, but Reed was never able to score another hit. He scored a minor comeback as a performer in the days of the blues revival of the late 60s and early 70s, but continued to prove unable to rise above his problems with alcohol.
He lived a reclusive life in his final years before finally getting proper medical treatment and attempting a comeback playing the blues festivals that had achieved popularity by then.
Jimmy Reed died in Oakland, California on August 29, 1976, a few days short of his 51st birthday. He is interred in the Lincoln Cemetery in Worth, Illinois.
Legacy
Because his style was simple and easily imitated, his songs were accessible to just about everyone from high school garage bands having a go at it to Elvis Presley, Charlie Rich, Lou Rawls, Hank Williams, Jr., and the Rolling Stones, making him — in the long run — perhaps the most influential bluesman of all. His bottom string boogie rhythm guitar patterns (all furnished by boyhood friend and longtime musical partner Eddie Taylor), simple two-string turnarounds, countryish harmonica solos (all played in a neck rack attachment hung around his neck) and mush mouthed vocals were probably the first exposure most White folks had to the blues. And his music — lazy, loping and insistent and constantly built and reconstructed single after single on the same sturdy frame — was a formula that proved to be enormously successful and influential, both with middle-aged Blacks and young White audiences for a good dozen years. Jimmy Reed records hit the charts with amazing frequency and crossed over onto the pop charts on many occasions, a rare feat for an unreconstructed bluesman.This is all the more amazing simply because Reed's music was nothing special on the surface; he possessed absolutely no technical expertise on either of his chosen instruments and his vocals certainly lacked the fierce declamatory intensity of a Howlin' Wolf or a Muddy Waters. But it was exactly that lack of in-your-face musical confrontation that made Jimmy Reed a welcome addition to everybody's record collection back in the '50s and '60s. And for those aspiring musicians who wanted to give the blues a try, either vocally or instrumentally (no matter what skin color you were born with), perhaps Billy Vera said it best in his liner notes to a Reed greatest hits anthology: "Yes, anybody with a range of more than six notes could sing Jimmy's tunes and play them the first day Mom and Dad brought home that first guitar from Sears & Roebuck. I guess Jimmy could be termed the '50s punk bluesman." Jimmy Reed placed 11 songs on the Billboard Hot 100 pop charts and a total of 14 on the charts, a figure that even a much more sophisticated artist like B.B. King couldn't top. To paraphrase the old saying, nobody liked Jimmy Reed but the people.
In 1991 Reed was posthumously inducted into the Rock and Roll Hall of Fame.
Discography
Charting singles
| Year | Single | R&B Singles | U.S. Pop Singles |
| 1956 | "Ain't That Lovin' You Baby" | #3 | - |
| 1956 | "Can't Stand to See You Go" | #10 | - |
| 1956 | "I Don't Go for That" | #12 | - |
| 1956 | "I Love You Baby" | #13 | - |
| 1957 | "Honest I Do" | #4 | #32 |
| 1957 | "Honey, Where You Going?" | #10 | - |
| 1957 | "Little Rain" | #7 | - |
| 1957 | "The Sun is Shining" | #12 | #65 |
| 1958 | "Down in Virginia" | - | #93 |
| 1959 | "I Told You Baby" | #19 | - |
| 1960 | "Baby, What You Want Me to Do" | #10 | #37 |
| 1960 | "Found Love" | #16 | #88 |
| 1960 | "Hush-Hush" | #18 | #75 |
| 1961 | "Big Boss Man" | #13 | #78 |
| 1961 | "Bright Lights, Big City" | #3 | #58 |
| 1961 | "Close Together" | - | #68 |
| 1962 | "Aw Shucks, Hush Your Mouth" | - | #93 |
| 1962 | "Good Lover" | - | #77 |
| 1963 | "Shame, Shame, Shame" | - | #52 |
Selected albums
| Year | Album |
| 1958 | I'm Jimmy Reed |
| 1959 | Rockin' With Reed (Collectables) |
| 1960 | Found Love |
| 1960 | Now Appearing |
| 1961 | Jimmy Reed at Carnegie Hall |
| 1962 | Just Jimmy Reed |
| 1963 | Jimmy Reed Plays 12 String Guitar Blues |
| 1963 | Jimmy Reed Sings The Best Of The Blues |
| 1963 | T'Ain't No Big Thing But He Is...Jimmy Reed |
| 1964 | Jimmy Reed At Soul City |
| 1965 | The Legend: The Man |
| 1967 | The New Jimmy Reed Album/Soulin' |
| 1968 | Big Boss Man/Down In Virginia |
| 1971 | Found Love |
| 1974 | Best Of Jimmy Reed |
| 1976 | Blues Is My Business |
Influence
The Rolling Stones have cited Reed as a major influence on their sound, and their early set lists comprised many of Reed's songs. The Rolling Stones recorded tracks like "Ain't That Lovin' You Baby," "The Sun is Shining" (also played at the Stones' 1969 Altamont concert), "Close Together," "Bright Lights, Big City" and 'Shame, Shame, Shame" in 1963 as demos to offer to record labels like Decca, and their February 1964 hit single "Not Fade Away" had as the B-side "Little by Little," a pastiche of "Shame, Shame, Shame." Their first album, The Rolling Stones released in April 1964, featured their cover of Reed's "Honest I Do."
"Big Boss Man" was sung regularly by Ron McKernan, also known as "Pigpen," with the Grateful Dead during the 1960s and early 1970s and appears on the live album Skull and Roses. It was revived a few times by Jerry Garcia with the Grateful Dead during the 1980s. Bob Weir of the Grateful Dead also played it a few times with Kingfish in the mid 70s, and more recently with Ratdog. Phil Lesh also plays it with Phil & Friends. The Grateful Dead have also performed Baby What You Want Me to Do with Brent Mydland on vocals.
Elvis Presley recorded several of Reed's songs, scoring a 1967 hit with "Big Boss Man" and recording several performances of "Baby, What You Want Me to Do" for his 1968 Comeback TV Special. (However, Presley's 1964 hit, "Ain't That Lovin' You Baby" is a different song than that recorded by Reed.) The song "Baby, What You Want Me to Do" was also covered by Wishbone Ash on their 1972 live album, Live Dates. Baby What You Want to Do was also frequently performed by Etta James and Hot Tuna. Johnny and Edgar Winter performed the song live in 1975 and included it on Johnny and Edgar Winter Together.
Reed's recordings of "Big Boss Man" and "Bright Lights, Big City" were both voted onto the list of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.
Noted Austin musicians, Omar Kent Dykes and Jimmie Vaughan released an album, On the Jimmy Reed Highway as a tribute to Reed.[2]
See also
- List of blues musicians
- List of people from Mississippi
- Soul blues
- Blues harp
- List of people with epilepsy
Notes
ReferencesISBN links support NWE through referral fees
External links
- 1980 Blues Foundation Hall of Fame induction - the main source for this article
- Webpage with detailed biography and photographs
- Jimmy Reed at Find A Grave
Credits
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