A composer of well known standards such as "Come On" (covered by Jimi Hendrix) and Professor Longhair's "Big Chief", he is an important figure in New Orleans R&B music.
His father, a local piano player, died when King was still a baby, and he was brought up by his mother. With his mother, he started going to church at an early age. In his youth he sang gospel music, but took the advice of a friend to switch to blues to make a better living.
King started to play guitar at age 15. Soon he started entering talent contests at local clubs including the Dew Drop Inn. It was at one of those clubs where he met his idol Guitar Slim. King started imitating Slim, and his presence gave a big impact on his musical directions. In 1954, when Slim was injured in an automobile accident (right around the time Slim had the #1 R&B hit with "The Things That I Used To Do"), King was deputized to continue Slim's band tour, representing himself as Slim. After succeeding in this role, King became a regular at the Dew Drop Inn.
His first recording came in 1953. He released a 78 "Have you Gone Crazy" b/w "Begging At Your Mercy" on Savoy label as Earl Johnson. The following year, talent scout Johnny Vincent introduced King to Specialty label, and he recorded some sides including "Mother's Love" which created a little stir locally. In 1955, King signed with Johnny Vincent's label, Ace. His first single from the label "Those Lonely, Lonely Nights" become hit reaching #7 on the US Billboard R&B chart. He continued to record during his five year stay at the label, and during that time, he also he started writing songs for other artists such as Roland Stone and Jimmy Clanton.
In 1960,
Dave Bartholomew invited King to record for the Imperial Records. At the label, he was backed by host of musicians including Bob and George French, James Booker, and Wardell Quezergue. It was at this label he recorded his signature songs "Come On" and "Trick Bag". The former of which remained a much covered standard for decades especially for Jimi Hendrix, Stevie Ray Vaughan and Anson Funderburgh. The latter has also been widely covered including versions by The Meters and Robert Palmer.
King also co-wrote a number of songs with Bartholomew, either under his own name or under the pseudonyms of "Pearl King" and "E.C. King".[citation needed] One of the best known collaborations between Bartholomew and King is the rhythm and blues standard, "I Hear You Knocking", originally recorded in 1955. The latter song is variously credited to Pearl King and E.C King as the co-writer, with Bartholomew.
King recorded for Imperial till 1963, but he went without a recording contract for the remainder of the 1960s. During this time, he mostly concentrated in producing and songwriting for local labels NOLA and Watch. His compositions from this era includes Professor Longhair's "Big Chief", Willie Tee's "Teasin' You", and Lee Dorsey's "Do-Re-Mi". He also went to Detroit for an audition with Motown Records and recorded a few tracks in the mid 1960s. Three tracks from the session appeared on the Motown's Blue Evolution CD released in 1996).
In 1972, he was joined by Allen Toussaint and the Meters to record the album Street Parade. Though Atlantic initially showed interest in releasing it, they eventually declined. The title cut "Street Parade" was released as a single from Kansu label at the time, but the rest had to wait till 1982 to see the light of the day, when the album was finally released by Charly Records in the UK.
During the 1970s, he recorded another album That Good Old New Orleans Rock 'n Roll which was released by Sonet in 1977. He also appeared on the New Orleans Jazz & Heritage Festival 1976 album.
In the early 1980s, he also met Hammond Scott, co-owner of Black Top Records, and started to record for the label. The first album Glazed, backed up by Roomful of Blues was released in 1986, and a second album, Sexual Telepathy came in 1990. It featured Snooks Eaglin as a guest on two tracks, and also Ronnie Earl & The Broadcasters backed him up on some tracks. His third from the label Hard River To Cross (1993) was backed by George Porter, Jr., David Torkanowsky, and Herman V. Ernest, III.
In 2001, he was hospitalized for an illness during a tour to New Zealand, however, that did not stop him from performing. In December of the same year, he toured Japan, and he continued to perform off and on locally in New Orleans until his death.
He died on April 17, 2003, from diabetes related complications, just a week before the New Orleans Jazz & Heritage Festival. His funeral was held during the Festival period on April 30, and many musicians including Dr. John, Leo Nocentelli and Aaron Neville were in attendance. His Imperial recordings, which have been long out-of-print, were reissued on CD soon after he died. The June 2003 issue of a local music magazine OffBeat paid a tribute to King by doing a series of special articles on him.
One And One
Earl King Lyrics
Jump to: Overall Meaning ↴
Wrong move you gon leave in a hearse
Started as a dream then it turned to a lifestyle
Life is a bitch and I got her in a doggy style
Not a conscious rapper but I'm conscious with the words I say
Like a tsunami all them obstacles I blew away
On my knees everyday I pray to God to make a way
Lost my granny gained an Angel I know she's watching over me
I see a nija ng'bona u bhuti wena u bona I foreigner
Blinded by this Morden world Vuka Darkie life is what you make of it
I've been meditating
Soul is levitating
Vibrations on another dimension
Manifestation hour I light up a candle
Always on silent I'm never causing no scandals
Ngiyabona ni funa uk'spana cause I'm getting bigger and better
Kudala ni ngi nyatsa now you're asking for features
They say you gotta beat the best to be the best
I fight the man in the mirror everyday hoping to be the best version of myself
Just think about that
Now think about that
Thoughts of a sober mind
I'm writing this in the dark place
The pressure been catching up I gotta pick up the pace
Society expects you to act tough because you're the man
The last time I shed a tear was at the age of ten
Now I just pass through obstacles like I'm playing dominoes
Road to success taking long strides just like flamingos
In a war with gang demons they just wanna drag me down
Got me feeling like a clown
How I'm faking all these smiles
They would rather see me frown
While they're laughing off my pain
Shit is making me insane
Take your flowers man
Me I don't keep people's flowers to myself
Take your flowers dawg
Envy towards a person leads to arrogance
No wonder why they hate me cause I'm tryna make a difference
Take me to Nevermore cause I'm feeling like an outcast
Black and white is all I see like Wednesday Addams
Me giving up is like counting atoms
Shit is impossible
You know what's music to me
It's relatable you know
Niggas in the trenches gon feel this you know
Cause I feel this my nigga I don't wanna lie to you this is fire dawg
This is fire
Man
Man
Man
It breaks my heart when you tell me you wanna stop for a minute
Don't stop
Don't stop Dawg
Don't stop
I approve you know
I approve
I know you don't need my approval and nothing like but this is clean man
This is clean
The lyrics of Earl King's song "One And One" delve into the complexities and challenges of a life immersed in the rap industry. The artist reflects on the dual nature of the rap life, acknowledging it as both a gift and a curse. The risk of making a wrong move in this world could have grave consequences, symbolized by leaving in a hearse, highlighting the dangers and high stakes that come with pursuing a career in this industry. What once started as a dream has evolved into a lifestyle that demands resilience and adaptability.
The artist demonstrates a self-awareness of their craft, recognizing that they may not fit the mold of a "conscious rapper" but are conscious of the impact of their words. Their lyrical prowess is likened to a force of nature, capable of overcoming obstacles like a tsunami, showcasing a determined and relentless spirit. Despite the challenges faced, the artist finds solace in prayer and a connection to their ancestors, particularly their late grandmother who serves as a guiding presence in their life, emphasizing the importance of spiritual belief and guidance in navigating the rap life.
The artist delves into themes of cultural pride and self-acceptance, embracing their blackness and the richness of their heritage. They caution against being deceived by the superficiality of the modern world, urging listeners to awaken to the reality of their existence and the power they hold to shape their destinies. Through meditation and a focus on self-improvement, the artist strives for personal growth and enlightenment, transcending to a higher plane of existence where manifestations become reality through focused intention and determination.
The final verses echo a sense of determination and defiance in the face of adversity, with the artist rejecting the idea of giving up as akin to an impossible feat. Despite the struggles faced and the weight of societal expectations, the artist remains resolute in their pursuit of making a difference in the world through their music. The raw emotion conveyed in the lyrics speaks to the artist's authenticity and commitment to their craft, reaching out to listeners in the trenches who may find solace and inspiration in their words. The plea to keep going, to not give up, resonates deeply with the artist's own struggles and serves as a rallying cry for perseverance and resilience in the face of challenges.
Lyrics © O/B/O DistroKid
Written by: Neo Shilubane
Lyrics Licensed & Provided by LyricFind
David Chapin
on Let the Good Times Roll
No idea what sonichits is, but god bless 'em for this impressive stack of 25 smokers.... (ignore the random Kevin Hart and white [cover?] band...!)
Just back from N.O. JazzFest 2017, and Earl's ghost still haunts....
Never heard Darling Honey Angel Child. before, which we assume predates LTGTRoll....
Next week, let's try to find out if Hendrix actually learned that song directly from Earl on the Chitlin Circuit… Or via 45…!