Career
He was born near Jackson, Tennessee in 1914. His original harmonica recordings were considered to be in the country blues style, but he soon demonstrated skill at making harmonica a lead instrument for the blues, and popularized the instrument for the first time in a more urban blues setting. He has been called "the father of modern blues harp".
His very first recording, "Good Morning, School Girl", was a major hit on the 'race records' market in 1937. He was hugely popular among black audiences throughout the whole southern U.S. as well as in the midwestern industrial cities such as Detroit and his home base in Chicago, and his name was synonymous with the blues harmonica for the next decade. Other well-known recordings of his include "Shake the Boogie", "You Better Cut that Out", "Sloppy Drunk", and "Early in the Morning". Williamson's style influenced a large number of blues harmonica performers, including Billy Boy Arnold, Junior Wells, Sonny Terry, Little Walter, and Snooky Pryor among many others. He was easily the most widely heard and influential blues harmonica player of his generation. His music was also influential on many of his non-harmonica playing contemporaries and successors, including Muddy Waters (who had played with Williamson in the mid-1940s) and Jimmy Rogers (whose first recording in 1946 was as a harmonica player, performing an uncanny imitation of Williamson's style); Rogers later recorded Williamson's songs "My Little Machine" and "Sloppy Drunk" on Chess, and Waters recorded "Good Morning Little Schoolgirl" in September 1963 for his Chess LP Folk Singer and again in the 70s when he moved to Johnny Winter's Blue Sky label on CBS.
He was popular enough that by the 1940s, another blues harp player, Aleck/Alex "Rice" Miller, who was based in Helena, Arkansas, began also using the name Sonny Boy Williamson. John Lee is said to have objected to this, though no legal action took place, possibly due to the fact that Miller did not release any records during Williamson's lifetime, and that Williamson played mainly around the Chicago area, and Miller seldom ventured beyond the Mississippi delta region until after Williamson's death.
Williamson recorded prolifically both as a bandleader and a sideman over the entire course of his career, mainly for the Bluebird record label, with many early sessions taking place in the ballroom on the top floor of the Leland Hotel in Aurora, Illinois; most later sessions were recorded in Chicago. His final recording session took place in December 1947, backing Big Joe Williams. On June 1, 1948, John Lee Williamson was killed in a mugging on Chicago's South Side, as he walked home from his final performance at The Plantation Club at 31st St. and Giles Ave., a tavern just a block and a half away from his home at 3226 S. Giles.
His legacy has been overshadowed in the post-war blues era by the popularity of the musician who appropriated his name, Rice Miller, who after Williamson's death went on to record many popular blues songs for Chicago's Checker Records label and others, and toured Europe several times during the 'blues revival' in the early 1960s.
Williamson is buried at the former site of The Blairs Chapel Church, southwest of Jackson, Tennessee. In 1991, a red granite marker was purchased by fans and family to mark the site of his burial. A Tennessee historical marker, also placed in 1991, indicates the place of his birth and describes his influence on blues music. The historical marker is located south of Jackson on TN Highway 18, at the corner of Caldwell Road.
Susie Q
John Lee Williamson Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Well, I know'd a family
Live down an avenue
Old man Mole
And sister Sue
They do that Suzie Q
Well, it ain't nothin' to it
People it's just easy to do
Well, a I know'd a man
The name a Old man Mole
He got so happy
He pull off all his clothes
He's doin' the Suzie Q
He's doin' the Suzie Q, now
Well, it ain't nothin' to it
People, it's just easy to do
(harmonica & instrumental)
Well, I know'd a lady
By the name-a Sister Kate
Pulled off her clothes
In front of her front gate
She's doin' the Suzie Q, now
She's doin' the Suzie Q
Well, it ain't nothin' to it
Peoples, it's just easy to do
(harmonica & instrumental)
Well, ya step one step
Then mess all around
You look up
Then you look down
An that's Suzie Q
An that's Suzie Q
Well, it ain't nothin' to it
Peoples, just easy to do
Well, now I know a girl
Her name is Sister McGhee
She jumped up an down
For who she please
She called it Suzie Q
She called it Suzie Q
Well, it ain't nothin' to it
People, just easy to do
Now, look-it-here, baby
Now tell me what you gonna' do
You can't love me
An somebody else, too
And do the Suzie Q
Doin' the Suzie Q
Well, it ain't nothin' to it
People, it's just easy to do
(short harmonica & instrumental end)
The song "Susie Q" by John Lee Williamson is a fun and upbeat boogie woogie tune about a popular dance move called the Suzie Q. The lyrics of the song are simple and describe different people doing the dance move including Old man Mole, Sister Kate, and Sister McGhee. The dance move involves stepping one step and then moving around, looking up and down in a playful manner. The song is meant to be a fun and carefree expression of the joy of dancing and being happy.
The lyrics also suggest a playful and risqué tone, with characters pulling off their clothes and dancing in public. The song captures a spirit of rebellion against social conventions and expectations, with the dancers doing what they please and having fun. The harmonica and instrumental sections of the song add to the playful and joyful mood, making it an entertaining boogie woogie tune that will get people dancing.
Line by Line Meaning
Well, I know'd a family
Live down an avenue
Old man Mole
And sister Sue
I knew a family that lived in the neighbourhood consisting of a man by the name of Old man Mole and his sister Sue.
They do that Suzie Q
They do the Suzie Q
Well, it ain't nothin' to it
People it's just easy to do
They perform the Suzie Q dance easily as it is not difficult to do.
Well, a I know'd a man
The name a Old man Mole
He got so happy
He pull off all his clothes
He's doin' the Suzie Q
He's doin' the Suzie Q, now
Well, it ain't nothin' to it
People, it's just easy to do
Old man Mole was so elated that he shed his clothes and started doing the Suzie Q dance as it is not a hard dance to perform.
Well, I know'd a lady
By the name-a Sister Kate
Pulled off her clothes
In front of her front gate
She's doin' the Suzie Q, now
She's doin' the Suzie Q
Well, it ain't nothin' to it
Peoples, it's just easy to do
I knew a lady named Sister Kate who took her clothes off by her front gate and started performing the Suzie Q dance as it is a satisfactory dance.
Well, ya step one step
Then mess all around
You look up
Then you look down
An that's Suzie Q
An that's Suzie Q
Well, it ain't nothin' to it
Peoples, just easy to do
Suzie Q dance involves moving around by taking one step at a time and looking up and down; it is a simple dance form.
Well, now I know a girl
Her name is Sister McGhee
She jumped up an down
For who she please
She called it Suzie Q
She called it Suzie Q
Well, it ain't nothin' to it
People, just easy to do
There is a girl named Sister McGhee who jumps up and down for the sake of those whom she pleases to call it Suzie Q dance for it is not at all hard to pull off.
Now, look-it-here, baby
Now tell me what you gonna' do
You can't love me
An somebody else, too
And do the Suzie Q
Doin' the Suzie Q
Well, it ain't nothin' to it
People, it's just easy to do
Hey baby, you can't love two people at once and do the Suzie Q dance for it is an effortless dance form that is about taking one step at a time.
Lyrics © Sony/ATV Music Publishing LLC, Warner/Chappell Music, Inc., BMG RIGHTS MANAGEMENT US, LLC
Written by: Dale Hawkins, Stanley J. Lewis, Eleanor Broadwater
Lyrics Licensed & Provided by LyricFind
@patrickmartin334
John Lee Curtis "Sonny Boy" Williamson (March 30, 1914 – June 1, 1948) was an American blues harmonica player, singer and songwriter. He is often regarded as the pioneer of the blues harp as a solo instrument. He played on hundreds of recordings by many pre–World War II blues artists. Under his own name, he was one of the most recorded blues musicians of the 1930s and 1940s and is closely associated with Chicago producer Lester Melrose and Bluebird Records. His popular songs, original or adapted, include "Good Morning, School Girl", "Sugar Mama", "Early in the Morning", and "Stop Breaking Down".
Williamson's harmonica style was a great influence on postwar performers. Later in his career, he was a mentor to many up-and-coming blues musicians who moved to Chicago, including Muddy Waters. In an attempt to capitalize on Williamson's fame, Aleck "Rice" Miller began recording and performing as Sonny Boy Williamson in the early 1940s, and later, to distinguish the two, John Lee Williamson came to be known as Sonny Boy Williamson I or "the original Sonny Boy".
Contents
1 Biography and career
2 Death and legacy
3 Name issues
4 Compilation albums
5 References
6 External links
Biography and career
Williamson was born in Madison County, Tennessee, near Jackson, in 1914.[1] His original recordings are in the country blues style, but he soon demonstrated skill at making the harmonica a lead instrument for the blues and popularized it for the first time in a more urban blues setting. He has been called "the father of modern blues harp". While in his teens he joined Yank Rachell and Sleepy John Estes, playing with them in Tennessee and Arkansas. In 1934 he settled in Chicago.[1]
Williamson first recorded in 1937, for Bluebird Records, and his first recording, "Good Morning, School Girl", became a standard.[1] He was popular among black audiences throughout the southern United States and in Midwestern industrial cities, such as Detroit and Chicago, and his name was synonymous with the blues harmonica for the next decade. Other well-known recordings of his include "Sugar Mama Blues", "Shake the Boogie", "You Better Cut That Out", "Sloppy Drunk", "Early in the Morning", "Stop Breaking Down", and "Hoodoo Hoodoo" (also known as "Hoodoo Man Blues"). In 1947, "Shake the Boogie" made number 4 on Billboard's Race Records chart.[1] Williamson's style influenced many blues harmonica performers, including Billy Boy Arnold, Junior Wells, Sonny Terry, Little Walter, and Snooky Pryor. He was the most widely heard and influential blues harmonica player of his generation. His music was also influential on many of his non-harmonica-playing contemporaries and successors, including Muddy Waters (who played guitar with Williamson in the mid-1940s) and Jimmy Rogers (whose first recording in 1946 was as a harmonica player, performing an uncanny imitation of Williamson's style). These and other artists, both blues and rock, have helped popularize his songs through subsequent recordings.
Williamson recorded prolifically both as a bandleader and as a sideman over the course of his career, mainly for Bluebird. Before Bluebird moved to Chicago, where it eventually became part of RCA Records, many early sessions took place at the Leland Tower, a hotel in Aurora, Illinois. The top-floor nightclub at the Leland, known as the Sky Club, was used for live broadcasts of big bands on a local radio station and, during off hours, served as a recording studio for Williamson's early sessions and those of other Bluebird artists.
Death and legacy
Williamson's final recording session took place in Chicago in December 1947, in which he accompanied Big Joe Williams. On June 1, 1948, Williamson was killed in a robbery on Chicago's South Side as he walked home from a performance at the Plantation Club, at 31st St. and Giles Avenue, a tavern just a block and a half from his home, at 3226 S. Giles. Williamson's final words are reported to have been "Lord have mercy".[2]
Williamson is buried at the former site of the Blairs Chapel Church, southwest of Jackson, Tennessee. In 1991, a red granite marker was purchased by fans and family to mark the site of his burial. A Tennessee historical marker, also placed in 1991, indicates the place of his birth and describes his influence on blues music. The historical marker is located south of Jackson on Tennessee State Highway 18, at the corner of Caldwell Road.[citation needed]
Name issues
His legacy has been somewhat overshadowed in the postwar blues era by the popularity of the musician who appropriated his name, Rice Miller, who after Williamson's death went on to record many popular blues songs for Chicago's Checker Records and others and toured Europe several times during the blues revival in the 1960s.[citation needed] The recordings made by Williamson between 1937 and his death in 1948 and those made later by Rice Miller were all originally issued under the name Sonny Boy Williamson. It is believed that Miller adopted the name to deceive audiences (and his first record label) into thinking that he was the "original" Sonny Boy.[3] In order to differentiate between the two musicians, many later scholars and biographers have referred to John Lee Williamson (1914–1948) as Sonny Boy Williamson I and Miller (c. 1912–1965) as Sonny Boy Williamson II.[4]
To add to the confusion, around 1940 the jazz pianist and singer Enoch Williams recorded for Decca under the name Sonny Boy Williams and in 1947 as Sunny Boy in the Sunny Boy Trio.[5]
Compilation albums
Williamson's recordings were issued on 78 rpm records by Bluebird Records (a subsidiary of RCA Victor Records) or, after the label was discontinued, RCA Victor. Over the years, RCA has released several compilations of Williamson's material, including:[6]
Big Bill & Sonny Boy (Side 2 only) (RCA, 1964)
Bluebird Blues (RCA, 1970)
Rare Sonny Boy (1937-1947) (RCA, 1988)
RCA Blues & Heritage Series: The Bluebird Recordings, 1937-1938 (RCA, 1997)
RCA Blues & Heritage Series: The Bluebird Recordings, 1938 (RCA, 1997)
When The Sun Goes Down: The Secret History of Rock & Roll, Vol. 8: Bluebird Blues (RCA Victor, 2003)
Specialty labels, such as JSP Records, Saga, Indigo, Snapper, and others, have also released compilations. In 1991, Document Records issued Williamson's Complete Recorded Works In Chronological Order as five CDs.[6]
References
Mandel, Howard, ed. (2005). The Billboard Illustrated Encyclopedia of Jazz & Blues. Billboard Books. pp. 91, 107. ISBN 0-8230-8266-0.
Green, Jonathon (2002). Famous Last Words. Kyle Cathie. ISBN 978-1856264655.
Barry, Sam (2009). How to Play the Harmonica; and Other Life Lessons. Gibbs Smith. p. 89. ISBN 978-1423605706. Retrieved 2015-10-07.
McHugh, Rich (2009). The Rough Guide to Chicago (3rd ed.). Rough Guides. p. 267. ISBN 9781848360709. Retrieved 2015-10-07.
Inaba, Mitsutoshi (2016-09-23). John Lee 'Sonny Boy' Williamson: The Blues Harmonica of Chicago's Bronzeville. Rowman & Littlefield. p. 106. ISBN 9781442254435. Retrieved 2016-10-04.
Sonny Boy Williamson I discography at Discogs
External links
Blues Foundation Hall of Fame
Sonny Boy Williamson gravesite and historical marker
Sonny Boy Williamson I at Find a Grave
vte
Sonny Boy Williamson I
Songs
"Bottle Up and Go""Good Morning, School Girl""Sugar Mama Blues""Early in the Morning""Stop Breaking Down"
Authority control Edit this at Wikidata
BNE: XX1160416BNF: cb13901199j (data)GND: 134557948ISNI: 0000 0000 8132 2749LCCN: nr89010894MBA: 8ebad434-3593-49bc-b60c-bd66e8efbbbbNKC: xx0027888SELIBR: 206458SNAC: w6805p82SUDOC: 088522172VIAF: 158145606975501380000WorldCat Identities: lccn-nr89010894
Categories: 1914 births1948 deathsPeople from Jackson, TennesseeAfrican-American musiciansBlues musicians from TennesseeSongwriters from TennesseeHarmonica blues musiciansChicago blues musiciansCountry blues musiciansAmerican blues singersAmerican blues harmonica playersMurdered African-American peopleMurdered American musiciansBluebird Records artists20th-century American musicians20th-century American singers
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This page was last edited on 26 September 2020, at 18:10 (UTC).
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you
@patrickmartin334
John Lee Curtis "Sonny Boy" Williamson (March 30, 1914 – June 1, 1948) was an American blues harmonica player, singer and songwriter. He is often regarded as the pioneer of the blues harp as a solo instrument. He played on hundreds of recordings by many pre–World War II blues artists. Under his own name, he was one of the most recorded blues musicians of the 1930s and 1940s and is closely associated with Chicago producer Lester Melrose and Bluebird Records. His popular songs, original or adapted, include "Good Morning, School Girl", "Sugar Mama", "Early in the Morning", and "Stop Breaking Down".
Williamson's harmonica style was a great influence on postwar performers. Later in his career, he was a mentor to many up-and-coming blues musicians who moved to Chicago, including Muddy Waters. In an attempt to capitalize on Williamson's fame, Aleck "Rice" Miller began recording and performing as Sonny Boy Williamson in the early 1940s, and later, to distinguish the two, John Lee Williamson came to be known as Sonny Boy Williamson I or "the original Sonny Boy".
Contents
1 Biography and career
2 Death and legacy
3 Name issues
4 Compilation albums
5 References
6 External links
Biography and career
Williamson was born in Madison County, Tennessee, near Jackson, in 1914.[1] His original recordings are in the country blues style, but he soon demonstrated skill at making the harmonica a lead instrument for the blues and popularized it for the first time in a more urban blues setting. He has been called "the father of modern blues harp". While in his teens he joined Yank Rachell and Sleepy John Estes, playing with them in Tennessee and Arkansas. In 1934 he settled in Chicago.[1]
Williamson first recorded in 1937, for Bluebird Records, and his first recording, "Good Morning, School Girl", became a standard.[1] He was popular among black audiences throughout the southern United States and in Midwestern industrial cities, such as Detroit and Chicago, and his name was synonymous with the blues harmonica for the next decade. Other well-known recordings of his include "Sugar Mama Blues", "Shake the Boogie", "You Better Cut That Out", "Sloppy Drunk", "Early in the Morning", "Stop Breaking Down", and "Hoodoo Hoodoo" (also known as "Hoodoo Man Blues"). In 1947, "Shake the Boogie" made number 4 on Billboard's Race Records chart.[1] Williamson's style influenced many blues harmonica performers, including Billy Boy Arnold, Junior Wells, Sonny Terry, Little Walter, and Snooky Pryor. He was the most widely heard and influential blues harmonica player of his generation. His music was also influential on many of his non-harmonica-playing contemporaries and successors, including Muddy Waters (who played guitar with Williamson in the mid-1940s) and Jimmy Rogers (whose first recording in 1946 was as a harmonica player, performing an uncanny imitation of Williamson's style). These and other artists, both blues and rock, have helped popularize his songs through subsequent recordings.
Williamson recorded prolifically both as a bandleader and as a sideman over the course of his career, mainly for Bluebird. Before Bluebird moved to Chicago, where it eventually became part of RCA Records, many early sessions took place at the Leland Tower, a hotel in Aurora, Illinois. The top-floor nightclub at the Leland, known as the Sky Club, was used for live broadcasts of big bands on a local radio station and, during off hours, served as a recording studio for Williamson's early sessions and those of other Bluebird artists.
Death and legacy
Williamson's final recording session took place in Chicago in December 1947, in which he accompanied Big Joe Williams. On June 1, 1948, Williamson was killed in a robbery on Chicago's South Side as he walked home from a performance at the Plantation Club, at 31st St. and Giles Avenue, a tavern just a block and a half from his home, at 3226 S. Giles. Williamson's final words are reported to have been "Lord have mercy".[2]
Williamson is buried at the former site of the Blairs Chapel Church, southwest of Jackson, Tennessee. In 1991, a red granite marker was purchased by fans and family to mark the site of his burial. A Tennessee historical marker, also placed in 1991, indicates the place of his birth and describes his influence on blues music. The historical marker is located south of Jackson on Tennessee State Highway 18, at the corner of Caldwell Road.[citation needed]
Name issues
His legacy has been somewhat overshadowed in the postwar blues era by the popularity of the musician who appropriated his name, Rice Miller, who after Williamson's death went on to record many popular blues songs for Chicago's Checker Records and others and toured Europe several times during the blues revival in the 1960s.[citation needed] The recordings made by Williamson between 1937 and his death in 1948 and those made later by Rice Miller were all originally issued under the name Sonny Boy Williamson. It is believed that Miller adopted the name to deceive audiences (and his first record label) into thinking that he was the "original" Sonny Boy.[3] In order to differentiate between the two musicians, many later scholars and biographers have referred to John Lee Williamson (1914–1948) as Sonny Boy Williamson I and Miller (c. 1912–1965) as Sonny Boy Williamson II.[4]
To add to the confusion, around 1940 the jazz pianist and singer Enoch Williams recorded for Decca under the name Sonny Boy Williams and in 1947 as Sunny Boy in the Sunny Boy Trio.[5]
Compilation albums
Williamson's recordings were issued on 78 rpm records by Bluebird Records (a subsidiary of RCA Victor Records) or, after the label was discontinued, RCA Victor. Over the years, RCA has released several compilations of Williamson's material, including:[6]
Big Bill & Sonny Boy (Side 2 only) (RCA, 1964)
Bluebird Blues (RCA, 1970)
Rare Sonny Boy (1937-1947) (RCA, 1988)
RCA Blues & Heritage Series: The Bluebird Recordings, 1937-1938 (RCA, 1997)
RCA Blues & Heritage Series: The Bluebird Recordings, 1938 (RCA, 1997)
When The Sun Goes Down: The Secret History of Rock & Roll, Vol. 8: Bluebird Blues (RCA Victor, 2003)
Specialty labels, such as JSP Records, Saga, Indigo, Snapper, and others, have also released compilations. In 1991, Document Records issued Williamson's Complete Recorded Works In Chronological Order as five CDs.[6]
References
Mandel, Howard, ed. (2005). The Billboard Illustrated Encyclopedia of Jazz & Blues. Billboard Books. pp. 91, 107. ISBN 0-8230-8266-0.
Green, Jonathon (2002). Famous Last Words. Kyle Cathie. ISBN 978-1856264655.
Barry, Sam (2009). How to Play the Harmonica; and Other Life Lessons. Gibbs Smith. p. 89. ISBN 978-1423605706. Retrieved 2015-10-07.
McHugh, Rich (2009). The Rough Guide to Chicago (3rd ed.). Rough Guides. p. 267. ISBN 9781848360709. Retrieved 2015-10-07.
Inaba, Mitsutoshi (2016-09-23). John Lee 'Sonny Boy' Williamson: The Blues Harmonica of Chicago's Bronzeville. Rowman & Littlefield. p. 106. ISBN 9781442254435. Retrieved 2016-10-04.
Sonny Boy Williamson I discography at Discogs
External links
Blues Foundation Hall of Fame
Sonny Boy Williamson gravesite and historical marker
Sonny Boy Williamson I at Find a Grave
vte
Sonny Boy Williamson I
Songs
"Bottle Up and Go""Good Morning, School Girl""Sugar Mama Blues""Early in the Morning""Stop Breaking Down"
Authority control Edit this at Wikidata
BNE: XX1160416BNF: cb13901199j (data)GND: 134557948ISNI: 0000 0000 8132 2749LCCN: nr89010894MBA: 8ebad434-3593-49bc-b60c-bd66e8efbbbbNKC: xx0027888SELIBR: 206458SNAC: w6805p82SUDOC: 088522172VIAF: 158145606975501380000WorldCat Identities: lccn-nr89010894
Categories: 1914 births1948 deathsPeople from Jackson, TennesseeAfrican-American musiciansBlues musicians from TennesseeSongwriters from TennesseeHarmonica blues musiciansChicago blues musiciansCountry blues musiciansAmerican blues singersAmerican blues harmonica playersMurdered African-American peopleMurdered American musiciansBluebird Records artists20th-century American musicians20th-century American singers
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This page was last edited on 26 September 2020, at 18:10 (UTC).
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you
@kevincarpet
John Lee Curtis "Sonny Boy" Williamson (March 30, 1914 – June 1, 1948) was an American blues harmonica player, singer and songwriter. He is often regarded as the pioneer of the blues harp as a solo instrument.
@patrickmartin334
amateur look at my comment
@wickedhouston5538
@@patrickmartin334 copy and paste
@drjosephsmith
I love this guy
@arjhendrix
wow. The Original John Lee :-). yeah....that II guy is great too! wow post n thank you
@weisshal4746
This is still another Blues Song & Blues Artist from the 1940's & before that had a great influence on the Rock & Roll of the 50's & 60's, can you hear it? I hear a lot of influence on Chuck Berry, Little Richard, Elvis & The Beatles among other's (especially Creedence who had a song called Suzie Q in 1969!!!)!!!!
@dominiquebernard9414
so true for the rock influence, but Creedence (and fhe Stones) made a cover of the Dale Hawkins rockabilly hit, played in 1957 (with riff and words obviously stolen from the other John Lee, 'Hooker')... Sonny Boy was still a decade earlier, at least !
@wickedhouston5538
this is rock and roll. you can call it blues or whatever you want but african americans created rock and roll
@SaphirSouenEstherG
Shared on Google+, June 1st, 2018 - Sonny Boy Williamson I - March 30, 1914 - June 1st, 1948