Tired of the generic electric guitar blues of the mid-1940s, Little Walter introduced to blues a new sound by simply combining the use of a guitar amp, mic, and a harmonica; a technique used among harmonica musicians to this day. He made his first released recordings in 1947 for Bernard Abram's tiny Ora-Nelle label, which operated out of the back room of the Abrams' Maxwell Radio and Records store in the heart of the Maxwell Street market area in Chicago. Little Walter thus became the first musician to use electric distortion on purpose. Little Walter is widely regarded as the best harmonica player ever, and you can hear much of his talent accompanying Muddy Waters's repertoire from the 50's, as well as his own numerous and successful recordings of that time.
Jacobs is generally included among blues music greats: his revolutionary harmonica technique has earned comparisons to Charlie Parker and Jimi Hendrix in its impact: There were great musicians before and after, but Jacobs' virtuosity and musical innovations reached heights of expression never previously imagined, and fundamentally altered many listeners' expectations of what was possible on blues harmonica. His body of work earned Little Walter a spot in The Rock and Roll Hall of Fame in the sideman category on March 10, 2008, making him the only artist so honored specifically for his work as a harmonica player.
Jacobs made his first released recordings in 1947 for Bernard Abrams' tiny Ora-Nelle label, which operated out of the back room of Abrams' Maxwell Radio and Records store in the heart of the Maxwell Street market area in Chicago. These and several other early Little Walter recordings, like many blues harp recordings of the era, owed a strong stylistic debt to pioneering blues harmonica player Sonny Boy Williamson I (John Lee Williamson). Little Walter joined Muddy Waters' band in 1948, and by 1950, he was playing acoustic (unamplified) harmonica on Muddy's recordings for Chess Records. The first appearance on record of amplified harmonica was Little Walter's performance on Muddy's "Country Boy" (Chess 1452), recorded on July 11, 1951. For years after his departure from Muddy's band in 1952, Chess continued to hire Little Walter to play on Waters' recording sessions, and as a result his harmonica is featured on most of Muddy's classic recordings from the 1950s.[8] As a guitarist, Little Walter recorded three songs for the small Parkway label with Muddy Waters and Baby Face Leroy Foster (reissued on CD as "The Blues World of Little Walter" from Delmark Records in 1993), as well as on a session for Chess backing pianist Eddie Ware; his guitar work was also featured occasionally on early Chess sessions with Muddy Waters and Jimmy Rogers.
Jacobs had put his career as a bandleader on hold when he joined Muddy's band, but stepped back out front once and for all when he recorded as a bandleader for Chess's subsidiary label Checker Records on 12 May 1952. The first completed take of the first song attempted at his debut session became his first hit, spending eight weeks in the number-one position on the Billboard R&B chart – the song was "Juke", and it is still the only harmonica instrumental ever to become a number-one hit on the Billboard R&B. (Three other harmonica instrumentals by Little Walter also reached the Billboard R&B top 10: "Off the Wall" reached number eight, "Roller Coaster" achieved number six, and "Sad Hours" reached the number-two position while Juke was still on the charts.) "Juke" was the biggest hit to date for Chess and its affiliated labels, and one of the biggest national R&B hits of 1952, securing Walter's position on the Chess artist roster for the next decade.
Little Walter scored fourteen top-ten hits on the Billboard R&B charts between 1952 and 1958, including two number-one hits (the second being "My Babe" in 1955), a level of commercial success never achieved by his former boss Waters, nor by his fellow Chess blues artists Howlin' Wolf and Sonny Boy Williamson II. Following the pattern of "Juke", most of Little Walter's single releases in the 1950s featured a vocal performance on one side, and a harmonica instrumental on the other. Many of Walter's vocal numbers were originals which he or Chess A&R man Willie Dixon wrote or adapted and updated from earlier blues themes. In general, his sound was more modern and uptempo than the popular Chicago blues of the day, with a jazzier conception and less rhythmically rigid approach than other contemporary blues harmonica players.
Upon his departure from Muddy Waters' band in 1952, he recruited a young band that was already working steadily in Chicago backing Junior Wells, The Aces, as his new backing band. The Aces consisted of brothers David Myers and Louis Myers on guitars, and drummer Fred Below, and were re-christened "The Jukes" on most of the Little Walter records on which they appeared. By 1955 the members of The Aces / Jukes had each left Little Walter to pursue other opportunities, initially replaced by guitarists Robert "Junior" Lockwood and Luther Tucker, and drummer Odie Payne. Jr. Others who worked in Little Walter's recording and touring bands in the '50s included guitarists Jimmie Lee Robinson and Freddie Robinson. Little Walter also occasionally included saxophone players in his touring bands during this period, among them a young Albert Ayler, and even Ray Charles on one early tour. By the late 1950s, Little Walter no longer employed a regular full-time band, instead hiring various players as needed from the large pool of local blues musicians in Chicago.
Jacobs was frequently utilized on records as a harmonica accompanist behind others in the Chess stable of artists, including Jimmy Rogers, John Brim, Rocky Fuller, Memphis Minnie, The Coronets, Johnny Shines, Floyd Jones, Bo Diddley, and Shel Silverstein, and on other record labels backing Otis Rush, Johnny Young, and Robert Nighthawk.
Jacobs suffered from alcoholism and had a notoriously short temper, which in late 1950s led to a series of violent altercations, minor scrapes with the law, and increasingly irresponsible behavior. This led to a decline in his fame and fortunes beginning in the late 1950s, although he did tour Europe twice, in 1964 and 1967. (The long-circulated story that he toured the United Kingdom with The Rolling Stones in 1964 has since been refuted by Keith Richards). The 1967 European tour, as part of the American Folk Blues Festival, resulted in the only film/video footage of Little Walter performing that is known to exist. Footage of Little Walter backing Hound Dog Taylor and Koko Taylor on a television program in Copenhagen, Denmark on 11 October 1967 was released on DVD in 2004. Further video of another recently discovered TV appearance in Germany during this same tour, showing Little Walter performing his songs "My Babe", "Mean Old World", and others were released on DVD in Europe in January 2009, and is the only known footage of Little Walter singing. Other TV appearances in the UK (in 1964) and the Netherlands (in 1967) have been documented, but no footage of these has been uncovered. Jacobs recorded and toured only infrequently in the 1960s, playing mainly in and around Chicago.
In 1967 Chess released a studio album featuring Little Walter with Bo Diddley and Muddy Waters titled Super Blues.
Death
A few months after returning from his second European tour, he was involved in a fight while taking a break from a performance at a nightclub on the South Side of Chicago. The relatively minor injuries sustained in this altercation aggravated and compounded damage he had suffered in previous violent encounters, and he died in his sleep at the apartment of a girlfriend at 209 E. 54th St. in Chicago early the following morning. The official cause of death indicated on his death certificate was "coronary thrombosis" (a blood clot in the heart); evidence of external injuries was so insignificant that police reported that his death was of "unknown or natural causes", and there were no external injuries noted on the death certificate. His body was buried at St. Mary's Cemetery in Evergreen Park, IL on February 22, 1968. His grave remained unmarked until 1991, when fans Scott Dirks and Eomot Rasun had a marker designed and installed.
[Legacy
Music journalist Bill Dahl described Little Walter as "king of all post-war blues harpists", who "took the humble mouth organ in dazzling amplified directions that were unimaginable prior to his ascendancy." His legacy has been enormous: he is widely credited by blues historians as the artist primarily responsible for establishing the standard vocabulary for modern blues and blues rock harmonica players. His influence can be heard in varying degrees in virtually every modern blues harp player who came along in his wake, from blues greats such as Junior Wells, James Cotton, George "Harmonica" Smith, Carey Bell, and Big Walter Horton, through modern-day masters Sugar Blue, Billy Branch, Kim Wilson, Rod Piazza, William Clarke, and Charlie Musselwhite, in addition to blues-rock crossover artists such as Paul Butterfield and John Popper of the band Blues Traveler. Little Walter was portrayed in the 2008 film, Cadillac Records, by Columbus Short.
Little Walter's daughter, Marion Diaz Reacco, has established the Little Walter Foundation in Chicago, to preserve the legacy and genius of Little Walter. The foundation aims to create programs for the creative arts, including music, animation and video.
Stephen King's novel, Under the Dome, also features a character named Little Walter Bushey, based on Little Walter.
Im A Business Man
Little Walter Lyrics
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Maybellene, why can't you be true?
Oh Maybellene, why can't you be true?
You've started back doing the things you used to do.
As I was motivatin' over the hill
I saw Maybellene in a coup de ville.
Nothin' will outrun my V8 Ford.
The Cadillac doin' 'bout ninety-five,
She's bumper to bumper rollin' side by side.
Maybellene, why can't you be true?
Oh Maybellene, why can't you be true?
You've started back doing the things you used to do.
Pink in the mirror on top of the hill,
It's just like swallowin' up a medicine pill.
First thing I saw that Cadillac grille
Doin' a hundred and ten gallopin' over that hill.
Offhill curve, a downhill stretch,
Me and that Cadillac neck by neck.
Maybellene, why can't you be true?
Oh Maybellene, why can't you be true?
You've started back doing the things you used to do.
The Cadillac pulled up ahead of the Ford,
The Ford got hot and wouldn't do no more.
It then got clody and it started to rain,
I tooted my horn for a passin' lead
The rain water blowin' all under my hood,
I knew that was doin' my motor good.
Maybellene, why can't you be true?
Oh Maybellene, why can't you be true?
You've started back doing the things you used to do.
The motor cooled down, the heat went down
And that's when I heard that highway sound.
The Cadillac a-sittin' like a ton of lead
A hundred and ten a half a mile ahead.
The Cadillac lookin' like it's sittin' still
And I caught Maybellene at the top of the hill.
Maybellene, why can't you be true?
Oh Maybellene, why can't you be true?
You've started back doing the things you used to do.
The song "Maybellene" by Little Walter is a classic example of rock and roll music. The lyrics of the song narrate a story about a man named Johnny whose girlfriend, Maybellene, is cheating on him. He sees her driving in a Cadillac with another man and becomes frustrated. Johnny, determined to win back his girl, starts chasing after them in his V8 Ford. He describes a thrilling car chase in which he eventually catches up with Maybellene and confronts her.
The song is notable for its use of fast-paced, rhythm-driven lyrics that perfectly embody the energy of rock and roll music. Little Walter's blues-influenced harmonica playing adds a distinct flavor to the song. The lyrics themselves are simple, but effective in conveying the story and the accompanying emotions. The repetition of the lyrics "Maybellene, why can't you be true?" creates a sense of frustration and desperation that anyone who has been cheated on can relate to.
Overall, "Maybellene" is a classic example of the rock and roll genre, with its fast-paced lyrics and energetic instrumentals. It tells a relatable story of love and infidelity, and its enduring popularity is a testament to the power of the music itself.
Line by Line Meaning
Maybellene, why can't you be true?
The singer is frustrated that Maybellene is not being honest or faithful.
Oh Maybellene, why can't you be true?
The singer repeats his frustration with Maybellene's lack of honesty or faithfulness.
You've started back doing the things you used to do.
Maybellene is reverting to old behaviors that are causing the singer frustration and disappointment.
As I was motivatin' over the hill
The singer was traveling over a hill with a purpose or goal in mind.
I saw Maybellene in a coup de ville.
Maybellene was driving a fancy car that caught the singer's attention.
A Cadillac a-rollin' on the open road,
Maybellene was driving a luxurious and fast car.
Nothin' will outrun my V8 Ford.
The singer believes his own car is fast enough to compete with Maybellene's Cadillac.
The Cadillac doin' 'bout ninety-five,
Maybellene was driving at a high speed of around 95 mph.
She's bumper to bumper rollin' side by side.
Maybellene's car was directly next to the singer's car.
Pink in the mirror on top of the hill,
The sun reflecting off Maybellene's car made it look pink in the distance at the top of a hill.
It's just like swallowin' up a medicine pill.
Seeing Maybellene is like taking unpleasant medicine for the singer - he doesn't like what it represents.
First thing I saw that Cadillac grille
The first thing that caught the singer's attention was the front grille of Maybellene's Cadillac.
Doin' a hundred and ten gallopin' over that hill.
Maybellene's car was going even faster now, up to 110 mph.
Offhill curve, a downhill stretch,
The road went downhill in a curve after the singer saw Maybellene's car go over a hill.
Me and that Cadillac neck by neck.
The singer and Maybellene were now racing against each other, side by side.
The Cadillac pulled up ahead of the Ford,
Maybellene's car took the lead in the race between the two cars.
The Ford got hot and wouldn't do no more.
The singer's car overheated and stopped working properly.
It then got clody and it started to rain,
The weather changed suddenly, becoming cloudy and rainy.
I tooted my horn for a passin' lead
The singer honked his horn to signal Maybellene to let him pass.
The rain water blowin' all under my hood,
The rain was getting blow under the hood of the singer's car.
I knew that was doin' my motor good.
The singer believed the rain was helping to cool down his car's engine.
The motor cooled down, the heat went down
The singer's car engine cooled down after driving in the rain for a bit.
And that's when I heard that highway sound.
The singer heard the sound of a highway or open road after his car cooled down.
The Cadillac a-sittin' like a ton of lead
Maybellene's car was going so fast that now it appeared to be immobile in comparison.
A hundred and ten a half a mile ahead.
Maybellene's car was a half a mile ahead of the singer's car, still driving very fast.
The Cadillac lookin' like it's sittin' still
Maybellene's car still appeared to be not moving compared to the singer's.
And I caught Maybellene at the top of the hill.
Despite starting out behind, the singer was able to catch up and pass Maybellene at the top of a hill.
Lyrics © BMG Rights Management, Universal Music Publishing Group
Written by: Billy Joel
Lyrics Licensed & Provided by LyricFind