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 β 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.
Sad Hours
Little Walter Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And the places that you go
When the lights are turned down low
And I don't understand all the things you've seen
But I'm slipping in between
You and your big dreams
It's always you
And you tell me that it's over
Wake up lying in a patch of four leaf clovers
And you're restless, and I'm naked
You've got to get out
You can't stand to see me shaking, no
Could you let me go?
I didn't think so
And you don't want to be here in the future
So you say the present's just a pleasant
Interruption to the past
And you don't want to look much closer
Because you're afraid to find out all this hope
You had sent into the sky by now had crashed
And it did because of me
And then you bring me home
Afraid to find out that you're alone
And I'm sleeping in your living room
But we don't have much room to live
I had these dreams in them I learned to play guitar
Maybe cross the country, become a rock star
And there was hope in me that I could take you there
But dammit, you're so young
Well, I don't think I care
And if I hurt you, then I'm sorry
Please don't think that this was easy
Then you'd bring me home
Because we both know what it's like to be alone
And I'm dreaming in your living room
But we don't have much room to live
And Konstantine is walking down the stairs
Doesn't she look good standing in her underwear?
And I was thinking, what I was thinking
We've been drinking and it doesn't get me anywhere
My Konstantine came walking down the stairs
And all that I could do is touch her long blond hair
And I've been thinking
It hurts me thinking that these nights when we were drinking
No, they never got us anywhere, no
This is because I can spell konfusion with a 'k'
And I can like it, it's to dying in another's arms
And why I had to try it
It's to Jimmy Eat World and those nights in my car
When the first star you see may not be a star
I'm not your star, isn't that what you said
What you thought this song meant
And if this is what it takes
Just to lie with my mistakes
And live with what I did to you
All the hell I put you through
I always catch the clock it's 11:11
And now you want to talk
It's not hard to dream
You'll always be my Konstantine
My Konstantine, they'll never hurt you like I do
No, they'll never hurt you like I do
No, no, no, no, no, no, no, no
This is to a girl who got into my head
With all the pretty things she did
Hey, you know, you keep me up in bed
This is to a girl who got into my head
With all these fucked up things I did
Hey, maybe, baby, you could keep me up in bed
My Konstantine, you spin around me like a dream
We played out on this movie screen
And I said
Did you know I missed you?
Did you know I missed you?
Did you know I missed you?
Did you know I missed you?
Did you know I missed you?
Did you know I missed you?
Did you know I missed you?
I miss you
And then you bring me home
And we'll go to sleep, but this time not alone, no, no
And you'll kiss me in your living room
I know you'll miss me in your living room
Because these nights I think maybe that
I'll miss you in my living room, we don't have much room
I said does anybody need that room?
Because we all need a little more room to live
The lyrics to Konstantine by Something Corporate depict a complex and emotionally charged relationship between two individuals. The singer talks about trying to be a part of the other personβs big dreams despite not understanding everything that they have experienced. They try to convince the other person to stay with them, but eventually realize that they need to let them go. The song delves into their shared past, including their hopes and dreams and how those have affected their relationship. However, the song also hints at their shared pain and the issues they have faced because of it. Despite its melancholic nature, the song also expresses the singerβs love and desire to be around the other person, even if it means just being in the same room together.
One interesting fact about the song is that it was never officially released as a single but became a fan favorite among Something Corporateβs followers. It is also one of the longest songs the band has ever recorded, clocking in at just over nine minutes in length. The songβs title, Konstantine, was inspired by a girl who Andrew McMahon, the lead singer of Something Corporate, had a relationship with in high school. He wrote the song several years later, reminiscing about their tumultuous relationship. McMahon has described Konstantine as one of the most personal and emotionally charged songs he has ever written.
Additionally, the song features a unique spoken word segment where McMahon talks about Jimmy Eat World and the first star he sees at night not being a star. This segment has been described as the songβs emotional climax, with McMahonβs words perfectly capturing the lyricβs sentiment. Konstantine has been covered by a number of other musicians, including Something Corporate members themselves. It has since become one of the bandβs most popular tracks, especially among their more devoted fans.
Overall, the lyrics of Konstantine by Something Corporate paint a vivid picture of a complex and emotionally charged relationship. The songβs length and unique structure make it stand out among the bandβs other works, and its deeply personal themes continue to resonate with fans years after its initial release.
Chords (unofficial):
Verse: C - Am - F - G
Pre-Chorus: Am - G - F
Chorus: C - Em - Am - G
Bridge: F - G - C - Am - F - G
Line by Line Meaning
I can't imagine all the people that you know
I can't even fathom the number of people in your life and the places you have visited and explored.
And the places that you go
In addition to the multitude of people you know, you have also ventured to many different places.
When the lights are turned down low
Perhaps at night, or in other low-lit scenarios, you find yourself in environments that are different from your daily experiences.
And I don't understand all the things you've seen
While you have had many unique experiences, I am not aware of all that you have witnessed and encountered.
But I'm slipping in between
Despite my lack of understanding of your experiences, I am trying to insert myself into your life.
You and your big dreams
You have ambitious and grand aspirations.
It's always you
In my dreams, you are always present and on my mind.
In my big dreams
In my grand and ambitious visions of the future, you play a significant role.
And you tell me that it's over
You have notified me that our relationship has concluded.
Wake up lying in a patch of four leaf clovers
Perhaps feeling lucky or hopeful, or perhaps just waking up from a vivid dream.
And you're restless, and I'm naked
You seem anxious or unsettled, while I am physically exposed with little to hide.
You've got to get out
You feel the need to leave the situation and move on.
You can't stand to see me shaking, no
Perhaps you feel pity for me, or the sight of me shaking distresses you.
Could you let me go?
You are questioning if it is possible for me to be released from my attachment to you.
I didn't think so
You believe that I will not be able to let go of you.
And you don't want to be here in the future
You have no interest in remaining in this relationship in the future.
So you say the present's just a pleasant
You view the present as something unremarkable or unexciting in comparison to what the future might hold.
Interruption to the past
You feel like the present is just a temporary halt or delay to your desired future state, and that the past was more significant or formative.
And you don't want to look much closer
You are avoiding delving any deeper into our relationship or interactions.
Because you're afraid to find out all this hope
You fear discovering that the love and hope you had for our future together has dissipated or disappeared entirely.
You had sent into the sky by now had crashed
Any aspirations or dreams you had for us have failed to come to fruition.
And it did because of me
You place the blame on me for the failure and disappointment in our relationship.
And then you bring me home
You take me back to your place of residence.
Afraid to find out that you're alone
Perhaps you are hesitant to be alone or are realizing that you are lonely.
And I'm sleeping in your living room
I am occupying your living room as a place to rest.
But we don't have much room to live
There is not much space in your living quarters for both of us to coexist.
I had these dreams in them I learned to play guitar
I had aspirations to learn how to play guitar and to become famous for it.
Maybe cross the country, become a rock star
My dreams included traveling the United States and achieving rock star status.
And there was hope in me that I could take you there
I had the optimistic belief that you would come along with me and share in my success.
But dammit, you're so young
But you are still young and inexperienced, and perhaps not ready to embark on such a journey.
Well, I don't think I care
At this point, I have little concern for your hesitance or reservations.
And if I hurt you, then I'm sorry
If I have caused you pain or distress, I apologize.
Please don't think that this was easy
I hope you understand that it was not easy for me to pursue my dreams and prioritize my career over you.
Because we both know what it's like to be alone
We are both familiar with feeling lonely or isolated.
And I'm dreaming in your living room
Though physically present in your living room, my mind is elsewhere and I am lost in thought.
Did you know I missed you?
I am curious if you are aware of or recognize my feelings of longing and desire for you.
And we'll go to sleep, but this time not alone, no, no
We will both go to sleep together, rather than lonely and separate.
And you'll kiss me in your living room
You will display affection and demonstrate your love for me in your own living room.
I know you'll miss me in your living room
You have an awareness that I will be missed when I am no longer present in your living space.
Because these nights I think maybe that
Perhaps when you reflect on our past, you begin to consider the possibility of us having a future together.
I'll miss you in my living room, we don't have much room
In my own small living space, I will find myself missing you.
I said does anybody need that room?
I question if anyone truly requires more space than what I have available in my living quarters.
Contributed by Ethan L. Suggest a correction in the comments below.
Little White Trees
How have I lived this long and never heard this? How have I lived this long without this? Simply amazing.
Vonwitzy
Yep yep and yep
Michael Marino
Heard this cut today on a random radio drive around listen KMHD PORTLAND OREGON..
Vera Summers
I love little Walter's music wish I could have been have been there to see him live because this harmonica the best blues I heard yet rest in peace Lil Walter
Samuel Quintanilla
One of the greatest sounds ever created by a human being.
Nelson Hibbert
My Uncle Brian let out a fart that nearly put a whole in the roof.
Samuel Clemente oliveira
Sensacional, contagiante ,hipnotizante....
Smoothie
Best harmonica instrumental I know, deserves way more views
Michael
Best piece of instumental music ever.
Michael
Clayton's Riot Agreed, Blue Midnight is phenomenal.