According to some sources, Fulson was born on a Choctaw reservation in Oklahoma. Fulson has stated that he is of Cherokee ancestry through his father, but he has also claimed Choctaw ancestry. At the age of eighteen, Fulson moved to Ada, Oklahoma, and joined Alger "Texas" Alexander for a few months in 1940, but later moved to California, forming a band which soon included a young Ray Charles and tenor saxophone player, Stanley Turrentine. He recorded for Swing Time in the 1940s, Chess Records (Checker Records) in the 1950s, Kent Records in the 1960s, and Rounder Records (Bullseye) in the 1970s.
"Reconsider Baby" came from a long term pact inked with Chess Records in 1954. It was cut in Dallas under Stan Lewis' supervision with a saxophone section that included David "Fathead" Newman on tenor and Leroy Cooper on baritone.
Jackie Brenston played in Fulson's band between 1952 and 1954.
Fulson stayed with Checker into 1962, but a change of record labels worked wonders when he jumped over to the Los Angeles based, Kent Records. 1965's driving "Black Nights" became his first hit in a decade, and "Tramp," did even better, restoring the guitarist to R&B stardom.
Fulson was inducted into the Blues Hall of Fame in 1993 and was nominated for a Grammy for Best Traditional Blues Album. His "Reconsider Baby" was chosen by the Rock and Roll Hall of Fame as one of the "500 Songs That Shaped Rock and Roll".
In 1993 at the Paramount Theatre in Oakland, California a show entitled "California Blues - Swingtime Tribute" opened with Fulson plus Johnny Otis, Charles Brown, Jay McShann, Jimmy Witherspoon, Jimmy McCracklin and Earl Brown.
A resident of Los Angeles, Fulson died in Long Beach, California in March 1999, at the age of 77. His companion Tina Mayfield stated that the causes of death were complications from kidney disease, diabetes, and congestive heart failure. He was the father of four and grandfather of thirteen.
Fulson was interred in Inglewood Park Cemetery, in Inglewood, California.
Lowell Fulson recorded every shade of blues imaginable. Polished urban blues, rustic two-guitar duets with his younger brother Martin, funk-tinged grooves that pierced the mid-'60s charts, even an unwise cover of the Beatles' "Why Don't We Do It in the Road!" Clearly, the veteran guitarist, who was active for more than half a century, wasn't afraid to experiment. Perhaps that's why his last couple of discs for Rounder were so vital and satisfying — and why he remained an innovator for so long.
Exposed to the western swing of Bob Wills as well as indigenous blues while growing up in Oklahoma, Fulson joined up with singer Texas Alexander for a few months in 1940, touring the Lone Star state with the veteran bluesman. Fulson was drafted in 1943. The Navy let him go in 1945; after a few months back in Oklahoma, he was off to Oakland, CA, where he made his first 78s for fledgling producer Bob Geddins. Soon enough, Fulson was fronting his own band and cutting a stack of platters for Big Town, Gilt Edge, Trilon, and Down Town (where he hit big in 1948 with "Three O'Clock Blues," later covered by B.B. King).
Swing Time records prexy Jack Lauderdale snapped up Fulson in 1948, and the hits really began to flow: the immortal "Every Day I Have the Blues" (an adaptation of Memphis Slim's "Nobody Loves Me"), "Blue Shadows," the two-sided holiday perennial "Lonesome Christmas," and a groovy mid-tempo instrumental "Low Society Blues" that really hammers home how tremendously important pianist Lloyd Glenn and alto saxist Earl Brown were to Fulson's maturing sound (all charted in 1950!).
Fulson toured extensively from then on, his band stocked for a time with dazzling pianist Ray Charles (who later covered Lowell's "Sinner's Prayer" for Atlantic) and saxist Stanley Turrentine. After a one-off session in New Orleans in 1953 for Aladdin, Fulson inked a longterm pact with Chess in 1954. His first single for the firm was the classic "Reconsider Baby," cut in Dallas under Stan Lewis's supervision with a sax section that included David "Fathead" Newman on tenor and Leroy Cooper on baritone.
The relentless mid-tempo blues proved a massive hit and perennial cover item — even Elvis Presley cut it in 1960, right after he got out of the Army. But apart from "Loving You," the guitarist's subsequent Checker output failed to find widespread favor with the public. Baffling, since Fulson's crisp, concise guitar work and sturdy vocals were as effective as ever. Most of his Checker sessions were held in Chicago and L.A. (the latter his home from the turn of the '50s).
Fulson stayed with Checker into 1962, but a change of labels worked wonders when he jumped over to Los Angeles-based Kent Records. 1965's driving "Black Nights" became his first smash in a decade, and "Tramp," a loping funk-injected workout co-written by Fulson and Jimmy McCracklin, did even better, restoring the guitarist to R&B stardom, gaining plenty of pop spins, and inspiring a playful Stax cover by Otis Redding and Carla Thomas only a few months later that outsold Fulson's original.
A couple of lesser follow-up hits for Kent ensued before the guitarist was reunited with Stan Lewis at Jewel Records. That's where he took a crack at that Beatles number, though most of his outings for the firm were considerably closer to the blues bone. Fulson was never been absent for long on disc; 1992's Hold On and its 1995 follow-up Them Update Blues, both for Ron Levy's Bullseye Blues logo, were among his later efforts, both quite solid. Fulson continued to perform until 1997, when health problems forced the career bluesman into a reluctant retirement. His health continued to deteriorate and on March 6, 1999 - just a few weeks shy of his 78th birthday - Lowell Fulson passed away.
Few bluesmen managed to remain contemporary the way Lowell Fulson did for more than five decades. And fewer still will make such a massive contribution to the idiom.
Pleasing Man Blues
Lowell Fulson Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
My name is Memphis Slim, they call me the Grinder Man
If you be my customer, I'll let you have it on a easy plan
I do my ramblin' at midnight, and I don't be seen in the day
I do my ramblin' at midnight, I don't be seen in the day
While everything is quiet and easy, Mr. Grinder can have his way
I got so many customers, it takes me a week to get around
I got so many customers, it takes me a week to get around
But you need not be uneasy baby, Mr. Grinder won't let you down
If you wanna see me baby, you better see me while you can
You wanna see me baby, you had better see me while you can
Because I'm a very busy fella, you know they call me the
Grinder Man
In "Pleasing Man Blues," Lowell Fulson adopts the persona of "Memphis Slim," a character whose nickname, the "Grinder Man," implies a duality of straightforward work and perhaps a more nuanced underbelly of social interactions in the nightlife. The introductory lines solidify his identity while emphasizing his role as a provider – a businessman who caters to specific needs or desires of his clientele. The mention of an “easy plan” suggests he is accessible and caters to the whims of his customers, underlining a transactional, yet potentially intimate relationship. This debut into the song paints Memphis Slim as a savvy operator in the underground scene, adept at navigating the intricacies of a world that thrives when the sun goes down.
The following stanza reveals the nocturnal lifestyle embraced by Slim. His preference for the cover of darkness illustrates a life spent on the fringes and highlights a reverence for the calm of the night, where he can move freely and with purpose. The choice of rambling at midnight suggests a sense of liberation that comes from being ensconced in a time when most others are asleep. It speaks to a culture of late-night escapades and the allure of the hidden activities that take place outside of societal norms. In being unseen during daylight, he reinforces the mysteriousness of his character and the type of business he engages in—one that is shrouded in secrecy, away from the judgmental eyes of the day.
Continuing with the theme of his busy life, Slim expresses his popularity and demand, which is manifested in the multitude of clients he services. This is indicative of a thriving business, yet it also hints at the complexity of that busyness, suggesting that each interaction is not merely professional but carries emotional labor. He assures the listener, perhaps a possible customer or loved one, that despite his packed schedule, he holds a steadfast commitment to their needs. The line “Mr. Grinder won't let you down” conveys a promise or guarantee of satisfaction—an assurance that he will prioritize their interests amid the chaos of his life. It invites a sense of trust and familiarity that is often cultivated in communities where personal connections matter as much, if not more, than financial transactions.
Finally, the cautionary tone in the last paragraph introduces an element of urgency and transience into the narrative. His instruction for the listener to "see me while you can" implies that his time is limited, reflecting an awareness of the fleeting nature of relationships shaped by circumstance and availability. The insight into his busy persona becomes a reflection on the challenges of maintaining connections in a fast-paced lifestyle. This duality of being desired yet elusive exemplifies the struggle of wanting to be present for others while also juggling personal demands, akin to the broader human experience in a world where time and attention are at a premium. Thus, the song captures the essence of nightlife, societal roles, and the often complicated balance of personal and business relationships in a vivid, thematic portrayal.
Line by Line Meaning
My name is Memphis Slim, they call me the Grinder Man
I am known as Memphis Slim, recognized in this world as the one who grinds through challenges and hardships.
If you be my customer, I'll let you have it on a easy plan
If you choose to rely on me, I'll provide my services in a way that is manageable and convenient for you.
I do my ramblin' at midnight, and I don't be seen in the day
I conduct my activities under the cover of night when opportunities arise, avoiding the visibility of daylight.
I do my ramblin' at midnight, I don't be seen in the day
My nighttime excursions continue in secrecy, allowing me to operate outside the watchful eye of society.
While everything is quiet and easy, Mr. Grinder can have his way
In the stillness of the night, I find the freedom to navigate my path without interruption or constraint.
I got so many customers, it takes me a week to get around
I have a vast number of clients that require my attention, making it a lengthy process to fulfill everyone's needs.
I got so many customers, it takes me a week to get around
The demand for my services is so high that it takes significant time to ensure all my customers are satisfied.
But you need not be uneasy baby, Mr. Grinder won't let you down
There’s no need for worry; I am dependable and I will deliver what you seek without fail.
If you wanna see me baby, you better see me while you can
If you wish to meet with me, act quickly to secure that chance before my availability changes.
You wanna see me baby, you had better see me while you can
It is crucial to reach out to me soon, as my busy schedule might prevent future opportunities to connect.
Because I'm a very busy fella, you know they call me the Grinder Man
I am constantly engaged in my work and responsibilities, a testament to my reputation as the Grinder Man.
Lyrics © Wixen Music Publishing, Universal Music Publishing Group
Written by: PETER CHATMAN
Lyrics Licensed & Provided by LyricFind