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.
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Lowell Fulson Lyrics
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Do you love me, baby, no?
My mind's so messed up, I can't even sleep
When I get to the table, I can't even eat
I go to bed at night, you will think it was a dream
But when I need you, baby, you're somewhere in the street
(Do you love me?)
Oh Lord, do you love me, babe?
(Do you love me?)
Do you love me, baby?
(Do you love me?)
Do you love me, baby, baby?
(Do you love me? Do you love me?)
I know you're pretty, [Incomprehensible]
Without you baby, there's no connection
All your love and affection
You're about to kill me with your neglection
Do you love me, baby?
(Do you love me?)
Do you love me, baby?
Lord, have mercy
Do you love me, darling?
(Do you love me?)
Do you love me, baby?
(Do you love me? Do you love me?)
When I see you baby, I begin to sweat
You don't believe me, touch me, honey
My cloth is soakin' wet
Do you love me baby?
(Love me, baby)
Do you love me, baby, baby?
(Do you love me, love me?)
Do you love me, darling?
Do you love me, baby?
(Do you love me? Do you love me?)
When I see you, baby, I begin to sweat
You don't believe me, touch me
My cloth is soaked and wet
Do you love me, baby?
(Do you love me?)
Do you, do you love me, baby?
(Do you love me?)
Do you love me, baby?
(Do you love me?)
Do you love me, baby?
(Do you love me? Do you love me?)
Do you love me, baby?
(Love me, baby?)
Do you love me, baby?
The lyrics to Lowell Fulson's song "Do You Love Me" are a fervent plea for affection from a troubled protagonist. The singer is grappling with the uncertainty of whether or not they are loved by their partner, with a persistent refrain of "Do you love me, baby?" The lyrics convey the singer's emotional turmoil as they struggle to sleep, eat, and function in everyday life due to their preoccupation with their partner's feelings. The singer describes feeling like their partner is always "somewhere in the street" when they are needed, further exacerbating their anxieties.
Throughout the song, the singer's desperation for love is palpable, as they plead with their partner in tones ranging from hopeful to despairing. The repeated refrain of "Do you love me?" takes on a pleading quality, as though the singer is begging for reassurance. The final stanza, where the singer describes their cloth being "soaked and wet" with sweat at the sight of their partner, illustrates the physical impact of their emotional distress.
Overall, "Do You Love Me" is a poignant depiction of love and longing, with lyrics that showcase the depth of feeling that can accompany relationship uncertainty.
Line by Line Meaning
Do you love me, baby?
The singer is asking their partner if they love them
Do you love me, baby, no?
The singer is asking their partner if they really don't love them
My mind's so messed up, I can't even sleep
The singer is losing sleep because they are constantly thinking about their partner
When I get to the table, I can't even eat
The singer is so preoccupied that they have lost their appetite
I go to bed at night, you will think it was a dream
The singer dreams about their partner at night
But when I need you, baby, you're somewhere in the street
The singer's partner is often not around when they need them
I know you're pretty, [Incomprehensible]
The singer finds their partner attractive
Without you baby, there's no connection
The singer feels disconnected from everything without their partner
All your love and affection
The singer wants their partner's love and affection
You're about to kill me with your neglection
The singer feels neglected by their partner and it's hurting them
When I see you baby, I begin to sweat
The singer gets nervous and anxious around their partner
You don't believe me, touch me, honey
The singer wants their partner to touch them to see that they are telling the truth
My cloth is soakin' wet
The singer is so nervous that their clothes are wet with sweat
Lord, have mercy
The singer is asking for divine intervention to help them with their situation
Lyrics © Universal Music Publishing Group
Lyrics Licensed & Provided by LyricFind
byron stevens
A Great forgotten hit from the Blues Man himself. A Chitlin Circuit hit.