The two are easy to distinguish. Williamson I played the harmonica acoustically and was essentially a pre-War artist. Williamson II was entirely an electrified harpist, in the style of Little Walter, reflecting the advent of the jukebox and electrified instruments following World War II.
(Compare the albums Sonny Boy Williamson I ~~ Sonny Boy Williamson II)
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Sonny Boy Williamson I (30 March 1914 - 1 June 1948)
also known as John Lee Curtis Williamson, was an American blues harmonica player, born in Jackson, Tennessee, whose first record Good Morning little School Girl was a hit in 1937. He was widely popular throughout the whole southeast of the U.S., and was practically synonymous with the blues harmonica for the next decade, making his a commonly used stage name by the time he was murdered in 1948. He is buried at the Old Blairs Chapel Church, south west of Jackson, Tennessee.
more on wikipedia
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Sonny Boy Williamson II (11 March 1908 - 25 May 1965) also known as Willie Williamson, Willie Miller, Little Boy Blue, The Goat and Footsie.
Aleck "Rice" Miller was an American blues harmonica player, singer and songwriter.
Born as Aleck Ford to Millie Ford on the Sara Jones Plantation in Tallahatchie County, Mississippi, his date and year of birth are a matter of uncertainty. He claimed to have been born on December 5, 1899, but one researcher, David Evans, claims to have found census record evidence that he was born around 1912. His gravestone lists his date of birth as March 11, 1908.
He lived and worked with his sharecropper stepfather, Jim Miller, whose last name he soon adopted, and mother, Millie Ford, until the early 1930s. Beginning in the 1930s, he traveled around Mississippi and Arkansas and encountered Big Joe Williams, Elmore James and Robert Lockwood, Jr., also known as Robert Junior Lockwood, who would play guitar on his later Checker Records sides. He was also associated with Robert Johnson during this period. Miller developed his style and raffish stage persona during these years. Willie Dixon recalled seeing Lockwood and Miller playing for tips in Greenville, Mississippi in the 1930s. He entertained audiences with novelties such inserting one end of the harmonica into his mouth and playing with no hands.
In 1941 Miller was hired to play the King Biscuit Time show, advertising the King Biscuit brand of baking flour on radio station KFFA in Helena, Arkansas with Lockwood. It was at this point that the radio program's sponsor, Max Moore, began billing Miller as Sonny Boy Williamson, apparently in an attempt to capitalize on the fame of the well known Chicago-based harmonica player and singer John Lee Williamson (Sonny Boy Williamson I). Although John Lee Williamson was a major blues star who had already released dozens of successful and widely influential records under the name "Sonny Boy Williamson" from 1937 onward, Aleck Miller would later claim to have been the first to use the name, and some blues scholars believe that Miller's assertion he was born in 1899 was a ruse to convince audiences he was old enough to have used the name before John Lee Williamson, who was born in 1914 (this is made somewhat less likely, however, by the fact that Miller was certainly older than Williamson even if one does not accept the 1899 birthdate.) Whatever the methodology, Miller became commonly known as "Sonny Boy Williamson", and Lockwood and the rest of his band were billed as the King Biscuit Boys.
In 1949 he relocated to West Memphis, Arkansas and lived with his sister and her husband, Howlin' Wolf (later, for Checker Records, he did a parody of Howlin' Wolf entitled "Like Wolf"). Sonny Boy started his own KWEM radio show from 1948 to 1950 selling the elixir Hadacol.
Sonny Boy also brought his King Biscuit musician friends to West Memphis: Elmore James, Houston Stackhouse, Arthur "Big Boy" Crudup, Robert Nighthawk and others, to perform on KWEM Radio.
In the 1940s Williamson married Mattie Gordon, who remained his wife until his death.
Williamson's first recording session took place in 1951 for Lillian McMurry of Jackson, Mississippi's Trumpet Records (three years after the death of John Lee Williamson, which for the first time allowed some legitimacy to Miller's carefully worded claim to being "the one and only Sonny Boy Williamson"). McMurry later erected Williamson's headstone, near Tutwiler, Mississippi, in 1977.
When Trumpet went bankrupt in 1955, Sonny Boy's recording contract was yielded to its creditors, who sold it to Chess Records in Chicago, Illinois. Sonny Boy had begun developing a following in Chicago beginning in 1953, when he appeared there as a member of Elmore James's band. It was during his Chess years that he enjoyed his greatest success and acclaim, recording about 70 songs for Chess subsidiary Checker Records from 1955 to 1964.
In the early 1960s he toured Europe several times during the height of the British blues craze, recording with The Yardbirds and The Animals, and appearing on several TV broadcasts throughout Europe. According to the Led Zeppelin biography 'Hammer of the Gods', while in England Sonny Boy set his hotel room on fire while trying to cook a rabbit in a coffee percolator. Robert Palmer's "Deep Blues" mentions that during this tour he allegedly stabbed a man during a street fight and left the country abruptly.
Sonny Boy took a liking to the European fans, and while there had a custom-made, two-tone suit tailored personally for him, along with a bowler hat, matching umbrella, and an attaché case for his harmonicas. He appears credited as "Big Skol" on Roland Kirk's live album 'Kirk in Copenhagen' (1963). One of his final recordings from England, in 1964, featured him singing "I'm Trying To Make London My Home" with Hubert Sumlin providing the guitar. Due to his many years of relating convoluted, highly fictionalized accounts of his life to friends and family, upon his return to the Delta, some expressed disbelief upon hearing of Sonny Boy's touring across the Atlantic, visiting Europe, seeing the Eiffel Tower, Big Ben, and other landmarks, and recording there.
Upon his return to the U.S., he resumed playing the King Biscuit Time show on KFFA, and performed around Helena, Arkansas. As fellow musicians Houston Stackhouse and Peck Curtis waited at the KFFA studios for Williamson on May 25, 1965, the 12:15 broadcast time was closing in and Sonny Boy was nowhere in sight. Peck left the radio station and headed out to locate Williamson, and discovered his body in bed at the rooming house where he'd been staying, dead of an apparent heart attack suffered in his sleep the night before.
Williamson is buried on New Africa Rd. just outside Tutwiler, Mississippi at the site of the former Whitman Chapel cemetery.
more on wikipedia
Eyesight To The Blind
Sonny Boy Williamson Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Mine
You're talking about your woman, I wish to God that you could see mine
Every time the little girl start to loving, she bring eyesight to the blind
Lord, her daddy must been a millionaire, 'cause I can tell by the way she
Walk
Her daddy must been a millionaire, because I can tell by the way she walk
Every time she start to loving, the deaf and dumb begin to talk
Man in the next room a-dying, stopped dying and lift up his head, and said,
"Lord, ain't she pretty, and the whole state know she fine!"
Every time she start to loving, she bring eyesight to the blind
(Spoken: All right and all right, now. Lay it on me, lay it on me, lay it
On me
Oh lordy, what a woman, what a woman! )
Yes, I declare she's pretty and the whole state knows she's fine
Man, I declare she's pretty, God knows I declare she's fine
Every time she starts to loving, whoo, she brings eyesight to the blind
(I've got to get out of here, now, let's go, let's go, let's go now)
The first verse of Sonny Boy Williamson's "Eyesight to the Blind" refers to the singer's own woman, who apparently has the power to cure blindness. He seems to be challenging the person he's singing to by saying that they should see his woman in action. The line "Every time the little girl start to loving, she bring eyesight to the blind" suggests that the woman's sexual prowess is so intense that it can overcome physical disabilities.
The second verse suggests that the woman's appearance is also exceptional. The singer implies that her father must have been a millionaire because of her confident and attractive walk. The line "the deaf and dumb begin to talk" is another nod to the woman's transformative abilities. It seems as though she has some kind of power to heal or to unify people.
The final verse reinforces the idea that the woman is popular and admired throughout the state. The man in the next room, who is dying, is temporarily revived by the sight of her. These lyrics suggest that the woman is both physically and emotionally compelling. The repeated refrain of "Every time she starts to loving, whoo, she brings eyesight to the blind" emphasizes her power and reinforces the idea that she possesses some kind of supernatural ability.
Line by Line Meaning
You've talking about your woman, I wish to God, man, that you could see
Mine
You are speaking about your woman, I hope that you could witness my woman's beauty
You're talking about your woman, I wish to God that you could see mine
Every time the little girl start to loving, she bring eyesight to the blind
You are talking about your woman, but every time my girl shows affection, she enlightens even the blind
Lord, her daddy must been a millionaire, 'cause I can tell by the way she
Walk
God knows her father must have been rich, as evident by the way she carries herself
Her daddy must been a millionaire, because I can tell by the way she walk
Every time she start to loving, the deaf and dumb begin to talk
Her father must have been wealthy as she has a confident gait, and when she shows love even those who cannot hear or speak notice
I remember one Friday morning, we was lying down across the bed
Man in the next room a-dying, stopped dying and lift up his head, and said,
"Lord, ain't she pretty, and the whole state know she fine!"
Every time she start to loving, she bring eyesight to the blind
One morning, while we lay together, a man in the adjacent room dying, stopped his suffering just to praise my lover's beauty. She has such a radiance that even the sightless can see with her loving touch.
(Spoken: All right and all right, now. Lay it on me, lay it on me, lay it
On me
Oh lordy, what a woman, what a woman! )
Expressions of joy and admiration for her continued to pour from the singer
Yes, I declare she's pretty and the whole state knows she's fine
Man, I declare she's pretty, God knows I declare she's fine
Every time she starts to loving, whoo, she brings eyesight to the blind
I swear she's pretty, and everyone hears my words but knows it's true. Her love brings light to those who are blind.
(I've got to get out of here, now, let's go, let's go, let's go now)
It's time to leave, the singer is ready to move on.
Lyrics © Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.
Written by: WILLIE SONNY BOY WILLIAMSON
Lyrics Licensed & Provided by LyricFind
Forrest George
You've been talking about your woman, I wish to God, man, that you could see mine
You're talking about your woman, I wish to God that you could see mine
Every time the little girl start to loving, she bring eyesight to the blind
Lord, her daddy must been a millionaire, 'cause I can tell by the way she walk
Her daddy must been a millionaire, because I can tell by the way she walk
Every time she start to loving, the deaf and dumb begin to talk
I remember one Friday morning, we was lying down across the bed
Man in the next room a-dying, stopped dying and lift up his head, and said
"Lord, ain't she pretty, and the whole state know she fine!"
Every time she start to loving, she bring eyesight to the blind
(Spoken: All right and all right, now. Lay it on me, lay it on me, lay it
On me, Oh lordy, what a woman, what a woman! )
Yes, I declare she's pretty and the whole state knows she's fine
Man, I declare she's pretty, God knows I declare she's fine
Every time she starts to loving, whoo, she brings eyesight to the blind
(I've got to get out of here, now, let's go, let's go, let's go now)
Second Coming Of Bast
Pete changed it quite a bit.
You talk about your woman
I wish you could see mine,
You talk about your woman
I wish you could see mine,
Every time she starts to lovin'
She brings eyesight to the blind.
You know her daddy gave her magic
I can tell by the way she walks.
You know her daddy gave her magic
I can tell by the way she walks.
Everytime we start shakin'
The dumb begin to talk.
She's got the power to heal you never fear
She's got the power to heal you never fear
Just a word from her lips
And the deaf begin to hear.
Lucas Miguel
You've talking about your woman, I wish to God, man, that you could see
Mine
You're talking about your woman, I wish to God that you could see mine
Every time the little girl start to loving, she bring eyesight to the blind
Lord, her daddy must been a millionaire, 'cause I can tell by the way she
Walk
Her daddy must been a millionaire, because I can tell by the way she walk
Every time she start to loving, the deaf and dumb begin to talk
I remember one Friday morning, we was lying down across the bed
Man in the next room a-dying, stopped dying and lift up his head, and said,
"Lord, ain't she pretty, and the whole state know she fine!"
Every time she start to loving, she bring eyesight to the blind
(Spoken: All right and all right, now. Lay it on me, lay it on me, lay it
On me
Oh lordy, what a woman, what a woman! )
Yes, I declare she's pretty and the whole state knows she's fine
Man, I declare she's pretty, God knows I declare she's fine
Every time she starts to loving, whoo, she brings eyesight to the blind
(I've got to get out of here, now, let's go, let's go, let's go now)
Ann Naylor
I met this man once. His tour bus was broken down on a lonesome back road in Kansas. Daddy and I parked the truck and gave them a hand (that was back in the day when you could without being mugged!) they played this tune, and more, right there on the side of the road for me while I fixed the wiring underneath the bus's carriage. I was the only who could crawl under and reach it! They were so grateful, we stopped at a hole in the wall cafe' and we talked, laughed, sang and played for hours. One of the best days of my life!! 1965. I was 8 years old......
mrarkane
What an absolutely fabulous memory! A moment frozen in time. God bless you.
my pronouns are him, her, he, shim
Lucky, lucky you
Bubbatheking
WOW. 😊
nozecone
Wow - great story! What a wonderful experience for an 8-year-old - and what a wonderful memory for a ... well, a what wonderful memory! Sounds like they enjoyed the whole thing, too.
P. David Hornik
One of the best blues recordings ever. Perfectly played and sung, unusual power.
Forrest George
You've been talking about your woman, I wish to God, man, that you could see mine
You're talking about your woman, I wish to God that you could see mine
Every time the little girl start to loving, she bring eyesight to the blind
Lord, her daddy must been a millionaire, 'cause I can tell by the way she walk
Her daddy must been a millionaire, because I can tell by the way she walk
Every time she start to loving, the deaf and dumb begin to talk
I remember one Friday morning, we was lying down across the bed
Man in the next room a-dying, stopped dying and lift up his head, and said
"Lord, ain't she pretty, and the whole state know she fine!"
Every time she start to loving, she bring eyesight to the blind
(Spoken: All right and all right, now. Lay it on me, lay it on me, lay it
On me, Oh lordy, what a woman, what a woman! )
Yes, I declare she's pretty and the whole state knows she's fine
Man, I declare she's pretty, God knows I declare she's fine
Every time she starts to loving, whoo, she brings eyesight to the blind
(I've got to get out of here, now, let's go, let's go, let's go now)
Ben Cripps
This is not actually the sub standard version, but the best and most laid back version. Its all a matter of opinion, isn't it! I don't know why the uploader said 1951 in the title line, you need to know your SBW recording history a bit better (and just the development of the sound, and the arrangements and instrumentation, as the 1950s moved on through the decade). About 5 or 6 seconds listening to a blues should enable you to pin down the recording period to within a year or two. The classic backing musicians like Otis Spann and Robert Jr are so distinctive.
Sean Moore
Just thinking digitally out loud here
butt
How can you top this musical perfection?
P. David Hornik
At last someone uploaded this--better than the other version by him!