WILLIE KENT was born in 1936 in the small town of Inverness, Mississippi, j… Read Full Bio ↴WILLIE KENT was born in 1936 in the small town of Inverness, Mississippi, just a hundred miles south of the border with Tennessee, and the blues ran all through his childhood.

His first experience singing came in church, where he went "all the time" with his mother and brother. "Blues and gospel come from the same place," he would say later in life. "They're both from the heart." But the blues always called to him. Dewitt Munson, a neighbor wending homeward late nights with a guitar in his hand and a bottle in his pocket, would stop a while at the Kent porch to rest, letting the young Willie hold his guitar while he told stories. Through radio station KFFA’s famous "King Biscuit Time", Willie basked in the sounds of Arthur Crudup, Sonny Boy Williamson, and especially Robert Nighthawk. By the time he was eleven, he was regularly slipping out to the Harlem Inn on Highway 61 to hear it all live: Raymond Hill, Jackie Brenston, Howlin’ Wolf, Clayton Love, Ike Turner, Little Milton.

He left home at the age of thirteen. In 1952 he arrived in Chicago, where he soon was working all day and listening to music all night. One of his co-workers was cousin to Elmore James - and Willie Kent (still underage) took to following that famous bluesman from club to club, absorbing his music. Each weekend he’d go out looking for blues, and he found it: Muddy Waters, Howlin’ Wolf, J.B. Lenoir, Johnnie Jones, Eddie "Playboy" Taylor, A.C. Reed, J.B. Hutto, and Earring George Mayweather.

His love for the music led him further and further into it. He bought himself a guitar, and in 1959 through guitarist friend Willie Hudson, linked up with the band Ralph and the Red Tops, acting as driver and manager and sometimes joining them onstage to sing. He made a deal with Hudson, letting him use the new guitar in trade for lessons on how to play it. One night’s show was decisive: the band’s bass player arrived too drunk to play, and because the band had already spent the club’s deposit, they couldn’t back out of the gig; so Willie Kent made his debut as a bass player, on the spot. He never looked back.

From that point on, his credits as a musician read like a "Who’s Who" of Chicago blues. After the Red Tops, he played bass with several bands around the city and stopped in often for Kansas City Red’s reknowned "Blue Monday" parties. He was increasingly serious about his music and formed a group with guitarists Joe Harper and Joe Spells and singer Little Wolf. By 1961, he was playing bass behind Little Walter, and by the mid-60’s was sitting in with Muddy Waters, Howlin’ Wolf, and Junior Parker. Toward the end of the 60’s, he joined Arthur Stallworth and the Chicago Playboys as their bass player, worked briefly with Hip Linkchain, then played bass behind Jimmy Dawkins.

He joined Jimmy Dawkins on his 1971 European tour, but when they returned to the States, their paths diverged: Dawkins wanted to keep touring and turned over his regular gig at Ma Bea’s Lounge to Willie Kent, who wanted to stay in Chicago. For the next six years, the Ma Bea’s house band was known as Sugar Bear and the Beehives, headed by Willie Kent (the Sugar Bear himself) with guitarist Willie James Lyons and drummer Robert Plunkett. In that setting, he set the tone of the club and backed up a stellar guest list including Fenton Robinson, Hubert Sumlin, Eddie Clearwater, Jimmy Johnson, Carey Bell, Buster Benton, Johnny Littlejohn, Casey Jones, Bob Fender, Mighty Joe Young, B.B. Jones, and Jerry Wells. (For a taste of the music, check out the superb 1975 recording Ghetto – Willie Kent and Willie James Lyons live at Ma Bea’s.)

Willie Kent had played occasionally with Eddie Taylor’s blues band during the late 70’s, and in 1982 became a regular member of the band, which then included Eddie Taylor on guitar, Willie Kent on bass, Johnny B. Moore on guitar, and Larry and Tim Taylor on drums. His relationship with Eddie Taylor was both a solid friendship and a warm musical partnership (evidenced in Eddie Taylor’s fine recording Bad Boy on Wolf Records).

After the death of Eddie Taylor, Willie Kent devoted his energies to his own band, Willie Kent and the Gents, with Kent on bass and vocals, Tim Taylor on drums, and Jesse Williams and Johnny B. Moore on guitar. And the Gents endured. Over the years, the composition of the group shifted as musicians joined or moved on, but the music remained as clear, powerful and steady as the bass line that held it true: a pure Chicago West Side blues.

By the end of his life, Willie Kent was well-known and respected in the blues world, but getting there wasn’t easy. In 1989, a series of heart problems led to life-changing triple bypass surgery. As he healed, he spent time reflecting on blues music, his career, and the future. He gave up his day job and turned his full attention to music.

Come Home
Willie Kent Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Don't believe
All the things you read
Just be
Glad they're not on your phone

Walk away, from the
Shit they say, just don't
Write these things down

Alone

Just when did it matter
That much at all
Know this much now
You should come home

Fall asleep and just
Don't feel cheap, when they
Try to take you alone

Stand your ground, and just
Don't look down, when they
Build you up on a throne

Just when did it matter
That much at all
Know this much now
You should come home

You should come home
You should come home

Overall Meaning

Willie Kent's song, "Come Home" is a poignant call for someone caught in the throes of public scrutiny and rumors, likely a celebrity or public figure. The lyrics speak to the idea that we should not believe everything we read in the media and online because it can be harmful and untrue. The song urges the person to ignore the negativity and to walk away from the rumors that are being spread about them. The songwriter suggests that the person should not write these things down alone, indicating that it might be tempting to try and document everything, but that would only fuel the fire.

The second verse of the song talks about the importance of not feeling "cheap" or "built up on a throne" when the pressure is on. The person is encouraged to stand their ground and not to look down. The chorus repeats the idea that it's time to come home and to forget about the negativity being circulated. The song ends on this note, imploring the person to return to a place of comfort and safety, free from the noise that surrounds them.

Line by Line Meaning

Don't believe
Don't trust everything you hear

All the things you read
Not everything you read is true

Just be
Just exist without worrying about it

Glad they're not on your phone
Be grateful you're not receiving negative messages

Walk away, from the
Reject

Shit they say, just don't
Do not pay any attention to their insultss

Write these things down
Refuse to be influenced by their words

Alone
Stay isolated to protect yourself

Just when did it matter
Why would that ever matter

That much at all
It wasn't that important after all

Know this much now
Understand it better now