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Big Joe Williams - Revisited - CD

Blues CD's > Big Joe Williams CD > Sale $7.50

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Big Joe Williams Revisited- Cover art by Grego
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Track Listings

1. Baby Please Don't Go
2. Highway 49
3. Shaggy Hound Blues
4. Ramblin' And Wanderin' Blues
5. Don't The Apples Look Mellow Hangin'
6. Mean Mistreater
7. Prison Bound
8. Stack O'Dollars
9. I've Been Buked And I've Been Scorned
10. I Feel So Worried
11. Ain't Nothin' Like Whiskey
12. Brand New Car
13. So Soon I Will Be Goin' My Way Back Home
14. Shake 'Em On Down
15. Jump Baby Jump
16. Everybody's Gonna Miss Me When I'm Gone


 

BIG JOE WILLIAMS BIOGRAPHY

Born in Crawford, Mississippi, as a youth Williams began wandering across the United States busking and playing stores, bars, alleys and work camps. In the early 1920s he worked in the Rabbit Foot Minstrels revue, and recorded with the Birmingham Jug Band in 1930 for the Okeh label.

In 1934 he was in St. Louis, where he met record producer Lester Melrose who signed him to a contract with Bluebird Records in 1935. He stayed with Bluebird for ten years, recording such blues hits as "Baby, Please Don't Go" (1935) and "Crawlin' King Snake" (1941), both songs later covered by many other performers. He also recorded with other blues singers, including John Lee "Sonny Boy" Williamson, Robert Nighthawk and Peetie Wheatstraw.

Williams remained a noted blues artist in the 1950s and 1960s, with his guitar style and vocals becoming popular with folk-blues fans. He later recorded for the Trumpet, Delmark, Prestige and Vocalion labels, among others. He became a regular on the concert and coffeehouse circuits, touring Europe and Japan in the late 1960s and early 1970s, and performing at major U.S. festivals.
Marc Miller described a 1965 performance in Greenwich Village:
Sandwiched in between the two sets, perhaps as an afterthought, was the bluesman Big Joe Williams (not to be confused with the jazz and rhythm and blues singer Joe Williams who sang with Count Basie). He looked terrible. He had a big bulbous aneuristic protrusion bulging out of his forehead. He was equipped with a beat up old acoustic guitar which I think had nine strings and sundry homemade attachments and a wire hanger contraption around his neck fashioned to hold a kazoo while keeping his hands free to play the guitar. Needless to say, he was a big letdown after the folk rockers.

My date and I exchanged pained looks in empathy for what was being done this Delta blues man who was ruefully out of place. After three or four songs the unseen announcer came on the p. a. system and said, "Lets have a big hand for Big Joe Williams, ladies and gentlemen; thank you, Big Joe".

But Big Joe wasn't finished. He hadn't given up on the audience and he ignored the announcer. He continued his set and after each song the announcer came over the p. a. and tried to politely but firmly get Big Joe off the stage. Big Joe was having none of it and he continued his set with his nine-string acoustic and his kazoo.
Long about the sixth or seventh song he got into his groove and started to wail with raggedy slide guitar riffs, powerful voice, as well as intense percussion on the guitar and its various accoutrements. By the end of the set he had that audience of jaded '60s rockers on their feet cheering and applauding vociferously. Our initial pity for him was replaced by wondrous respect. He knew he had it in him to move that audience and he knew that thousands of watts and hundreds of decibels do not change one iota the basic power of a song.

Big Joe's guitar playing is decidedly in the Delta Blues style and yet is unique. He played driving rhythm and virtuosic lead lines simultaneously and sang over it all. He played with picks both on his thumb and index finger, plus his guitar was very heavily modified. Williams added a rudimentary electric pick-up, whose wires coiled all over the top of his guitar. He also added three extra strings, creating unison pairs for the first, second and fourth strings. His guitar was usually tuned to Open G, like such: (D2 G2 D3D3 G3 B3B3 D4D4), with a capo placed on the second fret to set the tuning to the key of A. During the Twenties and Thirties, Big Joe had gradually added these extra strings in order to keep other guitar players from being able to play his guitar. In his later years, he would also occasionally use a 12-string guitar with all strings tuned in unison to Open G. It is little known that Big Joe sometimes tuned a six-string guitar to an interesting modification of Open G. In this modified tuning, the bass D string (D2) was replaced with a .08 gauge string and tuned to G4. The resulting tuning was (G4 G2 D3 G3 B3 D4), with the G4 string being used as a melody string by Big Joe.
This tuning was used exclusively for slide playing.

He died December 17, 1982 in Macon, Mississippi. He was inducted into the W. C. Handy Blues Hall of Fame on October 4, 1992.




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