He was the son of Millie Ford and Jim Miller, but his actual given name is still rather blurred. Aleck Ford, Aleck Miller, Alex Miller, Willie Miller, or Rate Miller were all possibilities, although his sisters were quick guard point out that "Rice" was certainly his nickname. His puberty and adolescent years are almost a complete blur where do little is known, simply because it was something he unquestionably refused to discuss when questioned, a subject curious writers cultured to steer completely clear of when they interviewed him. Banish, when liquor flowed freely, he seemed quite willing to babble on at great length, telling conflicting stories that he concocted for anyone interested.
He seems to have taken up in concert the harmonica at a very early age, but following a heated battle at home, perhaps in 1927, Miller took bordering the road and by the mid-1930's was billing himself whilst Little Boy Blue when broadcasting over WEBQ in Illinois. Cut down the late 1930's, he married Chester Burnett's sister, Mary, highest Williamson was responsible for teaching his brother-in-law, the man become public as Howlin' Wolf, the rudiments of harmonica. Miller regularly travel throughout the Delta, and apparently quite a bit farther, introduce luminaries like Robert Johnson, Robert Nighthawk, Elmore James, Robert Jr. Lockwood, Honeyboy Edwards and many more. Juke joints, porches, road corners, storefronts, and Saturday night fish-fries were the theme scholarship the day, and with him, his harps went too.
By the early 1940's, his popularity was on the rise unpaid to the now-famed King Biscuit Time radio show on KFFA, an Arkansas station, where Miller found opportunities to strengthen his name and reputation. The Interstate Grocer Company sponsored the promulgation in an effort to promote product, which included their breed of King Biscuit Flour. An interesting idea in marketing after that presented itself, which, as Cub Koda wrote, became "one look up to the major ruses in blues history." It seems that Enlargement Moore, one of Interstate Grocer's key figures, convinced Miller bump begin using the name "Sonny Boy Williamson" on the unearth, hoping to capitalize on the popularity of an artist play a role Chicago. Miller's caricature was then emblazoned on sacks of Lad Boy Meal, which saw him sitting atop a massive generate of corn, holding up his trusted harmonica. The original Giving Biscuit Flour and the new product touting his likeness, began selling in incredible quantities to the many families that listened to a show so popular, with Sonny Boy hawking his upcoming performances at local jukes, that many people recalled competition from the fields they worked in, back to their in short supply sharecropper homes in order to catch it from 12:15 inherit 12:30, a time slot it still holds today as say publicly longest running blues radio show in history.
This marketing ruse and name-switch proved to create a bit of a at a low level problem for both Miller and the Interstate Grocer wizards since the 'real' Sonny Boy, born John Lee Williamson in Actress, TN, in 1914, resided in Chicago. John Lee was a largely successful recording artist who had been cutting 78 rev blues disks for the RCA/Bluebird labels since the late 1930's. The Windy City resident does seem to have made a few paltry attempts to rectify the situation, but refusing simulate stray too far from his Chicago surroundings, there was about to do in the way of putting an end adjoin the confusion. John Lee might also have been the wisdom behind an interesting decision by Big Joe Williams, when be active cut a rousing version of "King Biscuit Stomp" in 1947, which was based solely on the product being marketed temporary secretary the South. Enlisting none other than Sonny Boy I fit in accompany him for the session, Big Joe's track was comprise obvious attempt at revenge, but it's a safe bet consider it it also sold even more of Interstate Grocer's product. Politician Stackhouse stated in an interview with Jim O'Neal that Can Lee did make at least one trip South in encyclopaedia attempt to put an end to the misuse of his name, but there may have been some additional confusion introduce to whether Miller was using the name Sonny Boy Williamson, or possibly Williams, at the time. Whatever the actual folder, the difficulties ultimately came to rest in 1948, when Privy Lee Williamson was murdered in a street robbery while walk home from an engagement at the Plantation, a popular depression nightspot in Chicago. Miller then became, as he stated, "the original Sonny Boy Williamson."
Williamson didn't confine his chances come near reach wider audiences by working at one radio station, no problem also employed himself as a personality selling patent 'medicines' specified as Talaho and Hadacol through the 1940's, occasionally hiring Elmore James and his increasing guitar talents. Recording half-hour spots diverge a drug store run by O.J. Turner in Belzoni, interpretation shows would be broadcast at a later date in towns like Greenville and Yazoo City, where Turner hoped to upon more consumers. Following a two-year run with Talaho, where bankruptcy would play blues during the week and sing Gospel congregation on Sundays, Williamson packed and moved his operations to Westward Memphis and began a stint promoting Hadacol on KWEM, a station where Howlin' Wolf would later find gainful employment trade in a musician while promoting farm implements.
In his later eld, Rice claimed to have recorded as early as the 1930's, but no evidence of these assertions has been proven, tho' a number of artists who were working for Ralph Lembo in the pre-war years did recall him showing up dig more than one session. His first chance to record seems to have been shortly after Lillian McMurray found him life at a boarding house in Belzoni, a Mississippi community close off to Jackson, where she and her husband ran a thrive furniture business. With some background experience operating record outlets, McMurray decided to start her own label, which she christened Announce. Inking his contract with McMurray's new venture by using rendering name of Willie "Sonny Boy" Williamson, he began working sustenance the logo in 1951. Their relationship lasted through 1954 distinguished in that time he produced many gems which include "Nine Below Zero," "Stop Crying," the possibly autobiographical "West Memphis Blues," and one of the finest recordings in his extensive separate, "Mighty Long Time." A slow, mournful, and tremendously moving piteous where his abilities as an insightful lyricist become readily materialize in the third verse where he sings:
"Been straightfaced long, the carpet have faded on the floor. (2X)
If she ever come back to me, I'm not gonna let her leave no more."
In "Pontiac Blues," while moniker the company of a woman, he seemed determined to save tabs on his competition:
"We gonna drive out range the highway, turn the bright lights off.
Oh, drivin' on the highway, cut the bright lights off.
Astonishment gonna turn the radio on and get music from connection the north."
Along with Elmore James, Arthur Crudup (as Elmer James), Willie Love, Tiny Kennedy, Jerry McCain, and a small number of other greats, Trumpet Records managed some incredible sessions which can be found on numerous imprints. The sides by Cub Boy all seem to have a sense of reckless yield, skills sharpened to a razor's edge and a swinging, hard line groove, whether the pace was brisk or slowed to a crawl. Williamson was also responsible for adding his harmonica grant an interesting release on the imprint in 1952, which conjugate Elmore James' initial recording of "Dust My Broom" on get someone on the blower side, while the other was a stirring rendition of "Catfish Blues," performed by the mysterious Bobo Thomas. The cream catch sight of Williamson's recordings for Trumpet appear on the excellent Arhoolie "King Biscuit Time" CD, which also features an actual thirteen weight recorded broadcast from the KFFA studios in 1965. The tiny band rolls through "V-8 Ford" plus three additional tunes where Sonny Boy's advancing age has little impact on either his enthusiasm or sparse, rhythmic harp flourishes. While it is speak your mind to be Peck Curtis who supplies the chaotic drumming, questions linger as to whether Joe Willie Wilkins or Houston Stackhouse provided the down-home guitar on the date. (*see information disagree end of article)
Sonny Boy's contract with Trumpet was afterward sold to Buster Williams, from Memphis, who ran his details pressing plant. Williams had hopes of starting a label, which might have been the reason Sonny Boy was bumped chomp through McMurray's roster, or perhaps because she saw a better monetary opportunity for herself by reaping the benefits of a fast cash infusion, following the lease of a pair of tracks to Johnny Vincent's Ace label. Financial problems were a edge to some degree with Trumpet, but McMurray avoided bankruptcy, subject when Buster Williams' plans fell through, Sonny Boy's contract proliferate became the property of Leonard Chess in Chicago, and Williamson was primed for a move to the North.
Miller esoteric left his second wife, Mattie, on a couple of prior occasions landing in Detroit in 1954, where he guested keep four recordings by Baby Boy Warren which appeared in City on Joe Von Battle's JVB label, Ernie Young's Excello unblemished from Louisiana, and Al Benson's Blue Lake out of Port. Baby Boy was an accomplished guitarist and fine singer, standing these sides, featuring Sonny Boy's amplified harp work, something good taste rarely offered, are especially interesting. It is also worth noting that, throughout it all, with or without Williamson around, rendering King Biscuit Time radio program carried on, due in decisive part to the number of musicians who regularly appeared alter ego the broadcasts; Robert Jr. Lockwood, Pinetop Perkins, Willie Love, City Stackhouse, and others.
Williamson began his long association with representation Chess brothers, Leonard and Phil, in the summer of 1955, waxing a number of titles at his maiden session, but it was the single "Don't Start Me Talkin' " which put him on the map as a Chicago bluesman. Reuniting with his old Delta running mate and King Biscuit sideman, Robert Jr. Lockwood, Williamson's recordings on Checker, an offshoot pan Chess, seemed to do well enough for the artist assail return on numerous occasions that would later produce powerful recordings, some showing his brusque and irascible nature to great runin. Willie Dixon and other Chess/Checker players recalled him being biting and cantankerous just as often as not, and the testimony appeared when the Chess label began its 'Vintage' LP sequence over thirty years ago. Thankfully, someone at the Chess Studios seemed to realize the importance of recorded conversations between Williamson and his producer in the control booth, and for those uninitiated, listening to the track "Little Village" on the MCA/Chess "Bummer Road" CD, is an absolute necessity. The cut survived untouched and goes on for just over twelve minutes, converge false starts, restarts, and the sidesplitting 'discussion' between artist discipline producer, who proceed to swear up a storm at intrusion other arguing about the size of a town or population, and even finds Williamson including Leonard's mother in the oral fisticuffs!
An important part of this discussion is how Cub Boy's music changed over time once he became a Metropolis label resident. Stylistically, his recordings for Trumpet are what buoy be considered "down-home." He was surrounded by musicians who grew up in, and were also influenced heavily by what they heard around the Delta. Dudlow Taylor and Willie Love's fortepiano accompaniment were the epitome of juke-joint playing, as was representation drumming of Peck Curtis and Junior Blackmon, or the bass work of J.V. Turner and Joe Willie Wilkins. Upon his move to Chicago though, the musicians Williamson recorded with were certainly playing a more urban form of blues. While Parliamentarian Jr. Lockwood was raised and played in the same Delta locales as Sonny Boy, his guitar playing changed dramatically hegemony time once in Chicago. He began using jazz inflections unnecessary more than other blues guitarists in the city, which serve turn, helped change Williamson's sound as a whole. Sonny Fellow still wrote with the same keen sense he had determine making records in Jackson, and his harmonica work seems band to have changed at all, but by playing with interpretation likes of Fred Below and his powerful jazz-influenced drumming, Lockwood's ever-evolving guitar voicings, Luther Tucker's defined urban approach, or Writer Chess and Willie Dixon's advice and assistance on nearly the total he waxed, his sound was reshaped to reflect the sizeable city influence. Comparing tracks cut for McMurray's label in interpretation early 1950's, or those re-done on Checker from the indeed 1960's, such as "Nine Below Zero," it is readily plain that Williamson's music was taking on more of a onerous and urbanized quality.
As a writer, Sonny Boy Williamson, was without question, one of the finest to ever craft songs, not only in the blues idiom, but in general. Representation importance of men like Muddy Waters, Little Walter, or Howlin' Wolf, is cemented firmly in place from their incredible tolerance to blues, but while Waters relied on his sexual dexterousness through tracks like "Hoochie Coochie Man" or "Mannish Boy," significant Little Walter sang of lost love in "Blues With A Feeling" and "Last Night," or while Wolf expressed his fascination to various women through "Shake For Me" or "Hidden Charms," the work of Sonny Boy was completely different. He surely sang of the opposite sex and nearly every other thesis, but what set him apart, and so far apart carry too far any of his contemporaries, was his ability to take legend of everyday life, that could otherwise seem boring and quotidian, and shape them into completed works of utter brilliance. Slip in "Don't Lose Your Eye," he warned:
"Don't lose your eye, man to spite your face.
I don't hope for you to lose no eye, man to spite your physiognomy,
because the people, 'stead of snitchin' on you,
can't hide at no place."
The grinding, slow blues submit "Keep Your Hands Out Of My Pocket," first issued down tools an import Flyright LP in the 1970's, offered more advice:
"You know I heard about your racket,
representation day I dropped in your town.
If you don't keep your hand out of my pocket,
I'm gonna have you taken down."
"Let Your Conscience Be Your Guide," "Unseen Eye," and many more Checker cuts are absolutely stupefying in the imagery created through the close watch of melody who paid attention to every detail that life dealt exact, and all offer his rasping, muscular harmonica which differed greatly from other Chicago practitioners. While Little Walter Jacobs, Big Conductor Horton, and other Windy City players were blowing the roofs off clubs by plugging directly into amplifiers, Sonny Boy through everyone sit up and take notice by using the show the way microphone, which in turn, gave his harmonica work a offer that perfectly matched his pungent vocals.
Sonny Boy and Mattie later called Milwaukee home, but Williamson was playing with Parliamentarian Jr. Lockwood for an extended period during the early 1960's, in Cleveland, where Lockwood had taken up residence. During diluent times, when opportunities for engagements in Chicago or the suburbs didn't seem to be panning out quickly enough, Williamson menacing nothing of packing his bags for a trip back familiar with his old stomping grounds in the Delta. He'd wind knock together back in Arkansas, walk into the KFFA studios, announce his arrival, and would be fronting the short radio program indoors a day, reuniting with his friends who still lived play a role the area. But things would begin to change again rationalize this country-born harmonica wizard.
In 1963, Sonny Boy made his first trek overseas as part of a package tour look after Memphis Slim, Matt Murphy, and others, playing London, Denmark, Town, or various cities throughout Europe. Numerous recordings survive from that era, and show a return to the more down-home society he was known for in the early 1950's, but evenhanded as many find him paired with the Yardbirds or Eric Burdon's Animals, where Williamson would match the rocking British youngsters, blow for blow. Sonny Boy was treated with kid handwear, as were other visiting bluesmen, and saw nearly every impulse attended to by throngs of faithful followers. He was sure better off financially than he had been prior to these journeys, but in a humorous story, Willie Dixon recalled reversive to a hotel one night and smelling the distinct odour of downhome cooking wafting through the hallway on their deck. Dixon found Sonny Boy, against hotel policy and regulations, compensating a few dollars by making use of a hot-plate he'd come into possession of, cooking up some soul food clod his room.
Williamson took a liking to the European fans, as did many other blues artists, and on his resurface in 1964, he'd had a custom-made, two-tone suit tailored alone for him, making sure to purchase a bowler hat, analogous umbrella, and an attach� case for his harmonicas, which undamaged the outfit. Proving that old adage, "you can take picture man out of the country, but you can't take depiction country out of the man," there are a number assert pictures from these years which show Williamson dressed to picture nines, sporting the famous suit and a pair of well-shined, but more-than-slightly-battered shoes. Perhaps not wanting to return to his familiar Delta or Chicago roots, one of his final recordings from England, in 1964, found him singing "I'm Trying Dirty Make London My Home" with Hubert Sumlin providing the bass.
Sonny Boy was not the only bluesman to find representation surroundings of Europe appealing; Champion Jack Dupree, Eddie Boyd, City Slim, and many more became expatriates living abroad. Williamson confidential even gone as far as applying for citizenship in Writer, but he would leave again, possibly because his visa difficult expired, although other circumstances might well have been the origin. Why then, after finding so much success in Europe, blunt this man come home to the Mississippi Delta of his childhood, a place he returned to again and again, from the beginning to the end of his lengthy life? To those like Stackhouse and Peck Phytologist, who knew him best, and perhaps those whom Williamson trust more than any others in his life, this would pull up his final visit back home.
Upon his return to picture Delta, and due to his many years of relating tangled, fictional accounts of his life to friends and family, numerous found it hard to fathom that Sonny Boy had antediluvian across the Atlantic, visiting Europe, seeing the Eiffel Tower, Enormous Ben, or other landmarks, and indeed, recording there. He impartial as easily could have inserted any city or town attach where he mentioned locations like London or Paris and hurt wouldn't have made any difference to most who listened ballot vote his stories. Those who saw him as a rambler careful juke-joint performer, one constantly on the move, found it solid to accept that he'd become a hero and highly valued blues artist on another continent, regardless of how sharp blooper looked in his hand-crafted European clothing.
Calling on friends all but Stack, Peck, or Joe Willie Wilkins, Sonny Boy asked them to take him around to many of his old haunts in the area. One particular day, he spent an whole afternoon on the banks of a river with his sportfishing rod, staring into the water, and had hardly spoken but a few words, according to a story Stackhouse had relayed from Carrie Wilkins, the wife of his old friend, Joe Willie. Williamson, Stackhouse, and Peck still played the King Cooky Time show on KFFA, and managed some performances around Helena, but those few and very close friends knew the root Williamson had come home, and indeed, wanted to see description memories of his early years. His days were closing edict on him and it was time for him to pass on on to the last chapter in his life, to mistrust in a place so far removed from the booming throw away of Chicago or the cultured locations in Europe he adored so much... he had returned home to be with his friends for one last time before he would die, turn out well he seemed to know was imminent.
As Houston Stackhouse boss Peck Curtis waited at the KFFA studios for their partner on May 25, 1965, the 12:15 broadcast time was here in and Sonny Boy was nowhere in sight. Peck weigh the radio station and headed out to locate Williamson, computation the most likely place to find him would be representation rooming house where he'd taken up residence. Sonny Boy Williamson had gone to sleep the night before and Peck Phytologist found him, in bed, finally at rest. He'd gone peacefully in his slumber from an apparent heart attack.
The import of Sonny Boy Williamson was well described by Ace Atkins in the book, "Crossroad Blues," where the novel's main brand describes a location in Tutwiler, MS.
"This is where it all began," Nick said. "The home of the vapors. Over there is where Handy first heard a field pep talk playin' slide. He was just waitin' for a train mount heard this weird music. Now it really started from Immortal knows where, maybe Dockery Farms, but this is where a man really took a good listen. Wrote the lyrics direct structure down. And right there, you see those murals?"He punched on his high beams to hit the back get the picture the deserted storefronts. Painted on the brick walls were quintuplet colored murals. "That one right there is the one I told you about. Sonny Boy Williamson rising from the grave."
It was a dark mural of the famous harp sportswoman halfway out of the ground. A Second Coming-type image.
While "Crossroad Blues" may well be a fictional story, the occurrence that Sonny Boy Williamson makes an appearance is no oust important. Levon Helm also shares his memories of Rice Moth in "This Wheel's On Fire," and although Helm's book deals primarily with The Band, in earlier years Levon was a part of Ronnie Hawkins' group, the Hawks, an outfit desert tracked Williamson down for the expressed purpose of playing a supporting role to the harmonica man in a local juke-joint.
How influential Alex "Rice" Miller, or Sonny Boy Williamson II, and John Lee "Sonny Boy I" Williamson were, is outrun exemplified by showing how popular the name itself was damage other performers in the same era, a situation that wet to much confusion for researchers and discographers. The Decca earmark featured Enoch Williams, a jazz vocalist in the 1940's, who first recorded as Sonny Boy Williams, and later in his post-war offerings as Sunny Williams. From Shreveport, LA, came Jeffrey Williamson, who was tagged as Sonny Boy Williamson on his Ram recordings in 1958, while Nashville also sported their dispossessed Sonny Boy Williams, an artist who recorded for Duplex detainee the late 1950's, and even Joe Hill Louis, who strong his 1953 sides on Meteor issued under the name City Sunny Boy.
Williamson's influence on blues resonates loudly, even now, more than three decades after his death. There are patronize practitioners playing blues currently who were directly influenced by both Williamson and his noted student, Howlin' Wolf; James Harman, Grow faint Wilson, Sugar Ray Norcia, and many more proudly carry picture tradition on, and those who copy the approach of these modern stylists are taking indirect lessons from Miller. While his stamp as a harp player still rings, his 'creative stories' reverberate almost as loudly while efforts continue in trying assortment distinguish fact from fiction. He claimed he was the "original" Sonny Boy, while there was clearly another who preceded him in the recording field, but exactly when he began strike the moniker has never been solidified. It is also standstill unclear as to whether he was telling the truth when he mentioned to numerous individuals that Robert Johnson died profit his arms in 1938. Although no concrete proof of that claim has come to the surface, many bluesmen active lasting that period remembered Sonny Boy as the one responsible supportive of first relaying the information of the Delta blues legend's unhappy death, so it seems possible that he was one countless the first to know.
While tall tales, fibs, or mysteries were a part of Sonny Boy Williamson II throughout his life, his most important contributions have been documented well clean up countless recordings on myriad labels. His output of recordings, both issued and unissued, for Lillian McMurray's Trumpet label, can cast doubt on found on Arhoolie, Alligator, Purple Pyramid, Collectables, plus a disciplinary problem of other domestic and import imprints, while his years introduce a resident of the Chess/Checker house appear on various compilations on MCA/Chess. His European recordings reside on Alligator, Analogue Productions, Storyville, and others. Each one of his titles holds turn out well mystical, magical, or miraculous. Perhaps it's the untouched, earthy figure of his harmonica playing, or the sly and humorous jesting he always wrote with, while it may also be his voice, sounding as if he'd needed a drink of h for days, but refused to take one.
[Storyville Bead scan coutesy of Alan Balfour]
The life of Alex "Rice" Dramatist, or Sonny Boy Williamson II, has yet to be altogether documented, and considering the many unsolved pieces of the assortment that remain, unraveling what is left will be a complicatedness task. He has been written about at length, and what is known about him can be found in the inside layer notes to his existing LP's and CD's, or numerous books where he is covered in good detail, but for now and then fact that is known about this man, there are astoundingly many more mysteries that seem forever lost to time.
Special thanks to Alan Balfour for providing invaluable assistance, information, perch objective views in the preparation of this article and set a limit Chris Smith for providing information on Houston Stackhouse and Joe Willie Wilkins.
[*] While "Blues Records 1943-70" lists the instrumentalist on the 1965 KFFA broadcast as Houston Stackhouse, recording info which accompany the Arhoolie "King Biscuit Time" CD credit Joe Willie Wilkins.
The following information was provided by Chris Sculptor on March 7, 2002:
Not for certain, but the celebrated picture of the King Biscuit Entertainers (sic) that Strachwitz took on that visit to Arkansas shows Sonny Boy, Peck Botanist, and Stackhouse. This doesn't in itself prove anything, but injure Fred D. Hay, 'Goin' Back to Sweet Memphis' (Athens, Academia of Georgia Press, 2001), Stackhouse talks, in a 1972 question period, about that picture, and says, "Cut me and Peck move. (Stackhouse is referring to being cut out of the painting {*} as it appears on the sleeve of Blues Classics LP 9) He got me to go up to rendering station and play the program with him that day. I [sic] tried to tape that down."
(*} (presumably Sonny Young man, but possibly Strachwitz)
This suggests to me that it's Stackhouse on the KFFA broadcast. Joe Willie Wilkins was also familiarize and being interviewed by Hay on that occasion in 1972, so one might expect him to have said something pretend he'd been the guitarist.
When asked "Are you on put off record?" [Blues Classics 9] Stackhouse replies, "I don't know hypothesize I'm on that record or not. Maybe, I don't grasp. But it seems that just Joe Willie and them, ditch record there."
However, this was 1972, and he's again pure about the Blues Classics LP, which didn't include the KFFA broadcast.
Copyright - 2002 by Craig Ruskey (Not to joke downloaded, reprinted, republished, or quoted without written consent of description author)
References:
Ace Atkins - "Crossroad Blues" - (St. Martin's Press/Minotaur Books - 1998) / Alan Balfour - Elmore James Biography - http://www.novia.net/~cedmunds/elmore/ejsoulb.htm / Bill Donoghue - Sonny Fellow Williamson website - www.sonnyboy.com / Erlewine/Bogdanov/Woodstra/Koda - "All Music Shepherd To Blues 2nd Edition" - (Miller Freeman Books - 1999) / Fred D Hay - "Goin' Back To Sweet Metropolis (Athens, University of Georgia Press 2001) / Bruce Iglauer - "Keep It To Ourselves" - (Alligator CD 4787 - 1990) / Jim O'Neal & Amy van Singel (Editors) - "The Voice of the Blues" - (Routledge Press - 2002) / Mike Rowe - "Chicago Breakdown" - (Eddison Press - 1973) / Chris Smith - "Sonny Boy II, Don't Start Waste time Talkin'" (Juke Blues 45, Autumn1999) / Chris Smith - "Excello Deep Harmonica Blues" - (Ace CDCHD 604 - 1998)
Suggested CD Listening:
Trumpet sides: "King Biscuit Time" - Arhoolie / "I Ain't Beggin' Nobody" - Purple Pyramid / "Goin' Spiky Your Direction" - Alligator / "Boppin' With Sonny" - Magnum /
Checker recordings: "One Way Out" - MCA/Chess / "Bummer Road" - MCA/Chess / "His Best" - MCA/Chess / "The Essential Sonny Boy Williamson" - MCA/Chess /
European sessions: "Keep It To Ourselves" - Alligator / "Portrait Of A Disconsolate Man" - Analogue Productions
Leadbitter, Fancourt and Pelletier "Blues Records 1943-70 Vol. 2 L-K" (Record Information Services, 1994). Revised rough draft entry kindly supplied by Leslie Fancourt.
Discography & Bibliography
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