FATSO! Come in an git these. Brang me some summa sausage. Baby!

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Oh, I used ta play Suppas fur my sister. Last time you caught me in a drunk, I got over there an went ta drankin. Play a little while, drank some mow. An my sister’s house was at the top of a little old hill. After a while, I went outside. Git me a bit a fresh air an take a leak, you know. An my legs was sorta wobbly. An direckly, I stumbled an rolled all the way down that hill, into the ditch. An I found myself in that mud, water all on me. An couldn move. So them people back in the house was waitin on me. One said, “That boy been gone a long time. Lets git some music goin here.” A Mexican was in there said, “Well, I’ll run out in the dawk there an holla at im. See kin I find im.” He come on out off the poach: an I was down in the sank. Couldn do nothin but jest roll around down there. Finely, they fooled around an found me. Carried me up the hill ta my sister’s place. An set me down in the flow. Didn put me in no chair! “Git out the way, you old drunken bastud! He’s jest reelin an rockin an fallin down.” Talkin ta me. Guyin me. Cause I couldn do nothin fur myself. Jest had ta lay there, take it. I rememba everthang they done. An some of em I got even wit em after I got sober. Here they jest kickt me an walkt on me, they drug me an pusht, pulled me round on the flow. “That old nigga aint good fur nothin. Put im out the way! Roll that drunk bastud under the bed so we don’t trip over im!”

We always called him Bad Boy. He used to drive a milk truck.

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I'll tell you who really started out with me: Tina Turner. She was waiting tables, wore on her little short dress; she wanted to sing. I say, 'You can sing if you want'. She would jump up there and she'd sing and she'd always throw her leg over. Well, see that run a lot of customers away - if a man got a wife and Tina comes by and you watching her, and your wife say, 'I see you watching that woman with that short dress on', she's looking so hard and, if the woman don't say nothing, she watch her and then she watch her man and a man can't be still when she starts wiggling. His wife might say something, like, 'Get me another beer' and he don't hear, he's so busy watching. 'You can't hear me for watching that woman', you know, ‘I won't come here again.' I said, 'Tina, you drive my customers away.'

Jimmy Spruill is a very odd kind of a person, just has his own thing

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I had a deal I used to do when I played saxophone when we'd get into it, I'd get on my knees or I'd fall on my back and me and this other saxophone player would kick our heels up in the air, man. We were playing in one of these real dives, man, I mean the floor looked like it had mud on it all the time, but it was a packed house. We started puttin' on our act and the saxophone player and I walked out through the crowd and we fell down on the floor, so the guitar player decided to join us. He fell down on his knees, and then he fell down on his back, man, and he was playin  his guitar with his teeth and the piano player looked around and saw him on the floor and he stopped right in the middle of the song and he got on the microphone and he told him, 'Hey, get up offa that floor with my suit on!' That cracked the house up.

"Keep Your Big Mouth Shut" very popular with the birds in Manchester

 

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To those of you who may be shipwrecked in the Pacific Ocean in the near future, I offer the following advice; head for Hawaii. There, in a club in downtown Honolulu you will find one of the greatest ravers of all time, the legendary Screamin' Jay Hawkins. [Jay had by now fully recovered from his stab wound inflicted by his ex-partner, a girl called Shoutin' Pat.] "I Put A Spell On You" is the big one. Jay starts by doing a special war-dance, prowling around the stage with tambourine in one hand, and Henry in the other. Accompanied by rolling drums he stalks across stage as though looking for blood. Crash! Jay bashes Henry over the head with his tambourine and leaps back across stage. One, two, three, four, and in comes the well known "Spell" beat. Halfway through Jay leaps back with arms outstretched as a vivid green flash lights up the entire club. Jay's other self-composed song was "Alligator 'Wine," which really shook some of the younger birds - dig the opening line "Take the blood out of an alligator!" ... Tremendous ...  

"Solomon Burke loves to eat," said our man Jalacy Hawkins when asked about the King Of Rock 'n Soul during a crowded car-ride from Blackpool to Manchester. "If a chick goes out with Solomon she has to like food, all kinds of stuff. Solomon has his flat filled with hamburgers all hours of the day and night.'' Jay used to live next to Solomon in New York, so he ought to know. Jay digs chicken gumbo, by the way, and Ginny sure cooks a mean chicken gumbo! I look forward to the day when hamburger sales increase, and Solomon comes to spread some much-needed soul amongst us. Long live the King Of Rock 'n Soul!

"Sonny Boy was the randiest man I have ever met, bar none"

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The Stones came down to the Twisted Wheel about the same week as their first album was released and I got a copy of it and I played every original track off the album. I played ‘Walking the Dog’ by Rufus Thomas, I played ‘I’m a King Bee’ by Slim Harpo and so on, I just played all the originals, and they stood there at the coffee bar surrounded by people just looking at them, not talking to them, looking, because they were quite big by then. They knew exactly what I was doing and I suppose most of the kids did as well. I just felt like doing it you know, played all the originals in the same order as the LP, bang, bang, bang, bang, bang because I thought The Stones were being real lazy, just copying other people’s songs and doing a very feeble, white, puny version of them. I actually got on ok with the Stones. Brian Jones bought a copy of R&B Scene off me when I was in London. When the Stones went to The States they got Howlin’ Wolf on prime time national television. Fucking hell, that’s the thing to do! I admire them for doing that.

Imagine the surprise of Roger putting him into the car for the drive from the airport to Manchester city centre, and they’ve just about reached Fallowfield when Jay rolls down the window and pulls out a revolver and starts firing. Whether it was blanks or what to wind Roger up I don’t know.
Roger says “What the fuck do you think you’re doing?”
Screamin’ Jay goes, “Just keepin’ ‘em on their toes man!”
Have you heard the story about them driving through town with Lightnin’ Hopkins. Lightnin’ shouts through the window, “Come on over here baby, I’m gonna teach your pussy to whistle” and Roger’s going, “We don’t do that sort of thing”

 pdf of pix not included in the ebook version

Sportin’ class o’ women runnin’ up and down the street all night long

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Memphis Minnie sits on top of the icebox at the 230 Club in Chicago and beats out blues on an electric guitar. A little dung-colored drummer who chews gum in tempo accompanies her. Midnight. The electric guitar is very loud, science having magnified all its softness away. Memphis Minnie sings through a microphone and her voice - hard and strong anyhow for a little woman’s - is made harder and stronger by scientific sound. The singing, the electric guitar, and the drums are so hard and so loud, amplified as they are by General Electric on top of the icebox, that sometimes the voice, the words, and the melody get lost under their noise, leaving only the rhythm to come through clear. The rhythm fills the 230 Club with a deep and dusky heartbeat. Memphis Minnie’s feet in her high-heeled shoes keep time to the music of her electric guitar. Her thin legs move like musical pistons. She grabs the microphone and yells, “Hey, now!” Then she hits a few deep chords at random, leans forward ever so slightly over her guitar, bows her head, and begins to beat out a good old steady downhome rhythm on the strings - a rhythm so contagious that often it makes the crowd holler out loud. - Langston Hughes, the Chicago Defender, January 9, 1943

a sexy growl that gradually rose to a series of wild honks and screams

 

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blues queens celebrated freedoms in no uncertain terms: “No time to marry, no time to settle down,” Bessie Smith sang, “I’m a young woman, and ain’t done running ’round.” And if their current lives still involved trials and troubles, blues provided a way to speak out: Smith threatened that if her man interfered with her affairs, “I’m like the butcher right down the street, I can cut you all to pieces like I would a piece of meat.” Ma Rainey sang of the harsh realities of domestic violence, describing a man who would “take all my money, blacken both of my eyes, give it to another woman, come home and tell me lies.” But she also sang about finding happiness in lesbian culture, dressing up in “a collar and a tie” to go out with “a crowd of my friends / They must have been women, ’cause I don’t like no men.”

the whole nasty image started with Brian, because Brian was a bitch

pile of music bios here - thanks to wilfofhove for the tip

“Our rhythm guitarist was Brian Pendleton. He wasn’t popular, poor guy. But anyway, Pendleton and me went shopping in Carnaby Street for a pile of new gear. Pendleton bought this black and white striped jersey. Next day Brian spotted it in the flat. ‘Oh, that’s real nice!’ says Brian. ‘We’re doin’ RSG! live tonight. Do you think anybody would mind if I borrowed it?’ I laughed and said, ‘Yeah, go on and take it.’ Poor Pendleton never saw it again. But you know the best bit? We were all sitting in the flat that night, before the telly, and on comes Brian, you know, like wearing this jersey. ‘Oh, look!’ cries Pendleton. ‘Brian’s got a jersey just like mine!’ Well! We all fell about laughing. He didn’t twig. He never twigged! He kept saying, ‘I wonder whatever happened to my jersey like Brian’s?’ And I wouldn’t mind, but every boy in the land the next day went out and copied Brian’s jersey. He was photographed in it too, so many times. “ About that jersey, Phil May says, ‘There’s no way Brian would like a jersey and go out and buy one like it. He’d just nick it. That was just Jones.’

couples rubbing against each other in drunken, snaky dances

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James Cotton would recall the Waters band being booed when they opened for Vaughan at Washington’s Howard Theater—but at the rowdier rock ’n’ roll shows, Waters did just fine. This was a time when Wolfman Jack was broadcasting from the Mexican border, and one of his typical segments would segue from Bob B. Soxx and the Blue Jeans singing “Zip-A-Dee Doo-Dah” to Jerry Lee Lewis’s “Great Balls of Fire,” then into a rap that would go something like: “Here’s Elmore James and his funky-funky slide guitar. Makes me want to get naked every time I hear it, baby…and I wantcha to reach over to that radio, darlin’, right now, and grab my knobs!”

I done bought about seven divorces.I love these women

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"Yes. Honky Tonks, where one sees the other side of Houston's nightlife.For these places are rendezvous for those who like the enjoyment in a crude way.Clothes are of the least importance.The men and women who frequent these places are usually in their work clothes...Lacking in modern furnishings they make up for it with hilarity.The jocund strains of guitar music ringing from the nickelodeon sends the crowd there in to dances that crosses between the swing out of today and the native dance of the dark continent.Women swing and shake their bodies,while the men do their numbers.Words of all description can be heard among the throng.Though somewhat primitive,it is an interesting spectacle"-Houston Informer 1940

Gimme a cigarette and then I'll be ready to talk

                                           
                                                          pdf scan (3 pages/4MB) from Jazz Journal 1960

M:Just after we'd left your place one day,two cops stopped us wanting to know what we were doing in the coloured part of town.Two goons with big guns and no brains.

LH:Around where you were, around Holman and Dowling , that'll happen to you.They got all them winos around there-and the cops are mean bastards.They will give a man trouble,but it don't happen other parts of Houston.