Ken Will Art and Design, introducing Bluesworld

Blues Legend..Cross Over King.. Jimmy Reed

This is Jimmy Reed.. this is the the Legend..the Big Boss Man, the guy who welcomed me into the Bluesworld...he didn't act all celebrity and get the big head..he was as regular as anyone could be..the nicest guy in the world. Many days we spent the afternoons together..just talking..sharing stories..singing the songs & playing the music that he had made famous.....

Mathis James Reed
BORN: September 6, 1925, Dunleith, MS
DIED: August 29, 1976, Oakland, CA

There's simply no sound in the blues as easily digestible, accessible, instantly recognizable and as easy to play and sing as the music of Jimmy Reed. His best-known songs -- "Baby, What You Want Me to Do," "Bright Lights, Big City," "Honest I Do," "You Don't Have to Go," "Going to New York," "Ain't That Lovin' You Baby" and "Big Boss Man" -- have become such an integral part of the standard blues repertoire, it's almost as if they have existed forever. Because his style was simple and easily imitated, his songs were accessible to just about everyone from high school garage bands having a go at it to Elvis Presley, Charlie Rich, Lou Rawls, Hank Williams, Jr., and the Rolling Stones, making him -- in the long run -- perhaps the most influential bluesman of all.
His bottom string boogie rhythm guitar patterns (all furnished by boyhood friend and longtime musical partner Eddie Taylor), simple two-string turnarounds, countryish harmonica solos (all played in a neck rack attachment hung around his neck) and mush mouthed vocals were probably the first exposure most White folks had to the blues. And his music -- lazy, loping and insistent and constantly built and reconstructed single after single on the same sturdy frame -- was a formula that proved to be enormously successful and influential, both with middle-aged Blacks and young White audiences for a good dozen years. Jimmy Reed records hit the charts with amazing frequency and crossed over onto the pop charts on many occasions, a rare feat for an unreconstructed bluesman.This is all the more amazing simply because Reed'sHowlin' Wolf or a Muddy Waters. But it was exactly that lack of in-your-face musical confrontation that made music was nothing special on the surface; he possessed absolutely no technical expertise on either of his chosenJimmy Reed a welcome addition to everybody's record collection back in the '50s and '60s. And for those aspiring musicians who wanted to give the blues a try, either vocally or instrumentally (no matter what skin color you were born with), perhaps Billy Vera said it best in his liner notes to a Reed greatest hits anthology: "Yes, anybody with a range of more than six notes could sing instruments and his vocals certainly lacked the fierce declamatory intensity of a Jimmy's tunes and play them the first day Mom and Dad brought home that first guitar from Sears & Roebuck. I guess Jimmy could be termed the '50s punk bluesman."

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