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Artist Profile
Fenton Robinson – Chicago’s Mellow Blues Genius
I was sitting downstairs in my blues room the other evening listening, ironically, to Fenton Robinson’s superb Alligator Records release entitled I Hear Some Blues Downstairs, enjoying that understated and yet penetrating guitar style of his, along with that subdued gliding voice. It all yet again affirmed that Robinson remains one of my all-time favorite blues artists, one whose work always satisfies, however with a style that remains quite divergent from what was being played in Chicago when he was at the height of his recording and performing peaks.
I realized when enjoying Robinson’s blues that my deep appreciation for his musical genius called upon me to provide a brief overview of his life and career. I am surprised that it took me this long to get around to outlining the particulars of his days and spectacular blues offerings.
Fenton Lee Robinson came into the world in late September, 1935 in Greenwood, Mississippi, a town and the county seat of LeFlore County, which is located in the state’s upper mid-western region. The earliest impetuses for Robinson’s interest in music, specifically the blues, are vague, at best, but being in Mississippi during the time of his youth no doubt exposed him to the various social events where the music would be played. Surely, the blues had to be all around him.
What is known is that a young Robinson had access to a radio, and he particularly reveled in the blues he heard being played over the airwaves. A prominent awareness of, and appreciation for, the blues of T-Bone Walker especially grabbed Robinson and raised his interest for both the blues and the genre’s guitar playing component.
Around the age of 16, the teenaged Robinson left home and made the pilgrimage to Memphis, Tennessee. By this time, Robinson was deeply enmeshed with the blues, his guitar playing, and vocal capabilities, and in Memphis he focused on developing his musical career in a city with a deep blues history and vibrant scene.
Serving, if you will, his blues apprenticeship in Memphis while in his early twenties, he realized two occurrences that must have only been dreams of his at one point. First, he became a popular performer on the Southern U.S. blues circuit and, in 1957, he saw the release of his first recording.
Robinson’s first record, one released on Memphis’ Meteor Records label, included “Tennessee Woman” and “Crying Out Loud,” under the name of Fenton Robinson With The Dukes. Robinson played guitar and sang on the cuts, with the accompanying guitar of Charles McGowan, drumming by J.W. Hughley, and supporting bass work of Larry Dale.
Now, something was really materializing for Robinson, and through nonstop gigging he established a strong reputation among blues audiences in the U.S. South. It was, thus, only natural that Robinson’s high blues proficiencies would come to the attention of Duke Records, a major Houston, Texas-based operation, and he recorded a number of very strong selections for the label between 1958-1959, including a remake of “Tennessee Woman.” While on the Duke imprint, he recorded under his name solely, the Fenton & The Castle Rockers moniker, plus the Fenton Robinson – The Castle Rockers designation.
After spending the late 1950s and very early 1960s playing the southern U.S., 1962 saw Robinson make a major move northward to Chicago. In the big northern blues hotbed city, Robinson continued to hone his blues craft, and his broad musical aptitudes allowed him to record singles for various Chicago labels including U.S.A. Records, Palos Records, and Giant Records during the 1966-1969 era. His 1967 Giant Records release ”Somebody (Loan Me A Dime)” and “I Believe” was a true turning point in Robinson’s blues career arc, as ”Somebody (Loan Me A Dime)” was extremely popular and led to great demand for him in Chicago’s clubs.
There exists a very unfortunate story surrounding “Somebody (Loan Me A Dime). Though exceedingly popular, poor distribution plagued the release. Plus, a young rock artist, Boz Scaggs, greatly liked the song, and recorded it. As a result, it became something of a huge blues rock landmark. However, because of a major publishing mistake, Scaggs was indicated as the song’s writer, though Robinson finally received both the composer credits and owed royalties after a protracted court case.
Robinson continued to regularly play the blues circuit, and also continued to record singles for a variety of small labels during the 1970-1974 time period, including the Sound Stage 7, Seventy 7 Records, and P-M Records imprints. But most importantly, he also saw the release of full-length LPs, first in 1972 then again in 1973 for Seventy 7 Records, the titles being Monday Morning Boogie & Blues and The Getaway, respectively.
For Robinson, 1974 was a major year. He signed with Chicago’s Alligator Records label, and his first LP release was entitled Somebody Loan Me A Dime, a brilliant 11-cut outing that featured his melodic, smooth blues guitar style and silky vocals. The release included Chicago blues great Mighty Joe Young’s guitar support and a full horn section. Impressive songs from the LP include the title cut, “Going To Chicago,” and a version of Larry Davis’ “Texas Flood.” In fact, Davis’ original version of “Texas Flood” featured Robinson on lead guitar.
Robinson’s first Alligator Records release only solidified his high reputation as a blues artist of special renown, and his ability to perform only was enhanced on the strength of the LP. Robinson was indeed “The Mellow Blues Genius.” His entrancing blues guitar playing became steeped in a smoother jazz style once in Chicago, and those sensibilities clearly came through on his initial Alligator Records collection.
Unfortunately, in 1975 Robinson killed a pedestrian as a result of a vehicle accident, and subsequently was convicted of involuntary manslaughter and sentenced to Illinois’ Joliet State Penitentiary for three years. However, an intense letter writing campaign to free Robinson from prison was undertaken under the lead of Alligator Records’ founder Bruce Iglauer, and ultimately Robinson was released from his incarceration after serving nine months of his sentence.
As would be expected, being away from the blues scene temporarily halted any momentum achieved as a result of Robinson’s first Alligator Records outing.
In 1977, Alligator Records released Robinson’s I Hear Some Blues Downstairs, and its nine selections were very good. Particular standouts from the collection are the title track, “West Side Baby,” and “As The Years Go Passing By.” A modest horn section, Steve Ditzell’s rhythm guitar efforts, and Larry Exum’s bass frameworks greatly bolstered the session.
A third and final collection on Alligator Records entitled Nightflight was released in 1984, after initially seeing the light of day in the same year on the Black Magic Records label out of The Netherlands, with that release entitled Blues In Progress. The collection’s breadth of styles including straight-ahead blues and jazz-soaked shuffles, plus that silky-smooth Robinson voice and those inventive guitar runs show Robinson still hitting great heights. The proceedings were enhanced by the appearance of Chicago blues harmonica giant Junior Wells, blues guitar great Larry Burton supporting role, Aron Burton plying his expansive bass skills, with a full horn section wonderfully complementing the outing.
Soon after, Robinson was gone from Alligator Records. By this time, Robinson’s lofty reputation for his guitar style, one imparted with a swinging nature, and chock-full of beautiful jazz chordal sequences, being both discriminating and dramatic, was intact. His singing, always affecting, remained strong. And being a man who authored well over ten blues benchmark songs, he was as vital as ever. Simply, Robinson’s blues had always been a delicious meld of splendor and authority.
In the 1980s, Robinson made a decision to leave Chicago for a life in downstate Springfield, Illinois. What drove him away? Robinson was always a very restrained stage performer, and as blues audiences were wanting more animated blues artists with louder approaches to the music, that style didn’t fit him.
However, once settled into Springfield, Robinson decided that teaching about the blues, both academically and via instrumental lessons, was his calling. He enjoyed teaching youth about a music he greatly cared about. Yes, he would occasionally play, and continued to for the rest of his days, but he gleaned a lot of fulfillments from his instruction.
In 1989, Robinson saw the release of the exemplary 13-track collection entitled Special Road on the Black Magic Records label. The outing was reissued in 1993 on the Evidence label.
In 1995 in what certainly was a performing crowning achievement for Robinson, Robinson played for an audience estimated to have been around 100,000 blues lovers at that year’s Chicago Blues Festival. However, in November, 1997 he passed away from the effects of brain cancer.
Robinson’s music has been lauded and covered by the likes of Eric Burdon, Elvin Bishop, and Charlie Musselwhite, to name but a few. He was truly a brilliant musician. However, Robinson certainly didn’t receive the recognition due him. Perhaps his music was too melodious, too lush, and too tasteful for the blues “boogie ‘til you puke” crowd. If that’s the case, and I believe it is, boy, did they miss the boat with Robinson. But those of us in-the-know greatly appreciate Robinson’s blues legacy.
Essential Blues Recording
Junior Wells – Wells’ Extraordinary Earliest Blues Harvest
Junior Wells – Blues Hit Big Town – Delmark DD-640
For my money, Wells’ harmonica on this collection is the best he ever presented. And that, to me, is saying a lot, as I am an unabashed fan, and his career’s recorded works are bursting with terrific expeditions on the humble instrument.
It’s challenging appraising blues recordings, and authoring pieces about the blues, since no matter how hard I endeavor, my prejudices are ultimately going to become apparent. I realized this back when I obtained my Masters Degree from Indiana University, researching and writing a graduate thesis on the notion of travel in blues lyrics. As a component of that capstone undertaking, I incorporated an appendix that embodied 50 essential blues collections that I felt belonged in every personal blues collection. When I now reflect back up on that roll, I can conspicuously see my intrinsic inclinations, but that is not singular to me. No less a revered music writer and critic than Peter Guralnick remarked in one of his superb books that he experiences the same challenge.
But with Junior Wells, I am beyond a bit jaded. From the first time I heard Wells’ music originating from my stereo speakers, witnessed him performing to eager audiences in venues small and large, made acquaintances with him, and studied his many blues recordings, I have determined him to be in the highest tier of the blues tradition.
Wells’ 1965 Hoodoo Man Blues, his pivotal recording on the Delmark label, captured a working Chicago blues group on a recording, being the first of its kind, with the outcome being greatly applauded, and appropriately so, as one of the most significant blues recordings ever.
This 2015 17-cut CD reissue of an original 1977 12-selection outing gloriously presents Wells’ introductory output for the Chicago-based States Record Company label, an imprint that was a subsidiary of United Records. States Record Company focused on blues, R&B, and jazz offerings, and Wells’ production for the label saw him on a blues roster that included Robert Nighthawk, T. J. Fowler, L.C. McKinley, James Banister, Harold Burrage, Big Walter Horton, and Lefty Bates.
Wells would have been 19 and 20 years of age at the time of these sides, certainly at the peak of his youth, strength, and emerging proficiencies. His singing is confident but not brash, and his harmonica flourishes completely dazzle with their inventiveness and array of sonic frameworks. Again, I cannot immediately bring to mind any collections where Wells’ harmonica incursions please as much as those found across this collection’s grand offerings.
Backing Wells on these blues are an astounding assemblage of Chicago blues royalty including Elmore James, Louis Myers, Muddy Waters, Johnnie Jones, Otis Spann, Dave Myers, Willie Dixon, Fred Below, and Odie Payne, Jr. Their individual and collective buy-ins on Wells’ spectacular blues visions mightily assisted in yielding blues of such an astonishing level.
Wells’ lofty reputation was launched via these fantastic blues, and whether the great work here is lively paced or of a slower cadence, a sung selection or an instrumental, this was the beginning of one vital and hearty slice of the esteemed Chicago blues saga.
I remember like it was just recently witnessing Wells hold court at Chicago’s famed southside blues joint, The Checkerboard Lounge at 423 E. 43rd St. in Chicago, dazzling, as always, in a spectacularly colorful and yet sophisticated suit wholly apt for the blues peacock ruling the venue’s diminutive stage. Each Wells show was an event, and I revere my recollections of each of them.
Essential without any qualification! Your blues collection needs this seminal Junior Wells work; without it, is has an obvious void.
Recommended Blues Recording
Various Artists – Extremely Enriching Chicago Harmonica Blues Outings
Various Artists – Low Blows: An Anthology Of Chicago Blues Harmonica – Rooster Blues Records CD R2610
This generous expanded 15-song CD from 1994 is a reissue of a 1988 12-cut collection presenting sterling works by names both familiar and less so to ardent fans of Chicago blues harmonica.
Quite simply, these is a stellar variety of strong early 1970s era Chicago blues performances by, as previously indicated, equally well-known and more obscure Chicago harmonica artists, but this is also a phenomenal document of the tremendously talented bluesmen who backed their work.
Finding blues harmonica titans such as Big Walter Horton, Carey Bell, and Mojo Buford paired on a release with the likes of Good Rockin’ Charles (Edwards), Big John Wrencher, Easy Baby, and Big Leon Brooks only heightens the excitement that the uniformly superb blues found here brings.
And again, mentioning the supporting musicians behind these blues harmonica greats, from song one to song 15, we find the likes of bassists Bob Stroger, Ernest Johnson, and Shorty Gilbert, guitarists Luther “Guitar Jr.” Johnson, Sammy Lawhorn, Big Guitar Red, Eddie Taylor, Sonny Rogers, J.C. Hurds, James Wheeler, Joe Carter, Bobby King, and Louis Myers, drummers Odie Payne, Jr., Sam Lay, Eddie Payne, Frank Swan, and Johnny Junious. These recordings highlight a who’s-who of 1970s Chicago blues.
And, across the panorama of these songs, both the credited bluesmen and supporting backers take turns with the vocals.
But make no mistake, the focus and emphasis, as it should be here, is on the delectable and varying blues harmonica styles brought forth by all involved.
Below are the running song titles on this grand CD. This is 1970s blues of great distinction. One listen to this phenomenal Chicago blues harmonica gathering will only strengthen the appreciation for the art form among blues fans everywhere.
Song Titles
- Big Guitar Red & Good Rockin’ Charles – “Found My Baby”
- Big Leon Brooks – “Kickin’ Up Dust”
- Mojo Buford – “Don’t Go No Farther”
- Easy Baby – “Good Morning Mr. Blues”
- Good Rockin’ Charles – “She Loves Another Man”
- Big Leon Brooks – “Pink Champagne”
- Joe Carter & Big John Wrencher – “Take A Little Walk With Me”
- Golden Wheeler – “Good Lover”
- Big Walter Horton & Carey Bell – “Avenue Stomp”
- Good Rockin’ Charles – “Ground Hog Blues”
- Golden Wheeler – “Evil Woman”
- Big Leon Brooks – “You Know”
- Good Rockin’ Charles – “I Got To Go”
- Good Rockin’ Charles – “Good Rockin’”
- Joe Carter & Big John Wrencher – “Honey Bee”
Highly recommended, indeed!
Short Take CD Reviews & Other Information
Short Take CD Reviews
Robert Thurman – Burning Daylight – Self-Produced – Spectacularly Intimate Blues
Robert Thurman is billed as “One man, one guitar, on a journey…,” and on this 17-cut collection we find 15 originals and two covers, one each by Bo Diddley and Sonny Boy Williamson I. Thurman hails from southeast Tennessee, and is someone whose journey deep into music occurred in his early years when he first heard Jimi Hendrix, a moment that spurred within him an impassioned drive to set out on a course as a singer and performer, and not necessarily a guitar player. While laboring at a local radio outlet in his early teen years, he assembled his first group, a move that led to him singing in, and writing songs for, various bands. As Thurman continued into his early 20s while working a succession of day jobs, he heard a collection by the American rock guitarist Joe Satriani, and this led to his fervent determination to teach himself the guitar. Due to a debilitating health situation, one that led to Thurman being isolated from the outside world for three years, he turned toward the salvation of his music, a decision that ultimately led him to the blues, the music he found idyllic in allowing him to articulate his inner feelings. Thurman’s voice is extremely emotive, strongly convincing, reflective, and capable of grand storytelling. His guitar work is impressively propulsive and driving, yet intricate and genteel when required. Without a shred of doubt, these are, on average, two-minute musical excursions that convey more raw emotion than some artists attempt to get across in multiples of this time. Without question, this is highly personal music to Thurman, and to this reviewer’s great surprise, terrific musicmaking. Well done!
Upcoming Short Take CD Reviews
Labels, artists, and publicists, as we move into 2025, it’s a great idea to get your blues CDs mailed to me for reviews as early as possible as you bring new collections to the market! Remember, please, only blues CDs! I am looking forward to a great 2025 filled with exciting new releases!
Next week will see a review of work by Tim Gartland. I have been informed by artists and publicists that more are on the way, as well.
Blues Song Of The Week
“Born Under A Bad Sign” – Albert King – Stax label #45-217 – Released in 1967
New Jasmine Records Releases
Jasmine Records will release a host of new collections on April 11th, with the following no doubt being of particular interest to Curt’s Blues Blog readers:
- JASCD1237 – Earl Palmer – Drumsville!/Percolator Twist…Plus Bonus Tracks
- JASCD1249 – Various Artists – The Black Roots Of Elvis Presley
Document Records’ Vital Work
Document Records’ mission since 1985 has been to unearth, repair, and re-release the complete recorded works of the majority of Black artists and their recordings from the 1890s to the mid-20th century. The label’s blues selections are presented in chronological order and include studious notes and comprehensive discographic info.
The Document Records online store is simply amazing, and a place where over a thousand collections of astounding past recordings are offered for purchase, either as CDs or as downloads. Document Records offers exciting bundles of recordings on certain artists that bring great value to collecting blues music.
Curt’s Blues Blog is a huge supporter of the important work that Document Records performs, and a great many of the label’s CDs reside in my personal collection.
Below is a link to the online Document Records store. No matter where you are in building your blues collection, you should definitely visit the Document Records online store. You will not be disappointed!
Document Records – Vintage Blues and Jazz
New Delmark Records And Alligator Records News And Offerings
Delmark News And Releases
- The new Tad Robinson collection entitled Soul In Blue has a release date of May 2nd
- A new solo piano CD entitled Johnny Iguana: At Delmark – Chicago-Style Solo Piano will be released on April 11th. This will be a good one!
- Dave Specter will have a new collection released on May 25th entitled Live At SPACE – With Brother John Kattke/Rodrigo Mantovani/Marty Binder. This no doubt will also be a quality outing!
- Check out all the new singles by various artists on the label’s web page
Alligator News And Releases
- K. Harrell has signed with the label, with his first collection to be released in June
- Southern Avenue’s debut label release is scheduled for 4/25/2025
- Carolyn Wonderland’s new release entitled Truth Is is scheduled for May 16th
It’s too bad that both Delmark Records and Alligator Records won’t provide this blues blogger with hard copy CDs of their upcoming releases for reviews. As I’ve explained to both these labels, I do not perform reviews via electronic sound files. I guess that 11,900+ blog readers aren’t enough for the labels to send hard copy CDs! Please, urge them to do so!
Please visit Delmark’s and Alligator’s web sites for information on all the goings on at the labels.
DELMARK RECORDS – Blues & Jazz since 1953
New MoMojo Records Release
A new release from Jad Tariq on MoMojo Records includes five originals and three covers. The release is entitled Jad Tariq Sings…. You just may want to check it out!
M.C. Records Signs New Artist
M.C. Records has signed legendary blues artist Rory Block, and has indicated that a new collection from her will be coming late this Summer. Watch for it!
M.C. Records: American Roots Music Since 1991
Upcoming Mishawaka, Indiana And South Bend, Indiana Blues Shows
For my hometown blog readers:
- Harmonica player and vocalist Tom Moore and guitarist Scott Caviness will be playing an acoustic set from 7pm-8pm at the famed Mishawaka blues venue The Midway Tavern & Dancehall. Sure to be great!
- Little Frank & The Premiers with special guests Gerry Hundt and Billy Flynn will be playing an April 5th show at the famed Mishawaka blues venue The Midway Tavern & Dancehall. This will be a great one!
The Midway’s Facebook page link is below.
- Phillip-Michael Scales will be playing a May 10th show at The Stockroom East. Tickets are $15. This show is in support of his new release entitled Good To Be Here. Folks may remember him opening for Keb’ Mo’ at Elkhart, Indiana’s The Learner Theatre awhile back. The ticket link is below.
Phillip-Michael Scales, Saturday, May 10, 2025, 7:30pm | Stockroom East | South Bend, IN | Opendate
Living Blues Magazine – Latest Edition
The latest edition of Living Blues Magazine is out with features on Wallace Coleman, Stoney B, and Jeff Floyd, along with their Let It Roll series that focuses on T-Bone Walker’s 1947 outing for Black & White Records, a writing by David Evans entitled Expounding Upon The Myths Of Robert Johnson, and of course, the publication’s broad recording review section and additional extensive features. This writer has been a Living Blues subscriber for 36+ years, and though I may not always agree with their record reviews or their journalistic direction, I can’t stress enough how vital this magazine is to the blues. Please consider a subscription if you don’t already have one and support the magazine’s fine work, and the blues in general.
A Reminder To Support “Live” Blues And Purchase A Blues Recording
Touring blues musicians endure an arduous life of traveling city-to-city, sometimes with the distance between shows being many miles. This equates to large outlays for gasoline, food, and lodging (if not often sleeping in vehicle while traveling), When these talented blues artists roll through your town, please consider parting with some of your hard-earned dollars to attend their shows.
Also, with so many online platforms offering blues recordings for sale (check out the Curt’s Blues Blog “Resources” page for many of them), please think about purchasing a new blues CD or MP3 recording for your collection. And often, artists sell their recordings at their shows.
CD Reviews
Once again, a reminder: If you want a CD reviewed, please contact me via the email address found on the Curt’s Blues Blog “Contact” page, and I will promptly answer with the mailing address to get the CD to me. I do not perform reviews via electronic sound files. Please don’t put your promotion company’s sticker over the record company information on the back of the CD jacket. Please be mindful that this is a blues blog, and that providing rock, pop, hip hop, or Americana CDs for review will not find them being considered. And please, don’t mail me CDs with postage due!
It is a goal of mine to have as many CD reviews as possible pass through the blog.
Thank you.
