In the blues world before Robert Johnson and his highly influential and enduring recordings, plus the lore of his legendary “live” performances and physical meanderings, two blues artists held the position of being the most consequential to the emergence and evolvement of Delta blues, the so-named “Father Of The Delta Blues” Charley Patton, and the author of one of the all-time Delta blues classics, “Death Letter Blues,” Son House.  The spells cast by the blues they wrote have persevered as certain of the most dominant and important ever, but also the manners in which they presented their blues brought to the blues passionate deliveries the likes of which, during their respective productive periods, were high theater.

Patton’s percussive frameworks, his gravelly, bawling vocals, and sinuous guitar style made him one of the blues’ earliest stars.  House’s demonstrative power, gashing and severe steel guitar thrumming, and bemoaning and howling singing style made him a tornadic blues figure.  How could these two Delta blues masters not influence legions of blues artists?

In addition to Patton and House, both certainly well-known to most blues fans, the often lesser-discussed Tommy Johnson remains somewhat mysterious to many.  His voice that could segue from a full and prominent holler to an uncanny falsetto, and his guitar playing was comprised of periodic elevations of pure virtuosity. 

This week I pulled from my collection the fine LP “Drinkin’ And Stinkin’” by Boogie Bill Webb, his 1989 collection on the Flying Fish label (FF506), his first full-length recording.  Eight of the 13 cuts on the LP are Webb originals, with covers by King Curtis, Lowell Fulsom, Leadbelly, Tommy Johnson, and Roosevelt Sykes. 

Being from Jackson, Mississippi, Webb was greatly impacted by the eminent bluesmen of the Delta, artists such as the previously mentioned Patton and House.  Bit moreover, the blues of Tommy Johnson were extremely impactful on Webb, and since he is top-of-mind, it seems the right time to present a brief overview of his life and musical career.

Webb came into the world in late March, 1924 in Jackson, Mississippi, the capital and largest city in the state, one that is located in Hinds County, a region in the mid-southwestern part of the state.  Not much information is available pertaining to Webb’s early formative years, but it is generally accepted that at the age of eight he obtained his first guitar, a cigar box contraption that was strung with window screen wire.  As an aside, blue great Buddy Guy often mentions his first guitar being strung from window screen material. 

The modest instrument set Webb off on a journey of discovery of the music he heard all around him, particularly that of the aforementioned Tommy Johnson.  It is said that Webb’s mother was prone to hosting many rural fish fry parties in their area that were so prominent in the southern U.S. during the period.  At these events, Tommy Johnson was a regular performer, and certainly Webb was affected and inspired by what he heard.

Webb continued to develop his guitar proficiencies on his initial humble guitar, when in his teen years he came to own his first true guitar.  With this new instrument in hand, Webb continued to absorb all the lessons he could from the musical world around him, long practicing to develop his own style given the influences bombarding him.

1947 was a big year for Webb.  He entered a talent show and won, and for his efforts he received a small part in a music film entitled The Jackson Jive.  Extremely motivated to further his blues career, Webb continued to hone his craft and played the many rural opportunities available in his area for a skilled blues artist.

1952 was another milestone year for Webb as he made the decision to leave Mississippi and settle in New Orleans.  In the Crescent City, Webb united with a friend he had made earlier, the legendary Fats Domino.  Through Domino, Webb gained an introduction to the equally legendary music producer and musician, Dave Bartholomew.  Through this new association, Webb would attain a recording contract with the powerhouse Imperial Records imprint.  In total, Webb recorded four sides for the label, with his first release being 1953’s “Bad Dog.”  It was in the undeniable country boogie framework; unfortunately, musical tastes were changing toward more upscale R&B.  Being frustrated with the lack of exposure the release brought him, Webb departed New Orleans, heading northward to Chicago where for over five years he worked a succession of uninspiring factory jobs.  However, while in the city, Webb performed with the likes of Chess Records giant Muddy Waters, Vee-Jay Records’ star Jimmy Reed, and the blues boogie master John Lee Hooker, among others.  If nothing else, Chicago provided Webb a master class in post-war blues.

In 1959, Webb again returned to New Orleans where he took work as a waterfront manual laborer.  At first, Webb played his blues very sporadically.  However, a break of sorts came his way in 1968.

The well-known blues researcher, author, and performer Dr. David Evans recorded several of Webb’s blues that were then released on an Arhoolie Records LP entitled Roosevelt Holts And His Friends (Arhoolie 1057).  A 1972 release, the LP featured two Webb outings over its 11-song collection. 

The Arhoolie Records LP gained broad popularity overseas among European blues fans.  So popular was the LP and Webb’s contributions on it that some European blues fanatics traveled the long journey to New Orleans to meet and hear Webb in-person.

Webb also saw five of his blues released on the 1972 16-cut blues compilation LP entitled The Legacy Of Tommy Johnson (SDM 224), a release on the Saydisc Matchbox imprint. 

Webb’s enhanced exposure led to him accepting an invitation to play in Europe in 1982, his first venture abroad.  While there, he played a major music festival in The Netherlands.

It wasn’t until 1989 that his excellent and previously mentioned LP “Drinkin’ And Stinkin’” collection was issued on the Flying Fish label.  There is an interesting story about how Webb’s first full-length release got its title.  The account goes that Webb had been cavorting with three women non-stop over the course of three days, and the experience led to the collection’s title.

Over the course of his blues career, Webb merged his strong country blues roots sensibilities with those of the more urbanized R&B sounds of his adopted New Orleans.  His was indeed a distinctive sound matchless in the chronicles of the U.S. southern music form, particularly that of the blues.

A year after his first full-length release, in late August, 1990, Webb passed away.

Webb’s solo LP can still be found, as can various compilations that include his blues work.  In addition, Storyville Films’ The Blues Of Boogie Bill Webb (VHS 6043) and The Blues Of Boogie Bill Webb Recorded In New Orleans (DVD 60433) provide interesting views into Webb and his music.

Webb and his blues should be known by any serious blues fan.