The reason why New Orleans gained the important role on rock'n'roll in the '50s was, it seems to me, that it had many musicians who played easy-going swing or boogie-woogie jazz, which had been overshadowed in the big cities after the WWII, and that cheerful grooves of the land spawned beat-laden music. This stream led to rock'n'roll or R&B of New Orleans formed mainly by pipes like saxophone and piano. Professor Longhair a.k.a. Roy Byrd left some early-50s recordings in the transition period changing from boogie-woogie to R&B. His modulated rolling rhythms of piano is nice on his Atlantic recordings of Hey Little Girl, Tipitina or Mardi Gras in New Orleans. "'Fess", the compilation of his studio recordings and live ones, contains Big Chief of '64. On this tune where Dr. John was also resided, Fess's piano is sort of hidden behind over-whelming horns and the second-line rhythm section. And you can find a whistle done better than him and a blusy voice higher. The owner of this voice and the arranger of the tune is Earl King whom I talk about later. He himself had less opportunities to cut his sides, however, he was a wet, blusy and pretty guitarist and a fine song-writer.
I found Earl King for the first time in the credit of Always a First Time, which has 60s' edged but loose grooves of the New Orleans origin appeared on this regional compilation "Gumbo Ya-Ya vol2". Although I was less interested only in it, I found myself feeling good on Trick Bag, the flip side of Always a First Time, and Come on of another R&B compilation "Let the Good Times Roll". These three tunes are from Imperial where Dave Bartholomew reigned. Different from the contents of the lyrics, his guitar is blusy and sort of spell-bound. He met a pianist Huey Smith and got to sing together with Huey and learned to play guitar. He was largely influenced by Guitar Slim, who became a star with The Things that I Used to Do which was recorded in New Orleans and featured Ray Charles. You can hear Guitar Slim tunes, loud and distorted electric guitar sounds, on his bests like "Sufferin' Mind", and you may find Earl King of the '50s so resembled him that Earl did some gigs on behalf of him. However, as time went by, his composition got out of the second blew. Smiley Lewis's I Hear You Knocking was co-written by him. Come on (Let the Good Times Roll) was later picked up by Jimi Hendrix. Lee Dorsey's Do-Re-Mi and Willie Tee's Teasin' You (appeared on "Atlantic Rhythm & Blues") became hits : these funny and easy-going but somewhat wet arrangements should bring you the breezes of New Orleans.
As he walked from label to label such as Savoy, Specialty, Ace or Imperial, there is no appropriate compilation of Earl King. "Earl King 1953-1955", which includes tunes of his Guitar Slim-influenced days, let you hear his largest hit on chart Those Lonely, Lonely Nights. Huey Smith who played piano on this tune and he got to wrote songs and do A&R jobs. "An Introduction to Earl King" contains Darling Honey Angel Child, his Rex side and the original of Come on. This and the live of Trick Bag suggest that his Imperial tunes should be worth listening, however, it's hard to get them on CD. There was an album made by himself and Allen Toussaint and the Meters in '72, but it was cancelled since the contract with Atlantic was in vain. After in the '80s the whole album was brought to light on discs like "Street Parade". While I am pleased to listen, I think there should be anyone but me who get angry with the situation that this wonderful stuff could not be released at the time. Their funk is inspired by James Brown and tucked by fat horns and unique second-line rhythms and got coiled round by Earl's guitar. All I can say is that The Real McCoy or Street Parade or Medieval Days is so cool.
He later released his first full-volume album "That Good Old New New Orleans Rock and Roll" at Sonet label in '77. This is well produced but contains mainly re-recordings of his old tunes, which suggested his sparse activity. Despite it, he finally revived at Black Top label. "Sexual Telepathy" and "Hard River to Cross" are backed by solid sidemen and feature his old friend Snooks Eaglin who plays guitar so good that his hands run on the frets. Earl King cannot be said to be so successful, however, there are many people around him each of whom I want to talk about. The label of his Specialty single should have got his nickname "King Earl", but the first name and the family name were reversed and then he got his stage name. His guitar should not be known wider than the great three Kings : B. B. King, Freddie King and Albert King, however, it is decided that he is "King" of New Orleans. (2007/10/24)