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Big John's Boogie (1974) - Big John Wrencher


    Featuring »

Big John Wrencher

    Tracklisting »
Regular Album Tracklisting:
Honeydripper
  Running Time: 2:18
Third Degree
  Running Time: 4:35
Now Darling
  Running Time: 3:35
Where Did You Stay Last Night
  Running Time: 3:51
Trouble Makin' Woman
  Running Time: 4:11
Lonesome In My Cabin
  Running Time: 4:07
How Many More Years
  Running Time: 4:20
Come On Over
  Running Time: 3:14
Telephone Blues
  Running Time: 6:36
Runnin' Wild
  Running Time: 3:53
CD Reissue Bonus Tracks:
Big John's Boogie
  Running Time: 2:40
I'm A Root Man
  Running Time: 4:02
    Guest Appearances »

Bob Brunning, Bob Hall, Eddie (Playboy) Taylor, Pete(r) York

    Released »

1974

    Format »

Import Vinyl/CD Album

    Other Appearances »
Louis Armstrong (Songwriter), Eddie Boyd (Songwriter), Willie Dixon (Songwriter), Arthur (Harrington) Gibbs (Songwriter), Joe (Joseph W.) Grey (Songwriter), Howlin' Wolf (Chester Burnett) (Songwriter), Joe Liggins (Songwriter), Lil Hardin (Armstrong) (Songwriter), Leo Wood (Songwriter), Big John Wrencher (Songwriter), Mike Leadbitter (Liner Notes), Jim Simpson (Liner Notes), Jim Simpson (Produced By), Vic Keary (Recording Engineer), Paul Bevoir (Artwork By), Paul Bevoir (Design By), Vic Keary (Mixing Engineer), Alan Johnson (Original Sleeve Photographs), Roger Dopson (Reissue Co-Ordinated By), Nick (Ears) Watson (Sound Restoration By)

    Record Label »
Bear/Castle Music Sanctuary Blues Masters

    Catalogue Number »

06076 81280-2 (CD Reissue)

    Running Time »

40:51/47:39

    Liner Notes »

For original issue:

Recorded and Mixed at Chalk Farm Studios, London, during Feb/March/April 1974.

In spite of an air of urban sophistication, BIG JOHN WRENCHER is a country boy like most of his contemporaries and his powerful stage act belongs to Southern honky-tonks rather than the more glamorous surroundings in which he'd like to play. His command of the harmonica, mellow voice, wide repertoire and sheer presence indicate a professionalism rarely witnessed in Blues circles, but his life began in almost routine fashion...

Born near Sunflower, Mississippi, on February 12th 1923, he was raised on the Davis Plantation, about twelve miles out of Clarksdale, and lived there until the age of 23, when the urge to ramble overtook him. One of seven children, all boys, he was inspired to play harmonica after hearing 'Sidney', a local musician, and was introduced to juke joints whilst in his early teens by his father, a man who loved to gamble on Saturday nights.

His first real memories of music-makers concern Sonny Boy Williamson (Rice Miller), Robert Jr. Lockwood, Robert Nighthawk, Dudlow Taylor, and Peck Curtis, the KFFA bunch, who'd all perform at Henry Hill's roadhouse on Highway 6, near Lyon, a place much frequented by John and his father, and remembered for a noisy generator that supplied the joint with electricity (then, a Delta novelty). He also got to see Jimmy Rogers at Minter City and recalls the activities of Lee and Willie Kizart at Tutwiler, but his own musical experience was limited to an occasional jam with 'name' entertainers, when actually allowed to sit in.

In 1947 he grew tired of milking cows and driving tractors six days a week and decided to head North through Tennessee and Missouri to Chicago, attempting to exist as an itinerant musician en route. His subsequent travels took him all over Missouri, Indiana and Illinois, and he only really settled when he hit Detroit in 1956, staying on for five years.

While in Detroit he'd made regular visits home to see his father, driving into Mississippi via Memphis, and it was during such a trip that he crashed at Mount Bayou and lost an arm (his left one). Forced to seek regular work in order to survive he became a side man with bands led by Baby Boy Warren and Little George Jackson, or led his own little combo which featured Pete Curry (guitar) and 'Sleepy' (drums). Gradually developing a new skill as a one-handed harp blower he made test recordings for JVB, but never saw a record issued.

Being totally dependant on music or welfare, John would often return South to work around Clarksdale with old friends like Ernest Roy or Little Chuck Berry. With a car adapted to suit his disability he really got around in the late fifties, proud of the fine reputation he'd managed to build up as a weekend Delta attraction, and in 1960 he moved on permanently to East St. Louis where he'd found employment with guitarist and nightclub owner James DeShay, an obscure figure remembered by Little Walter and others. In the East St. Louis - St. Louis area, John usually appeared at the Cotton or Red Top clubs, and a famous spot owned by the late Ned Love. But he also did a little touring with Albert King and DeShay, who took him into Arkansas to fill engagements in towns like Forrest City.

From 1962 onwards he's lived in Chicago, gaining a measure of International fame in the mid-sixties thanks to appearances in the Maxwell Street market, which were reported in magazines like Blues Unlimited. These also led to sessions for testament, solo or with the Chicago String Band, and, in 1969, Barrelhouse. However, none of the issued titles really demonstrated the true extent of his talent and only the recent European tour convinced doubters like myself that he deserves some real recognition.

Mike Leadbitter
(reproduced with kind permission of Blues Unlimited)

For CD reissue:

THE BEAR remembers Big John Wrencher...

Big John Wrencher was an amiable giant, possessed of that agility so often seen in big men. He also had only one arm, and the sight of that huge bear of a man singing and playing wonderfully, jiving around the stage with such grace, empty sleeve flapping at his side, is indelibly etched in my memory.

He'd lost his left arm on a highway outside Memphis in 1958, whilst driving home from a performance. A hot night, he dangled his arm from the car window as he drove, fell asleep and side-swiped a truck coming in the opposite direction. The story has it that he picked up the limb and walked back into Memphis is (in?) a vain attempt to find a doctor who might reattach it. When we first met, he was also using the sobriquet One-Armed John Wrencher, but was dissuaded from that. He performed with a vivacity and drive that his fellow musicians found compelling. He had a great mellow voice, total command of his harp despite his physical limitations, and an immense stage presence.

He was born John Thomas Wrencher in Sunflower, Mississippi on February 12th, 1923, and raised around the fertle Blues territory of Clarksdale. He was a self-taught musician, but worked as a farmer in the 40s. He took off to hobo through Tennessee, Mississippi and Illinois from 1947 to 1955, working as an intinerant musician on the street, at picnics, parties and jukes. He then moved to Detroit to work full-time in music, before relocating to Chicago in 1962, initially playing for tips on Maxwell Street and subsequently becoming an integral part of The City's Blues scene.

He took to Europe instantly, as we took to him. A fierce scowl masked a character of immense charm and generosity. Onstage he was a king; if ever a man was born to entertain it was Big John Wrencher. His rich vocals and wonderful harmonica playing endeared him to a new generation of Blues fans. On tour with American Blues Legends '74, Big John would often tell the story of his shock on first arriving in England, when he spotted a huge dog driving a truck: "Damn", he said "I know they are pretty clever over here in England, but I never throught I'd see a dog driving a truck!" He was somewhat disappointed to subsequently discover that we drive on the left-hand side of the road.

Big John Wrencher, always larger than life, died on July 15th 1977, in Clarksdale, Mississippi, whilst on a visit home.

Jim 'The Bear' Simpson

Check out the Big Bear website: www.bigbearmusic.com

Santuary Blues Masters

Castle Music is a label of Santuary Records Group Ltd.

Manufactured and Distributed in the United States by BMG Distribution, a unit of BMG Entertainment.
1540 Broadway
New York, NY 10036

BMG is a trademark of BMG Music.

Unauthorized recording is against federal law.

The copyright in these sound recordings is owned by Big Bear Music Ltd, issued under exclusive license to Santuary Records Group Ltd.

(C) (P) 2003 Santuary Records Group Ltd. The copyright in this compilation is owned by Santuary Records Group Ltd.

    Reviews »
Add your review here.

3/5.03/5.03/5.03/5.03/5.0
Harmonica stylings not too overpowering
Review written by John Fitzgerald, August 16th, 2004

I had feared that Wrencher's harmonica leanings would make this a rather stale offering and while I do like the less harmonica led tracks here, I was surprised how much restraint he had shown on this album to let the others get the spotlight once in a while which earns him big points here. Unfortunately the liner notes of this album don't list which songs Brunning is playing bass on though I know he's on the two bonus tracks on the CD edition of this album as they were taken from the various artists "American Blues legends '74" album but as I've reviewed that album already, I won't go in to that here. As for the regular album tracks, "Honeydripper" is a peppy start, "Third degree" has that "Long grey mare" type rhythm drive and this is the beginnings of Wrencher's jumping in the back seat in favor of others getting featured which happens often throughout the platter. I would imagine Brunning and co. are on "Now darling" as this slow blues to me sounds very Brunning Sunflower Blues Band-ish. "Where did you stay last night" is another chirpy boogie, "Trouble makin' woman" is a slow stroller and "Lonesome in my cabin" has a funk feel on the rhythm but it's repeating nature firmly anchors this track in blues. The cover of Howlin Wolf's "How many more years" here many Mac fans will recall from the "Peter Green's Fleetwood Mac" album as this track was under the title "No place to go" there and it's handled very much the same way here. "Come on over" is a fast bouncy boogie though there is a lot of harp featured on this one, "Telephone blues" is a piano featured slow burner and the closing "Runnin' wild" with the presence of Eddie Taylor on this album shows much of Taylor's funk like influence on this track. So I would ask those that are not big on harmonica led blues to at least give this album a chance as you will most likely find some of Wrencher's back seat numbers surprisingly quite pleasing. I'd give this 3 & a half stars if I could.

    Last Modified »
2010-07-28
    Tracklisting »
Discography entry submitted by John Fitzgerald.