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Jimmy Reed

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Rock and Roll Hall of FameRock and Roll Hall of Fame
New World EncyclopediaNew World Encyclopedia

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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, country-ish 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 R & B 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's music was nothing special on the surface; he possessed absolutely no technical expertise on either of his chosen instruments and his vocals certainly lacked the fierce declamatory intensity of a Howlin' Wolf or a Muddy Waters. But it was exactly that lack of in-your-face musical confrontation that made Jimmy 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 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."

Reed was born on September 6, 1925, on a plantation in or around the small burg of Dunleith, MS. He stayed around the area until he was 15, learning the basic rudiments of harmonica and guitar from his buddy Eddie Taylor, who was then making a name for himself as a semi-pro musician, working country suppers and juke joints. Reed moved up to Chicago in 1943, but was quickly drafted into the Navy where he served for two years. After a quick trip back to Mississippi and marriage to his beloved wife Mary (known to blues fans as "Mama Reed"), he relocated to Gary, IN, and found work at an Armour Foods meat packing plant while simultaneously breaking into the burgeoning blues scene around Gary and neighboring Chicago. The early '50s found him working as a sideman with John Brim's Gary Kings (that's Reed blowing harp on Brim's classic "Tough Times" and its instrumental flipside, "Gary Stomp") and playing on the street for tips with Willie Joe Duncan, a shadowy figure who played an amplified, homemade one-string instrument called a Unitar. After failing an audition with Chess Records (his later chart success would be a constant thorn in the side of the firm), Brim's drummer at the time -- improbably enough, future blues guitar legend Albert King -- brought him over to the newly formed Vee-Jay Records, where his first recordings were made. It was during this time that he was reunited and started playing again with Eddie Taylor, a musical partnership that would last off and on until Reed's death. Success was slow in coming, but when his third single, "You Don't Have to Go" backed with "Boogie in the Dark," made the number five slot on Billboard's R & B charts, the hits pretty much kept on coming for the next decade.

But if selling more records than Muddy Waters, Howlin' Wolf, Elmore James, or Little Walter brought the rewards of fame to his doorstep, no one was more ill-equipped to handle them than Jimmy Reed. With signing his name for fans being the total sum of his literacy, combined with a back-breaking road schedule once he became a name attraction and his self-description as a "liquor glutter," Reed started to fall apart like a cheap suit almost immediately. His devious schemes to tend to his alcoholism -- and the just plain aberrant behavior that came as a result of it -- quickly made him the laughingstock of his show-business contemporaries. Those who shared the bill with him in top-of-the-line R & B venues like the Apollo Theater -- where the story of him urinating on a star performer's dress in the wings has been repeated verbatim by more than one old-timer -- still shake their heads and wonder how Reed could actually stand up straight and perform, much less hold the audience in the palm of his hand. Other stories of Reed being "arrested" and thrown into a Chicago drunk tank the night before a recording session also reverberate throughout the blues community to this day. Little wonder then that when he was stricken with epilepsy in 1957, it went undiagnosed for an extended period of time, simply because he had experienced so many attacks of delirium tremens, better known as the "DTs." Eddie Taylor would relate how he sat directly in front of Reed in the studio, instructing him while the tune was being recorded exactly when to start to start singing, when to blow his harp, and when to do the turnarounds on his guitar. Jimmy Reed also appears, by all accounts, to have been unable to remember the lyrics to new songs -- even ones he had composed himself -- and Mama Reed would sit on a piano bench and whisper them into his ear, literally one line at a time. Blues fans who doubt this can clearly hear the proof on several of Jimmy's biggest hits, most notably "Big Boss Man" and "Bright Lights, Big City," where she steps into the fore and starts singing along with him in order to keep him on the beat.

But seemingly none of this mattered. While revisionist blues historians like to make a big deal about either the lack of variety of his work or how later recordings turned him into a mere parody of himself, the public just couldn't get enough of it. Jimmy Reed placed 11 songs on the Billboard Hot 100 pop charts and a total of 14 on the R & B charts, a figure that even a much more sophisticated artist like B.B. King couldn't top. To paraphrase the old saying, nobody liked Jimmy Reed but the people.

Reed's slow descent into the ravages of alcoholism and epilepsy roughly paralleled the decline of Vee-Jay Records, which went out of business at approximately the same time that his final 45 was released, "Don't Think I'm Through." His manager, Al Smith, quickly arranged a contract with the newly formed ABC-Bluesway label and a handful of albums were released into the '70s, all of them lacking the old charm, sounding as if they were cut on a musical assembly line. Jimmy did one last album, a horrible attempt to update his sound with funk beats and wah-wah pedals, before becoming a virtual recluse in his final years. He finally received proper medical attention for his epilepsy and quit drinking, but it was too late and he died trying to make a comeback on the blues festival circuit on August 29, 1976.

All of this is sad beyond belief, simply because there's so much joy in Jimmy Reed's music. And it's that joy that becomes self-evident every time you give one of his classic sides a spin. Although his bare-bones style influenced everyone from British Invasion combos to the entire school of Louisiana swamp blues artists (Slim Harpo and Jimmy Anderson in particular), the simple indisputable fact remains that -- like so many of the other originators in the genre -- there was only one Jimmy Reed.

 -- Cub Koda of All Music Guide.

Baby What You Want Me To Do
Baby You Don't Have To Go
Big Boss Man

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1959Found Love
1959Rockin' With Reed
1959I'm Jimmy Reed
1961Jimmy Reed At Carnegie Hall
1962Wailing The Blues
1962Just Jimmy Reed
196312-String Guitar Blues
1966Now Appearing
1967The New Jimmy Reed Album
1968T'aint No Big Thing, But He Is . . . Jimmy Reed
1969New Jimmy Reed
1973I Ain't From Chicago
1974Down in Virginia
1976Blues is My Business
1977As Jimmy is
2001Big Boss Men (w/ Willie Dixon)


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1959 Found Love

01. Baby, What You Want Me To Do
02. Found Love
03. Meet Me
04. I Was So Wrong
05. Going By The River
06. Big Boss Man
07. Hush Hush
08. Where Can You Be
09. I'm Nervous
10. I Ain't Got You
11. Come Love

1959 Rockin' With Reed

01. Going To New York
02. A String To Your Heart
03. Ends And Odds
04. Caress Me Baby
05. The Moon Is Rising
06. Take Out Some Insurance
07. Down In Virginia
08. I Know It's A Sin
09. Wanna Be Loved
10. Baby What's On Your Mind
11. My Bitter Seed
12. Rockin' With Reed

1959 I'm Jimmy Reed

01. Honest I Do
02. Go On To School
03. My First Plea
04. Boogie In The Dark
05. You Got Me Crying
06. Ain't That Loving You Baby
07. You Got Me Dizzy
08. Little Rain
09. Can't Stand To See You Go
10. Roll And Rhumba
11. You're Something Else
12. You Don't Have To Go

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1961 Jimmy Reed At Carnegie Hall

01. Bright Lights, Big City
02. I'm Mr. Luck
03. What's Wrong Baby
04. Found Joy
05. Kind Of Lonesome
06. Aw Shucks, Hush Your Mouth
07. Tell Me You Love Me
08. Blue Carnegie
09. I'm A Love You
10. Hold Me Close
11. Blue Blue Water
12. Baby, What You Want Me To Do
13. You Don't Have To Go
14. Hush Hush
15. Found Love
16. Honest I Do
17. You Got Me Dizzy
18. Big Boss Man
19. Take Out Some Insurance
20. Boogie In The Dark
21. Going To New York
22. Ain't That Loving You Baby
23. The Sun Is Shining

1962 Wailing The Blues

1962 Just Jimmy Reed

01. I'll Change That Too
02. Let's Get Together
03. Good Lover
04. Take It Slow
05. Too Much
06. In The Morning
07. Oh John
08. Back Home At Noon
09. Kansas City Baby
10. You Can't Hide

1963 12-String Guitar Blues

01. Bright Lights, Big City
02. St. Louis Blues
03. Blue Carnegie
04. New Chicago Blues
05. Big Boss Man
06. Hush Hush
07. Blues For 12 Strings
08. Baby What You Want Me To Do
09. Boogie In The Dark
10. Take Out Some Insurance
11. Aw Shucks, Hush Your Mouth
12. Close Together

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1966 Now Appearing

01. Close Together
02. Got Me Chasing You
03. Wanta Be With You
04. Jimmy's Rock
05. Tell The World I Do
06. You Know You're Looking Good
07. I've Got The Blues
08. Laughing At The Blues
09. Down The Road
10. Ain't Gonna Cry No More
11. You're My Baby

1967 Soulin'

1967 The New Jimmy Reed Album

1968 T'aint No Big Thing, But He Is . . . Jimmy Reed

01. Shame, Shame, Shame
02. Mary, Mary
03. Ain't No Big Deal
04. Baby's So Sweet
05. Mixed Up
06. There'll Be A Day
07. Up Tight
08. Cold And Lonesome
09. I'm Gonna Help You
10. Upside The Wall
11. I'm Trying To Please You

1969 New Jimmy Reed

1973 I Ain't From Chicago

1974 Down In Virginia

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1976 Blues Is My Business

01. You 'N That Sack
02. I Told You Baby
03. When You Left Me
04. Please Don't
05. You're Gonna Need My Help
06. My Baby
07. I Ain't Got You
08. Come On Baby
09. Shoot Me Baby
10. Go Get My Baby
11. Red Lights, The Stop Light
12. I'm Gonna Love You

1977 As Jimmy Is

01. Hard Walking Hanna
02. Cry Before I Go
03. Can't Stand To Leave You
04. Big Legged Woman
05. Funky Funky Soul
06. Christmas Present Blues
07. Over The Hump
08. Crying Blind
09. Jimmy Reed Blues
10. Good Is Catching Up With Me

2001 Big Boss Men (w/ Willie Dixon)

01. Sitting And Crying The Blues
02. Spoonful
03. I Just Want To Make Love To You
04. Chicago Here I Come
05. Tore Down
06. Roach Stew
07. Big Boss Man
08. Stop Light
09. You Don't Have To Go
10. Bright Lights, Big City

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