What is certain is that he relocated to St. Louis, Missouri, and was recommended to Paramount Records, by a local record store owner and scout Jesse Johnson. In May 1932, Williams recorded eight tracks in a recording studio in Grafton, Wisconsin, for the Paramount label. The timing was not fortuitous, as Paramount stopped recording that year, and went out of business in 1935.
Consequently, Williams's output was limited in both national distribution and the number of issued records. His "Kokomo Blues," followed previous recordings of a similar style with the same refrain, but included the counting line; One and two is three, four and five and six This partly paved the way towards the better known song, "Sweet Home Chicago". By the late 1940s and early 1950s, some of Williams tracks were re-issued on the American Music record label, amongst others. His playing style was somewhat unique, but such belated recognition failed to unearth Williams, whose life details remain a mystery. He was recalled briefly by Henry Townsend, who stated "I knew him from down on Biddle Street and I played guitar behind him around town". He added that Williams was "an average guy and he was very entertaining...
he disappeared from St. Louis and went down in Arkansas some place. I never knew what the hell happened to him." His total output consisted of the tracks, "Barrelhouse Woman Blues", "Fat Mama Blues", "House Lady Blues", "Jab's Blues", "Kokomo Blues", "My Woman Blues", "Polock Blues", and "Pratt City Blues". All, except the first title listed, were included on the compilation album, Boogie Woogie & Barrelhouse Piano, Vol.
1 (1928-1932), issued in 1992 by Document Records. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply..
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