Texas electric blues is undoubtedly one of the most representative and by far the most important subgenre of Blues music of its time: with its peculiar, guitar-driven sound and its modal features blended with elements of jazz, swing, and rhythm and blues, electric blues became the popular sound of the post-War generation and a source of inspiration for many artists. Less-known heroes such as Clarence ‘Gatemouth’ Brown, who is increasingly being recognized for his contribution to the genre, and Freddie King were two of the many forerunner artists who paved the way for the music that became famous later on, providing the sound and the legacy for many generations of blues musicians: it’s time to pay tribute to them by bringing the history of Texas electric blues to the attention of the listening public!
The Roots of Texas Electric Blues
The roots of Texas electric blues. Early acoustic blues artists of the 1930s and ’40s helped shape Texas electric blues, including Blind Lemon Jefferson, whose dramatic, raw playing set the tone for Texas blues. As the population became more urbanized, further pushing into the heart of Texas, musicians sought louder, amplified sounds to reach bigger audiences. Acoustic blues began the transition to drive the Texas electric blues sound from the late 1940s. T-Bone Walker, who developed some of the earliest techniques for the electric guitar, was a pioneer of the electric blues. ‘Stormy Monday’ (1947) exemplifies the power of the electric blues by bringing together the varied styles of jazz, swing, and blues into the Texas blues expression. Electric blues allowed musicians to fill those gaps with more passionate solos and complex orchestrations. Other musicians like Lightnin’ Hopkins and Albert Collins followed suit in the pioneering of electric blues. Audiences and dancers found that modern Texas electric blues provided different energy, expression, and moods that filled noisy, crowded club spaces—the louder volumes provided by the amplified electric guitar dedicated to the Texas blues identity. Guitar solos varied in notes and fill, relying on the musician’s expression. Electric blues thus became the standard for Texas, and its popularity in clubs and juke joints would inspire a new breed of blues and rock musicians. The Texas electric blues remains a vital, living form. The roots and evolution of Texas electric blues reflect the dynamic history of American music.
Unsung Hero 1: Frankie Lee Sims
Frankie Lee Sims was born on 30 April 1917 in New Orleans in the state of Louisiana. He was a cousin of another blues legend, the equally talented Lightnin’ Hopkins. Sims grew up in a musical family and first picked up his guitar at the age of 12.
The late 1930s saw Sims migrate to Dallas, Texas. Texas was the major center of electric blues at that time. In Texas, Sims found an environment that suited him to a tee. He wasn’t satisfied to play jazz-inflected guitar or use a smooth vocal timbre. His fingers unleashed electric thunder, his voice grimy and low. His music conveyed the harsh, edgy vibe of the Lone Star state.
One of Sim’s early recordings, ‘Lucy Mae Blues’, indicated what was to come: the storytelling lyric and the human texture of the acoustic guitar, leavened with an electric rawness. ‘She Likes to Boogie Real Low’ remains a Texas blues classic to this day. Some of the Sim’s other songs kept up the tension between traditional acoustic blues and its electric offshoot.
Sims also became an influence for many musicians – particularly in Texas – via his playing on the 78s. He can be clearly heard on the records of contemporaries such as Lightnin’ Hopkins and T-Bone Walker, and his approach went on to become a hallmark of the electric blues style to develop in Texas.
Though by no means as well-known as some of his peers, Sims was there front and center in the vanguard. His music lent a foundation for generations of bluesmen to follow. His music and that of his contemporaries live on in their recordings and in turn the musicians that came afterward. Frankie Lee Sims may be a little-known hero, but when you hear him, you know it’s Texas’ blues beat with his name on it.
Unsung Heroes 2: Peppermint Harris
Born Harrison D Nelson Jr in 1925, in Texarkana, Texas, Peppermint Harris made his first records in the late 1940s, under the influence of Lightnin’ Hopkins. It was with his chart-topping blues classic ‘Raining in My Heart’ (1950) that he really hit the big time. He played a style roughly at the Texan intersection of blues and the smokey vocal bumpkin.
He was a relaxed guitarist and expressive singer. His lyrics – about love, loss and hardships of life – reflected the mood laid-back, mellow sound of his music. Harris also paired up with other blues performers, enriching his repertoire.
Harris recorded for a variety of mainstream labels, including Aladdin in the 1950s, and Jewel Records in the 1960s and ’70s; while his influence on the blues was more limited, his style was influential in jump blues and soul at the time. He was not among the wider US stars, but his legacy was certainly heard.
Peppermint Harris made important contributions to the Texas blues sound as a lyrical singer with a new lead guitar style. He helped to train several younger musicians, shaping the next generation of Texas blues. His songs remain an expression of Texas blues, and one of the last examples of a thriving but rapidly transitioning regional sound.
Today, Harris’s heritage endures in the recordings of his unique style and in the musicians with whom he inspired. He continued to perform until his death in 1999. And so, Keil’s nephew is right to be saddened by the overlooked legacy of Black String Band. Harris’s music is further evidence of the diversity and richness to be found in the blues.
Harris is now recognized as a blues pioneer long overdue for a larger appreciation, leaving a legacy of original and enduring material for the enjoyment and emulation of blues enthusiasts and musicians for generations to come.
Unsung Hero 3: Pete Mayes
Born in Double Bayou, Texas, the Texas blues guitarist Pete Mayes began to learn guitar at the age of nine, taught by local players; he started performing professionally during the 1950s in Houston, where he quickly built a name for himself with his cushioned guitar style and robust vocals, that he would later deliver in a unique steel-dipped tone.
He recorded some classic singles, such as ‘Crazy for My Baby’ in the mid-1960s, and For Pete’s Sake [1978] put him in the commercial spotlight with his writing and flawless Texas blues playing. Another essential is Live at Double Bayou Dance Hall for its raw, live feel. Mayes was a high-voltage performer. He could zip up and down the fretboard and play with incredible soul, precision, and spontaneity on tour all over Texas. He played many of the most storied venues in the state.
Pete is a key figure in the history of Texas blues. He pioneered a middle way between primitive blues and modernity. He remains a towering influence on exactly how the blues as we know it in the late 20th century would evolve. He was both a deep root in the tradition and an original thinker as well.
Beyond that, Mayes also nurtured a large circle of younger artists. He gave them a free University of Texas Blues degree and encouraged them to carry on the Texas tradition. Many acknowledge his mentorship as central to their careers.
Even with his many gifts, Pete Mayes is one of the forgotten heroes of Texas blues. It is difficult to know where to begin telling the story of his contributions to the genre, and he will not be forgotten. His recordings, performances, and mentorship are important parts of his legacy. Pete Mayes is truly an important contributor to Texas blues and he was dedicated to mentoring others. His notes and music continue to inspire and influence musicians.\
Unsung Hero 4: Barbara Lynn
Barbara Lynn (née Lewis; June 19, 1942–), a vital, though largely forgotten, figure in the annals of classic blues, was one of the very few female artists to find her way into the predominantly testosterone-soaked world of blues players. Lynn’s status as a left-handed guitar player not only set her apart in this field, but also helped define her artistic identity.
Her biggest hit is ‘You’ll Lose A Good Thing’, which she also had a number-one song with, featuring her high, expressive singing and imperative lyrics: ‘You better learn how to treat your woman right.’ Her voice is rooted both in blues and in R B and a bit in rock, making for some exhilarating music.
Barbara Lynn’s vocabulary – and her sex – vastly widened the spirit and scope of Texas Electric Blues (yes, I did cock that definition, perhaps unfairly, to her). Many of the people who would have been her contemporaries were at least engaged to or married to her. And as a result of the influence she had on him, this piece of music will be with us for as long as we play guitars and sing songs. She is a singer of no small accomplishment.
Until now she has not received much recognition, winning only the Pioneer Award from the Rhythm and Blues Foundation in 1999. As they explained to her at the ceremony: ‘We do this tonight to acknowledge what you did, what you started for us, what you did for us to be able to stand here tonight.’
Her music lives on – a testament to her talent, and to her resilience, who did what she did, when she did, and made room for women yet to come in what was then still a very male-dominated genre. It’s Barbara Lynn, living, who reminds the world that the blues really can be diverse; that that dark brown girl from Beaumont is an unsung hero, and that she hasn’t had her due.
Unsung Hero 5: Andrew “Smokey” Hogg
Andrew ‘Smokey’ Hogg was born in Texas in 1914. His father was a blues musician. He comes from a family of musicians. From a young age, he was interested in music. He started to play the guitar in his teens. He performed with local bands. By doing this, he formed a habit and even built a network of social relations that could compete against other musicians. Through it all, he gained experience. In the ’30s, he moved to Los Angeles, where he entered the highly active blues scene on the West Coast and began recording his first songs at the end of the decade.
Following the war, Hogg’s recording career began in earnest. His compositions continued apace – his 1947 single ‘Too Many Drivers’ was released to great fanfare – and his live performances display a masterful knack for juxtaposing his Texas blues with urban influences. Hogg’s music is interesting precisely because it defies simple categorization.
He played with other giants of the same time, such as the guitarist Bill Gaither and the pianist Robert Kelton, and imprinted his style on several of his contemporaries. Hogg could cut a tight figure with a loose gait, but his gently vocally stylized playing and laid‑back musical groove pointedly eschewed flashiness.
His recordings were only the beginning. Smokey Hogg helped change the face of postwar blues in subtle yet important ways. He spread the word about Texas blues. His recordings were covered by other bluesmen. Hogg’s music is still harvested by 21st-century bluesmen today.
His success did not come without hurdles. Hogg had a number of health issues as he got older. Smokey Hogg died in 1960, leaving a legacy. He would continue to be recognized for his contributions to the blues. Hogg’s story remains inspirational for the resilience of the blues musician. His legacy on the blues lives on today.
Challenges Faced By These Artists
Electric Texas Blues They were the pioneers because they had all those barriers up against them, and they had to fight them in order to do what they had to do. Social barriers, economic barriers, segregation, finding a place that would let you in. The problem was economic. You had no money and you needed equipment. Getting any kind of recognition was tough if they didn’t want you to play. They wouldn’t play your stuff on the air, so trying to get stuff noticed on the recording end was kinda tough, too. You always knew that racism was in the background. So the thing you had to do was persevere, go on the road, and make people who did come, make them like it because if you didn’t, to get to that place, you’d have to drive five hours or something like that. It’s a temperature thing, you don’t have to worry about temperature too much. Many of those artists had probably started out playing in a little funky joint in a small town out in the middle of nowhere. So how did all this electric stuff kind of come about? What inspired that change? The change, I’d say, was in guitar. Before T-Bone Walker went electric, there was only one guy I can think about who had an electric guitar and it was a fellow by the name of C Loyd. He was a real raggedy-ass individual. C Loyd came to Hot Springs on a carnival carnality deal, I guess. Did Freddie King and Luther out of Houston ever meet T-Bone? Did Joe Lewis out of Beaumont ever meet Lightnin’ Hopkins? By the late 1940s and early ’50s there were several other Texans I’d like to be mentioned here. Billy Boy Arnold, a pretty good harmonica player out of Chicago (but originally Watson, Illinois), recorded his blues song ‘I Wish You Would’ and both T-Bone and Freddie King were mentioned in the lyrics: T-Bone Walker began recording in 1939 while electric blues predates him by a few years, he was one of the few black electric blues players to record during the prewar period. His work was highly influential. In fact, Time magazine said: ‘T-Bone Walker represented the most important step in the evolution of the blues since the birth of the music itself.’ Walker was inspired to get an electric guitar after seeing a jazz musician perform with the instrument. He felt that he needed to do the same. ‘Lightning’ Hudson, another Texan and a pioneer of electric guitar, recorded two sides for the Victor label. Additionally, trombonist Andrew Tibbs recorded a song titled ‘Look Out Testifying Shout Blues Saxophone Band’, in which he mentioned T-Bone Walker and Freddie King.
The Legacy of Unsung Heros of Electric Texas Blues
Unsung Texans’ eclectic blues is a crucial legacy for Texas blues in that the diversity of the origins of the state’s musical subculture is reflected in the diversity of the pioneers. These, in turn, set the template for today: each and every great contemporary Texas blues musician owes an immeasurable debt to his predecessors; in this way, the passion, savvy, and – above all – the sheer fun of eclectic Texas blues lives on.
We must do whatever we can to not only keep their music alive but also preserve their stories. Many of these musicians faced real challenges, and they received much less credit for what they accomplished than they deserved. Recording their music, collecting oral histories and other forms of storytelling are all ways we can preserve their legacy for future musicians. This fosters a sense of continuity and a spirit of hope for future generations.
There is a cultural and historical rationale to honor their contributions, to recognize the pathway to the present, and help create a better future for the next generation of Texas blues artists. Celebrating and honoring the ‘grandfathers of Texas blues’ can be a platform for festivals and documentaries that allow the world to appreciate the music and work of these unknown and unrecognized pioneers. By generating that type of exposure and cultural awareness of Texas blues, there is a good chance their unique creations will continue to energize and inspire.
Conclusion
The lesser-known heroes of electric Texas blues found a powerful and distinct sound, which has been a source for inspiration for every modern blues and rock artist. Without them, we might never have had the eardrum-bursting guitar riffs of legends such as Freddie King or the impassioned croon and driving rhythms of T-Bone Walker.
Listen to their music. Search it out; it’s worth the effort. Buy their records and go to their shows. If you know someone, pay it forward. Plant a seed of their work in others, so their memories live on.
The preservation of blues history is also significant because music history is important. Blues was the catalyst of a cultural shift – an outlet that diverse groups of music-makers created, played, and still enjoy to this day. It was, and is, an already struggle-laden art form, that cannot be easily forgotten. Not just for man’s sake.