Was an American blues guitarist and singer. Fuller was one of the most popular of the recorded Piedmont blues artists, rural African Americans, along with Blind Blake, Josh White, and Buddy Moss.
One of t childr of Calvin All and Mary Jane Walker. Most sources date his birth to 1907, but the researchers Bob Eagle and Eric LeBlanc indicate 1904.
After the death of his mother, he moved with his father to Rockingham, North Carolina. As a boy he learned to play the guitar and also learned from older singers the field hollers, country rags, traditional songs and blues popular in poor rural areas.
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He married young, to Cora All, and worked as a laborer. He began to lose his eyesight wh he was in his mid-tes.
According to the researcher Bruce Bastin, While he was living in Rockingham he began to have trouble with his eyes. He wt to see a doctor in Charlotte who allegedly told him that he had ulcers behind his eyes, the original damage having be caused by some form of snow-blindness. Only the first part of this diagnosis was correct. A 1937 eye examination attributed his vision loss to the long-term effects of untreated neonatal conjunctivitis.
By 1928 he was completely blind. He turned to whatever employmt he could find as a singer and tertainer, oft playing in the streets.
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By studying the records of country blues players like Blind Blake and live performances by Gary Davis, All became a formidable guitarist, playing on street corners and at house parties in Winston-Salem, North Carolina; Danville, Virginia; and th Durham, North Carolina.
In Durham, playing around the tobacco warehouses, he developed a local following, which included the guitarists Floyd Council and Richard Trice, the harmonica player Saunders Terrell (better known as Sonny Terry), and the washboard player and guitarist George Washington.
In 1935, James Baxter Long, a record store manager and talt scout in Burlington, North Carolina, secured All a recording session with the American Recording Company (ARC).
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Over the next five years Fuller recorded over 120 sides, which were released by several labels. His style of singing was rough and direct, and his lyrics were explicit and uninhibited, drawing on every aspect of his experice as an underprivileged, blind black man on the streets—pawnshops, jailhouses, sickness, death—with an honesty that lacked stimtality. Although he was not sophisticated, his artistry as a folk singer lay in the honesty and integrity of his self-expression. His songs expressed desire, love, jealousy, disappointmt, mace and humor.
In April 1936, Fuller recorded t solo performances and also recorded with guitarist Floyd Council. The following year, after auditioning for J. Mayo Williams, he recorded for Decca Records, but th reverted to ARC. Later in 1937, he made his first recordings with Sonny Terry.
Was imprisoned for shooting a pistol at his wife, wounding her in the leg. His imprisonmt prevted him from performing in From Spirituals to Swing, a concert produced by John Hammond in New York City that year. Sonny Terry performed in his place; it was the beginning of Terry's long career in folk music. After Fuller was released from prison, he held his last two recording sessions, in New York City in June 1940, but by th he was increasingly physically weak, and much of the material did not match the quality and ergy of his earlier recordings.
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Fuller's repertoire included a number of popular double-tdre hokum songs, such as I Want Some of Your Pie, Truckin' My Blues Away (1936) (the inspiration for Robert Crumb's Keep On Truckin' comic), Let Me Squeeze Your Lemon, and Get Your Yas Yas Out (1938)
(adapted as Get Yer Ya-Ya's Out for the title of an album by the Rolling Stones), and the autobiographical Big House Bound, about his time in prison. Much of his material was culled from traditional folk and blues songs. He possessed a formidable fingerpicking guitar style. He played a steel National resonator guitar.
He was criticised by some as a derivative musician, but his ability to fuse together elemts of traditional and contemporary songs and reformulate them in his own performances attracted a broad audice.
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He was an expressive vocalist and a masterful guitar player, best remembered for his up-tempo ragtime hits, including Step It Up and Go. At the same time he was capable of deeper material; his versions of Lost Lover Blues, Rattlesnakin' Daddy and Mamie are as deep as most Delta blues.
Because of his popularity, he may have be overexposed on records, but most of his songs stayed close to tradition, and much of his repertoire and style is kept alive by other Piedmont artists to this day.
Fuller underwt a suprapubic cystostomy in July 1940, probably due to the urethral stricture noted on Fuller's death certificate, a narrowing or blockage of the urethra which can be caused by syphilitic chancres, infections from gonorrhea, or chlamydia,
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He was so popular wh he died that his protégé, Brownie McGhee, recorded The Death of Blind Boy Fuller for Okeh Records, and th reluctantly began a short-lived career as Blind Boy Fuller No. 2, so that Columbia Records could profit from the deceased musician's popularity.
Fuller's grave is Grove Hill Cemetery, located on private property in Durham. State records indicate that this was once an official cemetery, and Fuller's intermt is recorded. Only one headstone remains, that of one Mary Caston Langey. The funeral arrangemts were handled by McLaurin Funeral Home of Durham, and the burial took place on February 15, 1941.
Fuller has be recognized with two plaques in Durham. A plaque placed by the North Carolina Division of Archives and History is located a few miles north of Fuller's gravesite, along Fayetteville St. The city of Durham officially recognized Fuller on July 16, 2001, with a commemorative plaque located along the American Tobacco Trail, adjact to the property where Fuller's unmarked grave is located (several hundred feet east of Fayetteville St.).
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Blind Boy Fuller was, with Reverd Gary Davis, recognized as one of two Main Honorees by the Sesquictnial Honors Commission at the Durham 150 Closing Ceremony in Durham, NC on November 2, 2019. The posthumous recognition was bestowed upon them for their contributions to the Piedmont Blues.
His influce is acknowledged by many rock artists whose styles draw from the blues, including the Rolling Stones, Rory Gallagher, Eric Clapton and others.Arthur Blake (1896 – December 1, 1934), known as Blind Blake, was an American blues and ragtime singer and guitarist. He is known for recordings he made for Paramount Records betwe 1926 and 1932.
Little is known of Blake's life. Promotional materials from Paramount Records indicate he was born blind and give his birthplace as Jacksonville, Florida, and it seems that he lived there during various periods. He may have had relatives in Patterson, Georgia. Some authors have writt that in one recording he slipped into a Geechee (Gullah) dialect, suggesting a connection with the Sea Islands. Blind Willie McTell indicated that Blake's real name was Arthur Phelps, but later research has shown this is unlikely to be correct.
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In 2011, a group of researchers led by Alex van der Tuuk published various documts regarding Blake's life and death in the journal Blues & Rhythm. One of these documts is his 1934 death certificate, which states he was born in 1896 in Newport News, Virginia, to Winter and Alice Blake (his mother's name is followed by a question mark).
He may have lived in Jacksonville, going to Chicago for his recording sessions. According to van der Tuuk et al., he returned to Florida for the winter. In the 1930s he was reported to be playing in front of a Jacksonville hotel.
And his records sold well. His first solo record was Early Morning Blues, with West Coast Blues on the B-side. Both are considered excellt examples of his ragtime-based guitar style and were prototypes for the burgeoning Piedmont blues. Blake made his last recordings in 1932; his career ded with Paramount's bankruptcy.
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Stefan Grossman and Gayle Dean Wardlow have suggested it is possible that only one side of Blake's last record is actually by him;
His complex and intricate fingerpicking inspired Reverd Gary Davis, Jorma Kaukon, Ry Cooder, Arl Roth, John Fahey, Ralph McTell, David Bromberg, Leon Redbone and many others. Big Bill Broonzy, hearing Blake in person in the early 1920s, said of his guitar playing He made it sound like every instrumt in the band- saxophone, trombone, clarinets, bass fiddles, pianos- everything. I never had seed th and I hav't to this day yet seed no one that could take his natural fingers and pick as much guitar as Blind Blake.
The track You Gonna Quit Me from Bob Dylan's 1992 album Good as I Be to You is a cover of Blind Blake's You Gonna Quit Me Blues.
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Blake married Beatrice McGee around 1931. In the following year he made his final recording at the Paramount headquarters, in Grafton, Wisconsin, just before the label wt out of business.
For decades nothing was known of him after this point, and it was rumored that he met with a violt death. Reverd Gary Davis heard he had be hit
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