As part of my first order from Document's current Summer sale, I bought DOCD 5225, Texas Piano Volume 2. It's a good collection of material, but I want to focus on just one of the artists included: Billiken Johnson.
Billiken (or Billikin, apparently label copy includes both forms) Johnson was probably from around Dallas, Texas. At least all his appearances in the recording studio occurred in Dallas. Johnson recorded six sides at three different sessions in 1927, 1928, and 929. Apart from that, I know nothing about him.
The interesting thing about Billiken Johnson is that, at least on record, he neither sang, spoke, nor played an instrument - he was a specialist in whistling and "vocal effects". Johnson had a whistling technique that allowed him to obtain two notes at once, and thus harmonize with himself. His "vocal effects" included imitating a train whistle, imitating a trumpet/clarinet/kazoo with just his voice and cupped hands, and, most memorably, braying like a mule. He must have been fairly well known, at least in the Dallas area, as he received co-billing with the singer on all the records on which he appeared, and in fact on two of the three he received first billing: "Billikin" Johnson And Fred Adams for the record resulting from his 1927 session and Billiken Johnson With Neal Roberts for the record from his 1928 session. For his 1929 session, his star seems to have dimmed a bit, but he still managed to get his name on the label: Texas Bill Day And Billiken Johnson.
Why am I pointing all this out? Partly because it's such a sharp reminder of how different times were 80 years ago, when someone known for honking like a train whistle and braying like a mule could get his name on a record label. And partly because it's yet another reminder how amazingly varied this thing we call "the blues" really is. I treasure oddballs like this for making the tapestry of the blues so much richer and more complex.
Billiken (or Billikin, apparently label copy includes both forms) Johnson was probably from around Dallas, Texas. At least all his appearances in the recording studio occurred in Dallas. Johnson recorded six sides at three different sessions in 1927, 1928, and 929. Apart from that, I know nothing about him.
The interesting thing about Billiken Johnson is that, at least on record, he neither sang, spoke, nor played an instrument - he was a specialist in whistling and "vocal effects". Johnson had a whistling technique that allowed him to obtain two notes at once, and thus harmonize with himself. His "vocal effects" included imitating a train whistle, imitating a trumpet/clarinet/kazoo with just his voice and cupped hands, and, most memorably, braying like a mule. He must have been fairly well known, at least in the Dallas area, as he received co-billing with the singer on all the records on which he appeared, and in fact on two of the three he received first billing: "Billikin" Johnson And Fred Adams for the record resulting from his 1927 session and Billiken Johnson With Neal Roberts for the record from his 1928 session. For his 1929 session, his star seems to have dimmed a bit, but he still managed to get his name on the label: Texas Bill Day And Billiken Johnson.
Why am I pointing all this out? Partly because it's such a sharp reminder of how different times were 80 years ago, when someone known for honking like a train whistle and braying like a mule could get his name on a record label. And partly because it's yet another reminder how amazingly varied this thing we call "the blues" really is. I treasure oddballs like this for making the tapestry of the blues so much richer and more complex.