Today marks the thirtieth anniversary of Big Mama Thornton's death. Very little of her discography has remained alive either, at least for mainstream music listeners to find, but everyone is at least familiar with her hit "Hound Dog." No? I'll bet it would sound familiar being crooned by Elvis Presley.
"Hound Dog" was the closest Thornton came to cracking through, but within three years it had been overshadowed by the whitewashed version put out by Presley and Sun Records. Unfortunately the three years in between didn't see her becoming rich with royalties from radio play either. She recorded the track for $500 up front and went from there. That was far from the end of the vocalist's career however. Her nickname was true to its word, and the 300-plus pound singer had a voice to match her dominant stage presence. Few if any original studio records from Thornton are still in print, but mosey around the internet and you can hear some other highlights from her discography.
Here's a quick fly-by guide from the staff at Music Times.
"Partnership Blues" (1951)
Thornton was an Alabama native who made her way around the Gulf coast but she didn't get her start singing that down-home dirty blues like the stuff found on "Hound Dog." Her first cut with Peacock Records, out of Houston, was the jazzy "Partnership Blues." It featured a big band-style backing instrumental section, and the oncoming specter of rock 'n' roll can be heard in the guitar solo toward the end. The subject matter leans toward the PG-13 (much like her "Hound Dog" lyrics), as she laments having to share her married man with his actual wife.
"Yes, Baby" (1954)
One of Thornton's frequent tour mates during her heyday was R&B vocalist Johnny Ace, whom she recorded "Yes, Baby" with for the B-Side of single "Saving My Love For You." Thornton cast an intimidating image on viewers, but she proved she could play with a team for this B-side. Note her back-and-forth with Ace during the chorus and listen for how the pianist of the band joins her for a risqué show of showmanship between her vocals and his flair on the keys. Unfortunately, Thornton was present when Ace drunkenly (and accidentally) shot himself dead in 1954.
"Black Rat" (1966)
Although her work from the '50s remains her best, Thornton had perhaps her best backing bands during the mid-'60's while she appeared on Arhoolie Records. She worked with Buddy Guy for Big Mama Thornton - In Europe but Big Mama Thornton with the Muddy Waters Blues Band is the best collection released under her name from any label. "Black Rat" showcases the variety of talents she had backing her strong voice: harmonica player James Cotton, pianist Otis Spann, and as you may have guessed, the legendary Muddy Waters on guitar.
"Ball n' Chain" (1968)
This is the second most popular song in Thornton's catalogue, but still far behind that of "Hound Dog." She cut the track for Arhoolie with guitarist Edward "Bee" Houston in 1968 but never saw much success with it until the '70's. Why so late? Probably thanks to the legendary live version sung by Janis Joplin with Big Brother and The Holding Company at the Monterrey Pop Festival. Joplin was a huge fan of the blues vocalist, and Thornton paid homage to the woman who made it famous when performing it live post Joplin's 1970 death.
"Jail" (1975)
Health problems started to set in for Thornton during the '70s. She was involved in a serious car accident, but most of her problems stemmed from a life of heavy drinking. All of her issues then seem rather mild when compared to the more than 250 pounds she lost in the years leading up to her death (she died at a mere 95 pounds). Still, the vocalist continued to perform including live sets at multiple prisons in the Northwest United States, which were later compiled into the Jail album. It's more sad and meaningful to consider the opening line of her title track in context with her ups and downs: "Well, here I am again."
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