How Much Money Did Dave Bartholomew Make Off Of Country Boy
D ave Bartholomew has died in New Orleans anile 100. While his passing is unlikely to attract the kind of accolades given to many deceased musicians, Bartholomew was a giant, a man who helped shape the sound and direction of both rhythm and blues and stone'n'curlicue while indirectly helping shape ska and, much after, rap. Bartholomew liked to state, "I invented the big vanquish", and this was no idle boast: if any ane musician can exist given credit for shaping the audio of the US after the second world war, it was Bartholomew.
Bartholomew was born in Edgard, Louisiana, in 1918: a small town whose African American populace worked in carbohydrate mills or on the docks servicing the river boats. Bartholomew's begetter played tuba with jazz bands, shifting the family to New Orleans in 1933, where he worked on river boats and in bars. Here, the musically precocious youth began playing trumpet in local jazz and brass bands. He served in the U.s.a. military during the state of war, returning to New Orleans in Nov 1945. Forming his ain ring, Dave Bartholomew and the Dew Droppers – named after the locally famous blackness music hotel and nightclub, The Dew Drop Inn – Bartholomew forged rhythm and blues out of jump blues and swing. A local reporter wrote of Bartholomew's band in 1947: "Putting it mildly, they made the house 'rock.'" Within a decade the western earth would be rocking to Bartholomew's sound.
In 1947, Bartholomew fabricated his debut tape for DeLuxe Records. Information technology sold well locally and he scored his first national hitting in 1949 with the suggestive State Boy. That same year, while playing in Houston, Texas, Bartholomew was approached on the bandstand past Lew Chudd of Majestic Records, a fledgling, Los Angeles-based independent tape characterization then concentrating on selling Mexican records; Chudd asked Bartholomew if he would be interested in working with him.
Presently Bartholomew would serve as Purple'south New Orleans A&R man – scouting and signing talent, and then producing, arranging, often songwriting for and playing on the sessions. In 1949, Majestic's first two R&B chart hits both featured Bartholomew'due south many talents: Jewel Male monarch'southward 3 x seven = 21 and Fats Domino's The Fat Human being. Bartholomew had found Domino playing in local bars and recognised the portly youth'southward star quality: together the two men adapted Junker's Blues, a vocal about heroin addiction, into The Fat Man. Lew Chudd initially hated it but it was an immediate hitting with black listeners, selling over a million copies. The Fat Man is now oft chosen "the outset rock'n'roll record".
Bartholomew left Majestic in 1950 after a dispute over coin and concentrated on making his ain records, cutting the street party anthem Shrimp and Gumbo, proto-rap The Monkey and the innuendo-laden My Ding A Ling (the melody Chuck Berry would make his only e'er UK No 1 in 1972) while as well producing Lloyd Toll's 1952 debut single Lawdy Miss Clawdy (a R&B No 1 that would soon be recorded by everyone from Elvis Presley and the Beatles to the Replacements and Lemmy). Imperial lured Bartholomew back in 1952 and, in 1955, he and Domino would set off on an extended run of hits – Dave producing and co-writing the songs and leading a band that featured several musicians now hailed as pioneers (drummer Earl Palmer, saxophonist Lee Allen, and guitarist Walter "Papoose" Nelson). They made Fats a superstar and introduced the world to New Orleans R&B.
Bartholomew kept busy throughout the 1950s, issuing both his own records and producing/writing others – these include Smiley Lewis's One Night (later a hit for Elvis Presley) and I Hear You Knocking (a 1970 Great britain No 1 for Dave Edmunds) and Shirley & Lee's Let the Good Times Whorl (producer/ring leader only). In Jamaica, Bartholomew'southward productions were hugely popular and early ska developed directly from New Orleans R&B.
The British Invasion that began with the Beatles in tardily 1963 shifted listeners away from the warm, horn-heavy New Orleans music Bartholomew specialised in, and Chudd sold Regal to Liberty Records that aforementioned year. Bartholomew connected to work as a producer and band leader – once Domino began touring the world it was Bartholomew who lead his magnificent band – but, past the late-1960s, had cut dorsum on his workload. He had over 4,000 songwriting credits and some of these proved extremely lucrative. In recent decades he lead his own Dixieland jazz band, playing the music he had grown up learning from his father, a New Orleans homeboy to the cease.
Bartholomew's immense musical talent was matched by his self-confidence and discipline. He succeeded at a time of extreme racial segregation and brutally exploitative recording deals, yet never lost control of his publishing or the direction he wanted to take. A tall, proud homo, he did it his style – RIP, Mr Big Beat out.
Source: https://www.theguardian.com/music/2019/jun/24/dave-bartholomew-taught-the-world-to-rock-n-roll-fats-domino
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