Rufus Thomas
From Wikipedia, the free encyclopedia
| Rufus Thomas | |
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 Rufus Thomas, "The World's Oldest Teenager".
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| Background information | |
| Birth name | Rufus Thomas, Jr. |
| Born | March 27, 1917 in Cayce, Mississippi, USA |
| Died | December 15, 2001 in Memphis, Tennessee |
| Genre(s) | R&B, Memphis soul, southern soul, blues, funk |
| Occupation(s) | Singer, comedian, television host, disc jockey |
| Instrument(s) | Vocals |
| Years active | 1936–2001 |
| Label(s) | Sun, Stax |
| Associated acts | Carla Thomas, Marvell Thomas |
Rufus Thomas, Jr. (March 26, 1917 – December 15, 2001) was a rhythm and blues, funk and soul singer and comedian from Memphis, Tennessee, who recorded on Sun Records in the 1950s and on Stax Records in the 1960s and 1970s. He was the father of soul singer Carla Thomas and keyboard player Marvell Thomas. A third child, Vaneese, a former French teacher, has a recording studio in upstate New York and sings for television commercials.
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[edit] Early life and education
Born a sharecropper's son in the rural community of Cayce, Mississippi, Thomas moved to Memphis with his family at age 2. His mother was “a church woman.” Thomas made his artistic debut at the age of 6 playing a frog in a school theatrical production. Much later in life, he would impersonate all kinds of animals: screeching cats, funky chickens and penguins, and mournful dogs. By age 10, he was a tap dancer, performing in amateur productions at Memphis' Booker T. Washington High School.
Thomas attended one semester at Tennessee A&I University, but due to economic conditions left to pursue a career as a professional entertainer, joining up in 1936 with the Rabbit Foot Minstrels, an all-black revue that toured the South. He then worked for twenty-two years at a textile plant and didn't leave that job until about 1963, around the time of his “Dog” hits. He started at WDIA in 1951 (despite biographies placing his start a year earlier). At WDIA, he hosted an afternoon show called Hoot and Holler. WDIA, featuring an African-American format, was known as "the mother station of the Negroes" and became an important source of blues and R&B music for a generation, its audience consisting of white as well as black listeners. Thomas's mentor was Nat D. Williams, a pioneer black deejay at WDIA as well as Thomas's high school history teacher, columnist for black newspapers, and host of an amateur show at Memphis's Palace Theater. For years Thomas himself took hosting duties for the amateur show and, in that capacity, is credited with the discovery of B.B. King.
[edit] Professional singing career
He made his professional singing debut at the Elks Club on Beale Street in Memphis, filling in for another singer at the last minute. He made his first 78 rpm record in 1943 for the Star Talent label in Texas, "I'll Be a Good Boy", backed with "I'm So Worried."
He also became an on-air personality with WDIA, one of the first radio stations in the US to feature an all-black staff and programming geared toward blacks. He became one of the station's most popular DJs.
His celebrity was such that in 1953 he recorded an "answer record" to Big Mama Thornton's hit, "Hound Dog" called "Bear Cat" and released on Sun Records. Although the song was the label's first hit, a copyright-infringement suit ensued and nearly bankrupted Sam Phillips' record label. Later, Rufus was one of the African American artists released by Sam Phillips as he oriented his label more toward white audiences and signed the likes of Elvis Presley in the place of the dismissed musicians.
Nevertheless, Rufus remembered spinning Elvis discs on WDIA. Management at the station forbade the deejays from playing Elvis during the years from 1953 to 1956. "They said blacks wouldn't listen to Elvis. I tried to play him, I tried to tell them. No one can speak for a whole group." At a major WDIA benefit in 1956 Rufus appeared, dressed as Chief Rocking Horse, and led Elvis onto stage in front of an all-black audience, arguing that introductions should be held until the end of the show, lest wild applause ensue. After Elvis did his pelvic gyration that evening, the inevitable frenzy of the kids in the audience did in fact drown out the emcees, proving Rufus right. "After that night," recalled Rufus, "we were allowed to play Elvis."
The prime of Rufus's recording career came in the 1960s and early 1970s, when he was on the Stax roster, having one of the first hit sides at that historic label. At Stax, he recorded songs when he had something to record, as tunes came up, never collecting songs to be done in blocks. Songs were usually recorded in one or two takes, live. No one ever had a good idea which sides would make hits at Stax, the artists had no control over what got released, and little of what went on was plotted out or scripted in any way.
Rufus was often backed by Booker T. and the MG's or the Bar-Kays, and his bands included many of the era's finest musicians. "I'll tell you a story," Rufus once explained, "not many people know this one. It was the same club where I later wrote 'Do the Funky Chicken,' in Covington, Tennessee. I had two guitar players, I can’t remember the second one’s name at the time, but the first one was a young guy, playin' just terrible, loud, out of tune, all over the place. After a while, I said, 'Send him home, I can't use a guitar player who plays like that.' That dude was Jimi Hendrix."
Late in his career, for years, Rufus performed at the Porretta Soul Festival in Porretta Terme, Italy. The outdoor amphitheater in which he performed has been re-named "Rufus Thomas Park." In 1996 Rufus and William Bell headlined at the Olympics in Atlanta. In September 1997, he thrilled a crowd of fans at the Framingham (Massachusetts) Blues Festival with his performance, which included an updated version of "Walking the Dog," and completely upstaged the other performers on the bill (including Leon Russell and Levon Helm).
A baseball devotee, Rufus was a fan of the Atlanta Braves. He claimed never to be able to turn down ice cream--and favored vanilla drenched in maraschino cherry juice. His beverages of choice, rather than roadhouse specialties, were sweetened iced tea and fruit-flavored sodas. Until late in his life, he remained an avid listener of music, respecting artists as diverse as Prince, Preston Shannon, and Denise Lasalle. A collaboration with alternative band Jon Spencer Blues Explosion was not so successful as his own later recordings. Highlights of his career included calming an unruly crowd at the early 'seventies Wattstax Festival, performing with James Brown's band, and the knowledge that, along with James Brown and a handful of others, he was a key to the emergence of funk.
[edit] Hit records
Thomas had a number of hits in the late 1960s and early 1970s, notably a string of songs that were tied to a then-current dance craze: "Do the Funky Chicken", from 1970[1] (instructions for which can be found here[2]), "(Do the) Push and Pull", "The Breakdown" and "Do the Penguin". He performed at Wattstax in 1972, leading a crowd of 40,000 in the "Funky Chicken."
Thomas once toured in California with blues singer Blues Boy Willie of Memphis, Texas.
He played an important part in the Stax reunion in 1988, and had a small role in the 1989 Jim Jarmusch film Mystery Train, (Screamin' Jay Hawkins was also in the film, as a motel night clerk, and Joe Strummer also appeared in it). Rufus released an album of straight-ahead blues, That Woman is Poison!, with Alligator Records in 1990.
Thomas was inducted into the Blues Hall of Fame in 2001. His last appearance was in the D.A. Pennebaker-directed documentary Only the Strong Survive (2003) in which he co-stars with daughter Carla.
[edit] Death
He died of heart failure in 2001, at the age of 84, at St. Francis Hospital in Memphis. A street is named in his honor, just off Beale Street in Memphis.
[edit] References
- Greenberg, Steve. Do the Funky Somethin': The Best of Rufus Thomas (liner notes), Rhino Records, 1996.
- Unterberger, Richie. Rufus Thomas Biography at Allmusic.com. Retrieved December 26, 2005.
- Rufus Thomas was referenced by Samuel L. Jackson in Quentin Tarantino's Kill Bill.
- Rufus Thomas is referred to in the Beastie Boys song 'The Maestro'; "I feel like Rufus Thomas the Crown Prince of Dance".
