Born under a bad sign in 1927 as the 7th child of the 7th son, on a crossroads one Friday 13th, on a bed of dead cats and smashed mirrors (under a ladder) Johnny Ezekiel Robert Barnabus Cain "King" Williamson is one of Blues’ biggest contributors. His albums are classics, and he explored every possible variation of the blues - “Giraffe” (1953) had 12 bar, “Shotgun” (quickly renamed “Loaded Weapon”) (1955) had 24 bar, “Fatal Discharge” (1960) had 6 bar, and “Come Back” (his 1975 comeback album) had all 3. If there was a number BC knew, he recorded an album in it (and BC recorded many albums).
Born in the Mississippi Delta, the young Barnabus Cain (or "Blues Child") learnt to play the guitar from his favourite blues records (he learnt from masters like Bukka White, Robert Johnson and Son House), first playing a one-stringed "diddley bow", before graduating to a three-string cigar box guitar, and then moving to a cheap acoustic. He moved to Tennessee after meeting his first collaborator Tick-Tock Turner, a young drummer from the area. They formed the B.C. Williamson Blues Band and began a residency at Blues Bar 12 in Beale Street, Memphis. The band rose to popularity, with B.C.'s prominent songwriting praised especially. But disaster struck when B.C. was falsely convicted of stealing a Fender Telecaster, new on the market at the time. His one-year spell in jail prepared him for the life of a bluesman. He got out of jail and reformed the band, who eventually received a record deal, and recorded the popular "Giraffe". After many years of varying success and some best-selling records, B.C. now stands as one of the blues' greatest masters. With a new tour, book, album and film in the works, B.C. is more prominent as an artist than ever. Welcome to his website, made under the supervision of the man himself.
In recent news, B.C. Williamson announces the completion of his autobiography, "The Blues and the Abstract Truth," an epic tome that he has reportedly devoted more than thirty years of his life to. Atypically for a musician renowned for his withdrawn character, Willliamson's career-spanning collection of memoirs is written with naked honesty, detailing tales from a career defined by triumph, suffering and excitement. With lengthy sections ranging from his labyrinthine thoughts on the Sixties counterculture to the progression of Western contemporary art over the twentieth century, the work stands not only as a reflection on a life lived to its fullest, but a thrilling series of ruminations on a world of music, politics and revolution that Williamson witnessed from the front line. From this stage, the novel will most likely undergo the editing process for a considerable amount of time, with B.C. emphasising the "first-draft nature of the book at the moment." Click here to read an exclusive excerpted chapter, recounting B.C.'s roadside experiences on tour.
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