Fird Eaglin Jr
b. January 21st, 1937 in New Orleans (Louisiana)
d. February 18th, 2009 in New Orleans (Louisiana)
THE EARLY DECADE
Acrobat
1953 / 1958 - 1959
POSSUM UP A SIMMON TREE
Folk-Lyric
Arhoolie
NEW ORLEANS WASHBOARD BLUES
Folk-Lyric
COUNTRY BOY IN NEW ORLEANS
Arhoolie
NEW ORLEANS STREET SINGER
Folkways
Smithsonian - Folkways
Storyville
Jasmine
PORTRAITS IN BLUES vol.1
Storyville
THAT'S ALL RIGHT
Prestige - Bluesville
OBC
Xtra
MESSAGE FROM NEW ORLEANS
Heritage
1958 - 1959
Snooks perdit la vue très jeune à cause d'un glaucome. Dès ses cinq ans, son père lui apprend la guitare et l'enfant devient très vite un excellent guitariste capable de jouer dans tous les styles. Après avoir gagné un concours de talents, il intègre le groupe The Flamingoes en 1952 dans lequel il joue guitare et basse pendant plusieurs années. Puis, il accompagne James "Sugar Boy" Crawford quelques temps. Dans le même temps, il grave un premier simple pour Wonder en 1953 ("Jesus will fix it for you", "Traveling on"). En janvier 1958, Snooks est découvert dans les rues du Quartier Français de la Nouvelle Orléans par le folkloriste Harry Oster qui enseigne à la Louisiana State University. Conseillé par l'historien Richard Allen, il enregistre substantiellement le jeune musicien dans un contexte acoustique. Pendant l'année 1958 et 1959, lors de plusieurs séances, une première oeuvre de 70 titres environ voit le jour. Oster éditera certains morceaux sur son propre label Folk-Lyric et revendra le reste à différents labels comme Folkways et Heritage. Plus tard, le matériel sera abondamment réédité sous diverses formes par Storyville, Arhoolie et Jasmine. Snooks s'impose comme un superbe guitariste capable d'interpréter du blues mais aussi des airs folkloriques et traditionnels. Il brille sur "Looking for a woman", "I got my questionnaire", "Sophisticated blues", "Come back baby", "I've had my fun", "That's all right", "Death valley blues", "Rock me mama", "I had a little woman", "Bottle up and go". On peut noter que lors de ces séances, il joue le plus souvent seul. Cependant, il y eut une poignée de morceaux dans lesquels il est accompagné de Lucius Bridges et Percy Randolph. Bien entendu, tous ces disques se recoupent parfois et il convient d'être circonspect. Le CD "Country boy in New Orleans" proposé par Arhoolie reste probablement la meilleure sélection de cette première oeuvre.
Snooks lost his sight at a young age due to a glaucoma. From the age of five, his father taught him the guitar and the child very quickly became an excellent guitarist able to play in all styles. After winning a talent competition, he joined the group The Flamingoes in 1952 in which he played guitar and bass for several years. Then, he accompanied James "Sugar Boy" Crawford for some time. At the same time, he recorded a first single for Wonder in 1953 ("Jesus will fix it for you", "Traveling on"). In january 1958, Snooks was discovered in the streets of the French Quarter of New Orleans by folklorist Harry Oster, who taught at Louisiana State University. Recommended by the historian Richard Allen, he substantially records the young musician in an acoustic context. During 1958 and 1959, during several sessions, a first work of 70 titles approximately sees the light of the day. Oster will release some tracks on his own Folk-Lyric label and sell the rest to different labels like Folkways and Heritage. Later, the material will be extensively reissued under various packagings by Storyville, Arhoolie and Jasmine. Snooks establishes himself as a superb guitarist capable of interpreting blues but also folk and traditional tunes. He shines on "Looking for a woman", "I got my questionnaire", "Sophisticated blues", "Come back baby", "I've had my fun", "That's all right", "Death valley blues", "Rock me mama", “I had a little woman”, “Bottle up and go”. It can be noted that during these sessions, he most often plays alone. However, there were a handful of songs in which he was accompanied by Lucius Bridges and Percy Randolph. Of course, all of these records sometimes overlap and one should be cautious. The “Country boy in New Orleans” CD proposed by Arhoolie remains probably the best selection of this first work.
THE COMPLETE IMPERIAL RECORDINGS
Capitol
April 1960 - April 1963
Sous la supervision du producteur Dave Bartholomew, Snooks Eaglin enregistre entre 1960 et 1963 pour le label Imperial. Cette fois, le bluesman est placé dans un contexte électrique avec d'excellents musiciens derrière lui (certains morceaux avec le pianiste James Booker). Bon chanteur, il brille une fois encore par la virtuosité de sa guitare cinglante et précise, entre Blues et Rhythm & Blues. On peut ressortir en particulier "Nobody knows the trouble I've seen", "Mama talk to your daughter", "I've been walkin'", "Travelin' mood", "Goin' to the river".
Under the supervision of producer Dave Bartholomew, Snooks Eaglin recorded between 1960 and 1963 for the Imperial label. This time, the bluesman is placed in a electric context with excellent musicians behind him (some tracks with pianist James Booker). A good singer, he shines once again with the virtuosity of his scathing and precise guitar, between Blues and Rhythm & Blues. We can highlight in particular "Nobody knows the trouble I've seen", "Mama talk to your daughter", "I've been walkin'", "Travelin' mood", “Goin’ to the river".
I BLUESKVARTER 1964 vol.3
Jefferson
June 1964
Pour documenter une série d'émissions radiophoniques sur le blues, le suédois Olle Helander fit un séjour à La Nouvelle Orléans en juin 1964. Il retrouva et put enregistrer Snooks Eaglin à son domicile dans un contexte acoustique. Celui-ci délivre, lors de cette séance, quelques superbes blues comme "Yours truly", "Let me go home whiskey", "I'm looking for a woman" et une belle reprise de "Pinetop's boogie woogie".
To document a radio series on the blues, the swedish Olle Helander visited New Orleans in june 1964. He found and recorded Snooks Eaglin at his home in an acoustic context. During this session, he delivers some superb blues like "Yours truly", "Let me go home whiskey", "I'm looking for a woman" and a nice cover of "Pinetop's boogie woogie".
THE LEGACY OF THE BLUES vol.2
Sonet
GNP - Crescendo
THE SONET BLUES STORY
Verve
June 1971
Après une longue absence, Snooks Eaglin réapparait grâce aux efforts conjoints de Quint Davis et de Sam Charters. En bonne forme dans cette séance acoustique (Snooks est seul à la guitare), il brille sur des blues remarquables comme "Boogie children", "Who's loving you tonight" et montre l'étendue de son répertoire sur des titres comme "Lucille" ou "Funky Malaguena". Mais le reste de la tracklist est beaucoup plus inégale. On trouve trois morceaux inédits dans la version CD (une reprise de "Shake rattle and roll").
After a long absence, Snooks Eaglin reappears thanks to the joint efforts of Quint Davis and Sam Charters. In good form in this acoustic session (Snooks is alone on guitar), he shines on remarkable blues like "Boogie children", "Who's loving you tonight" and shows the extent of his repertoire on titles like "Lucille" or “Funky Malaguena”. But the rest of the tracklist is much more uneven. There are three unreleased tracks in the CD version (a cover of "Shake rattle and roll").
THE WILD MAGNOLIAS
Polydor
Barclay
1974
En parallèle de sa carrière solo, Snooks Eaglin fut également le guitariste du groupe de Funk néo-orléanais The Wild Magnolias. Il figure sur le premier album de la formation. Un excellent opus dansant et entrainant mais loin du Blues.
In addition to his solo career, Snooks Eaglin was also the guitarist of the New Orleans funk band The Wild Magnolias. He appears on its first album. An excellent dancing and catchy opus but far from the Blues.
DOWN YONDER - SNOOKS EAGLIN TODAY
Sonet
GNP - Crescendo
SNOOKS EAGLIN WITH HIS NEW ORLEANS FRIENDS
Verve
November 1977
Pour la première depuis les séances Imperial, on retrouve Snooks Eaglin en leader d'une formation électrique. Accompagné d'excellents sidemen comme Clarence Ford ou Ellis Marsalis, il propose un beau set de Rhythm & Blues louisianais, un peu Blues, un peu Funky où brille sa guitare incisive, produit par Samuel Charters. On remarque en particulier "No more doggin'", "Talk to your daughter", "Travelling mood", "A teeny bit of your love", l'instrumental "San Jose" ainsi qu'une sympathique reprise de "Mustang Sally".
For the first time since the Imperial sessions, we find Snooks Eaglin leading an electric formation. Accompanied by excellent sidemen like Clarence Ford or Ellis Marsalis, he offers a nice set of Louisiana Rhythm & Blues, a little Blues, a little Funky where his incisive guitar shines, produced by Samuel Charters. We note in particular "No more doggin'", "Talk to your daughter", "Traveling mood", "A teeny bit of your love", the instrumental "San Jose" as well as a nice cover of "Mustang Sally".
THE BLUES OF SNOOKS EAGLIN & BOOGIE BILL WEBB
Storyville
October 1985
Un concert capturé sur une scène de la Nouvelle Orléans dans lequel Snooks joue son mélange de Rhythm & Blues et de Funk efficacement secondé par George Porter Jr et Kenny Blevins. Dans ce programme surtout rempli de reprises, on apprécie notamment "Drop the bomb", "Money", "St Pete Florida blues".
A concert captured on a New Orleans stage in which Snooks plays his Rhythm & Blues and Funk mix effectively assisted by George Porter Jr and Kenny Blevins. In this program mainly filled with covers, we particularly appreciate "Drop the bomb", "Money", "St Pete Florida blues".
BABY YOU CAN GET YOUR GUN
Black Top
Demon
P-Vine
October 1986
Avec son arrivée sur le label Black Top d'Hammond & Nauman Scott, Snooks Eaglin entame une fructueuse dernière partie de carrière. Parfaitement produit et accompagné par de superbes musiciens (David Lastie, Ron Levy, Erving Charles Jr, Smokey Johnson), il peut donner le meilleur de lui-même, ce cocktail in comparable de Blues et de Rhythm & Blues. Dans un programme intense et inspiré, on peut ressortir les excellents "Baby please", "Oh sweetness", "Baby you can get your gun", "Pretty girls everywhere" sans oublier l'hispanisant "Profidia".
With his arrival on the Black Top label of Hammond & Nauman Scott, Snooks Eaglin begins a successful final part of his career. Perfectly produced and accompanied by superb musicians (David Lastie, Ron Levy, Erving Charles Jr, Smokey Johnson), he can give the best of himself, this incomparable cocktail of Blues and Rhythm & Blues. In an intense and inspired program, we can highlight the excellent "Baby please", "Oh sweetness", "Baby you can get your gun", "Pretty girls everywhere" without forgetting the spanish-styled "Profidia".
OUT OF NOWHERE
Black Top
Demon
P-Vine
February - May 1988
Pour ce second album pour Black Top, Snooks est à nouveau entouré d'excellents sidemen et de quelques invités prestigieux (Anson Funderburgh, Sam Myers, Grady Gaines, Ronnie Earl). Comme sur le précédent, il démontre toute l'étendue de son talent musical avec des morceaux comme "Oh lawdy my baby", "Out of nowhere", "Mailman blues", "Kiss of fire", "It's your thing" et le beau slow blues "West side baby".
For this second album for Black Top, Snooks is once again surrounded by excellent sidemen and some prestigious guests (Anson Funderburgh, Sam Myers, Grady Gaines, Ronnie Earl). As on the previous one, he demonstrates the full extent of his musical talent with pieces like "Oh lawdy my baby", "Out of nowhere", "Mailman blues", "Kiss of fire", "It's your thing" and the beautiful slow blues "West side baby".
BLACK TOP BLUES-A-RAMA vol.6
Black Top
May 1989
Cinq bons morceaux live capturés sur la scène du Tipitina's en particulier le remarquable "I cry oh".
Five good live tracks captured on the Tipitina's stage, in particular the remarkable "I cry oh".
BLACK TOP BLUES COCKTAIL PARTY
Black Top
Novembre 1989
TEASIN' YOU
Black Top
Demon
P-Vine
October - November 1991
Même s'il n'est pas un grand chanteur, Snooks possède une culture musicale lui permettant d'aborder de nombreux genres différents. Son jeu de guitare précis et incisif est devenu sa marque de fabrique. Ce troisième album pour Black Top recèle encore de nombreuses réussites comme "Soul train", "Black night", "Travelin' mood", "Red beans".
Even if he is not a great singer, Snooks has a musical culture allowing him to approach many different styles. His precise and incisive guitar playing is became his trademark. This third album for Black Top still contains many good tracks such as "Soul train", "Black night", "Travelin' mood", "Red beans".
SOUNDS OF NEW ORLEANS vol.3 : LIVE FROM JAZZ FEST
Friends of WWOZ
May 1994
Une reprise de "Dizzy miss Lizzy" sur la scène du New Orleans Jazz & Heritage Festival.
A cover of "Dizzy miss Lizzy" on the stage of the New Orleans Jazz & Heritage Festival.
SOUL'S EDGE
Black Top
P-Vine
November 1994
Pour ce nouvel opus chez Black Top, Snooks continue de jouer son Rhythm & Blues mêlé d'autres influences (Blues, Jazz, Funk). Toujours bien produit et accompagné, il délivre un album intéressant mais inégal avec des morceaux accrocheurs : "Josephine", "Show me the way back home", "Aw' some funk", "I went to the Mardi Gras".
For this new opus for Black Top, Snooks continues to play his Rhythm & Blues mixed with other influences (Blues, Jazz, Funk). Always well produced and accompanied, he delivers an interesting but uneven album with catchy songs : "Josephine", "Show me the way back home", "Aw' some funk", "I went to the Mardi Gras".
BLACK TOP BLUES COSTUME PARTY
Black Top
Novembre 1994
LIVE IN JAPAN
Black Top
SOUL TRAIN FROM NAWLINS
P-Vine
December 1995
Pour cloturer sa fructueuse collaboration avec Black Top (il s'agit de son cinquième et dernier opus pour ce label), voici un album live capturé - comme son nom l'indique - au Japon. En pleine forme et bien soutenu par d'excellents musiciens (la section rythmique George Porter Jr et Jeffrey "Jellybean" Alexander), Snooks délivre une performance intense avec des titres dynamiques comme "Quaker City", "I went to the Mardi Gras", "It's your thing", "Traveling mood" sans oublier sa reprise de "(Boogie on) Reggae woman" de Stevie Wonder. L'édition japonaise proposée par P-Vine ajoute quatre morceaux supplémentaires.
To close his fruitful collaboration with Black Top (this is his fifth and final opus for this label), here is a live album captured - as its name suggests - in Japan. In great shape and well supported by excellent musicians (the rhythm section George Porter Jr and Jeffrey "Jellybean" Alexander), Snooks delivers an intense performance with dynamic titles like "Quaker City", "I went to the Mardi Gras", "It's your thing", "Traveling mood" without forgetting his cover of Stevie Wonder's "(Boogie on) Reggae woman". The japanese issue offered by P-Vine adds four additional tracks.
THE WAY IT IS
Money Pit
P-Vine
June - July 2000
Après l'aventure Black Top, Snooks Eaglin retrouve une dernière fois les studios de la Nouvelle Orléans toujours sous la supervision d'Hammond & Nauman Scott. Il y est entouré de superbes musiciens comme Jon Cleary, Jeffrey "Jellybean" Alexander, Tony Dagradi, Erving Charles Jr. Il se montre toujours aussi habile à la guitare mais plus limité au chant. On trouve de bons moments comme "Boogie rambler", "Lock doctor", "Ghost of a chance", "Cubano mambo". Souffrant d'un cancer de la prostate, il décède d'un arrêt cardiaque en février 2009.
After the Black Top adventure, Snooks Eaglin returned to the New Orleans studios one last time, still under the supervision of Hammond & Nauman Scott. He is surrounded by superb musicians like Jon Cleary, Jeffrey "Jellybean" Alexander, Tony Dagradi, Erving Charles Jr. He is still as skilled on the guitar but more limited on singing. There are good moments like "Boogie rambler", "Lock doctor", "Ghost of a chance", "Cubano mambo". Suffering from prostate cancer, he died of cardiac arrest in february 2009.