78 RPM JOHNNY GUITAR WATSON RPM 455 RUBEN 3 HOURS PAST MIDNIGHT TEXAS BLUES 1956

$

32

Up for auction is a 1956 r&b / rock & roll / Texas blues 78 rpm recorded by Johnny 'Guitar' Watson on RPM 455.

The sides are: Ruben / Three Hours Past Midnight.

From Wikipedia…

Johnny "Guitar" Watson (February 3, 1935 – May 17, 1996) was an American blues and funk guitarist and singer.

A flamboyant showman and guitar picker in the style of T-Bone Walker, Watson recorded throughout the 1950s and 1960s with some success. His raunchy reinvention in the 1970s with disco and funk overtones, saw Watson have hits with "Ain't That a Bitch", "I Need It" and "Superman Lover". His successful recording career spanned forty years, with his biggest hit being the 1977 "A Real Mother For Ya".

John Watson, Jr. was born in Houston, Texas. His father John Sr. was a pianist, and taught his son the instrument. But young Watson was immediately attracted to the sound of the guitar, in particular the electric guitar as played by T-Bone Walker and Clarence "Gatemouth" Brown.

His grandfather, a preacher, was also musical. "My grandfather used to sing while he'd play guitar in church, man," Watson reflected many years later. When Johnny was 11, his grandfather offered to give him a guitar if, and only if, the boy didn't play any of the "devil's music". Watson agreed, but "that was the first thing I did."[citation needed] A musical prodigy, Watson played with Texas bluesmen Albert Collins and Johnny Copeland. His parents separated in 1950, when he was 15. His mother moved to Los Angeles, and took Johnny with her.

Early career

In his new city, Watson won several local talent shows. This led to his employment, while still a teenager, with jump blues-style bands such as Chuck Higgins's Mellotones and Amos Milburn. He worked as a vocalist, pianist, and guitarist. He quickly made a name for himself in the African-American juke joints of the West Coast, where he first recorded for Federal Records in 1952. He was billed as Young John Watson until 1954. That year, he saw the Joan Crawford film Johnny Guitar, and a new stage name was born.

He affected a swaggering, yet humorous personality, indulging a taste for flashy clothes and wild showmanship on stage. His "attacking" style of playing, without a plectrum, resulted in him often needing to change the strings on his guitar once or twice a show, because he "stressified on them" so much, as he put it.

Watson in 1977.

Watson's ferocious "Space Guitar" album of 1954 pioneered guitar feedback and reverb. Watson would later influence a subsequent generation of guitarists. His song "Gangster of Love" was first released on Keen Records in 1957. It did not appear in the charts at the time, but was later re-recorded and became a hit in 1978, becoming Watson's "most famous song".

He toured and recorded with his friend Larry Williams, as well as Little Richard, Don and Dewey, The Olympics, Johnny Otis and, in the mid-1970s with David Axelrod. He also played with Sam Cooke, Herb Alpert and George Duke. But as the popularity of blues declined and the era of soul music dawned in the 1960s, Watson transformed himself from southern blues singer with pompadour into urban soul singer in a pimp hat. His new style was emphatic - the gold teeth, broad-brimmed hats, flashy suits, fashionable outsized sunglasses and ostentatious jewelry made him one of the most colorful figures in the West Coast funk scene.

He modified his music accordingly. His albums Ain't That a Bitch (from which the successful singles "Superman Lover" and "I Need It" were taken) and Real Mother For Ya were landmark recordings of 1970s funk.[citation needed] "Telephone Bill", from the 1980 album Love Jones, featured Watson rapping.

In his book Dream Boogie: The Triumph of Sam Cooke (2005), Peter Guralnick claimed that Watson was an actual pimp, as well as dressing like one as a performer. Watson himself, however, reportedly felt "ambivalent" about prostituting women, even though it "paid better" than music.

Below are the tracks recorded with NO filtering or noise reduction. 

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Grading System:

• NM = near new condition
• E = barely played, extremely close to near new condition
• VG = played, but not abused condition, should play very well, may have light scratches, scuffs
• G = well played, but should play pretty well, will have deeper scratches, scuff; may have some background noise, scratches, scuffs, wear
• P = well used, pretty bad condition, lots of background noise

Grades G with some gloss remaining. Has many scratches & scuffs. Sounds a bit better than it looks. (Please use the Full Screen & Zoom features on the pictures to get a more accurate depiction of the playing surfaces). Photos have not been photoshopped (contrasted or enhanced) other than cropping out the wax & spindle hole in the main picture.     

This record will be very securely packaged for shipment. Please let me know if you would like your records insured.

I try my best to describe and grade these as accurately as possible...I will gladly accept returns if you are not satisfied.

Good luck!