Hound Dog: The Peacock Recordings

Performer: Big Mama Thornton
Artist: Johnny Otis
Distributor: Universal Distribution

Notes: Personnel includes: Willie Mae "Big Mama" Thornton (vocals); Pete Lewis, Roy Gaines (guitar); Billy Harvey, James Von Streeter (tenor saxophone); Fred Ford (baritone saxophone); Don Johnson (trumpet); George Washington (trombone); Devonia Williams (piano); Albert Winston (bass); Leard Bell (drums). Reissue producer: Andy McKaie. Recorded in Houston, Texas and Los Angeles, California from 1952-1957. Includes liner notes by Mary Katherine Aldin. Digitally remastered by Erick Labson (MCA Studios, North Hollywood, California) except "Yes, Baby" (transferred from the original 78 r.p.m. by Steven Lasker, Venice, California). HOUND DOG contains material recorded for Peacock Records from 1952-1958, much of which had been released in America only as singles. Personnel: Big Mama Thornton (vocals); Pete "Guitar" Lewis, Roy Gaines (guitar); James Von Streeter, Bill Harvey (tenor saxophone); Fred Ford (baritone saxophone); Don Johnson (trumpet); George Washington (trombone); Devonia Williams (piano); Johnny Otis (vibraphone, drums); Leard Bell (drums). Audio Remasterer: Erick Labson. Recording information: Houston; Los Angeles, CA. Let's face it, Big Mama Thornton will always be chiefly recalled for her growling 1952 reading of the Jerry Leiber-Mike Stoller classic "Hound Dog." But the other 17 sides on this collection of her 1952-1957 output for Don Robey's Peacock Records aren't exactly makeweight. Thornton's mighty roar was backed by the jumping combos of Johnny Otis and saxist Bill Harvey, producing additional gems in "My Man Called Me," "They Call Me Big Mama," "The Fish," and a duet with the ill-fated Johnny Ace, "Yes Baby." ~ Bill Dahl If you've never heard Big Mama Thornton's version of "Hound Dog" (recorded years before Elvis Presley's legendary take)--or any of the singer's muscular R&B efforts--you'd do yourself a service to investigate this collection. The classic Leiber & Stoller cut opens this set on a torrid note, with its spare but inspired instrumentation and exceptionally well-executed canine-mimicking yelps from the singer. A nostalgic big-band feel pervades many of these cuts, especially the swinging "They Call Me Big Mama," the doo-wop-flecked "My Man Called Me," and the electric-guitar streaked "Rock-A-Bye Baby." The majority of the remaining tracks are down-and-out meditations typified by the dire 12-bar blues "Hard Times." Few can make feeling bad sound as good as Big Mama Thornton.

Entertainment Weekly (2/19/93, p.64) - "...Now 40 years young, these frisky numbers still rock & roll like a cement mixer..." - Rating: A

A blues shouter in the tradition of Ma Rainey and Bessie Smith, Big Mama Thornton is best remembered as the first artist to record "Hound Dog." A side-by-side comparison of her version and Elvis's shows just how different a song can be in two great artists' hands: where Presley's version is all frenzy, Thornton's is pure R&B, gritty, haughty, and funky. Although she never matched the success of 1953's "Hound Dog," Thornton remained a popular live performer for the rest of her long career.

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