Domino was a rock and roll superstarįor the rest of the decade, Domino was a rock and roll superstar, thanks to blockbusters that included I’m In Love Again, When My Dreamboat Comes Home, Blueberry Hill (his top seller of all), and Blue Monday in 1956, I’m Walkin’ the next year, Whole Lotta Loving in ’58, I’m Ready, I Want To Walk You Home, and Be My Guest in ’59, and the plaintive Walking To New Orleans and My Girl Josephine at the beginning of the new decade. Herbert Hardesty, who was prominently featured with Domino’s band for decades, took the lion’s share of the sax solos on Domino’s hits, with studio stalwart Lee Allen handling the rest.
I AM IN HEAVEN BY LOUIS ARMSTRONG 45RPM CRACK
Of course, having a crack band at his behest whenever he ventured into Cosimo Matassa’s studio in the French Quarter sure didn’t hurt. Rock and roll was exploding all over, and Fats was one of the rowdy music’s first true heroes. Typically a Domino/Bartholomew collaboration, it not only paced the R&B charts but went Top Ten pop despite a Pat Boone cover. Everything changed when Domino released the stop-time rocker Ain’t It A Shame in 1955. Fats achieved R&B stardom long before rock and roll reared its impudent head, scoring major hits with Every Night About This Time (1950), Goin’ Home, Going To The River (both 1952), and Please Don’t Leave Me and Something’s Wrong (both 1953). The Fat Man, a cleaned-up adaptation of Champion Jack Dupree’s Junker Blues, was Domino’s Imperial debut and just missed the top of the R&B hit parade in early 1950. The end result was a record contract that would make immense profits for the label and Domino as it stretched for more than a decade. Domino was making a name in his own right by ’49, when he met Bartholomew, who brought Imperial owner Lew Chudd to the Hideaway to check out the promising newcomer. Influenced by boogie piano specialists Albert Ammons (whose Swanee River Boogie became one of Domino’s enduring showpieces), Meade Lux Lewis, and Amos Milburn, Fats was given his nickname by bassist Billy Diamond, whose band he played with at the Hideaway Club beginning in 1946. was a shy lad of Creole descent who spoke French before he learned English. Antoine Dominoīorn Februin the Big Easy, Antoine Domino, Jr. Domino never seemed like he was just going through the motions whenever he launched into his raucous set closer When The Saints Go Marching In, it was instant Mardi Gras time. Lth woes, Fats never stopped rocking like it was 1957 all over again, always fronting a rollicking band soaked in second-line rhythms and jabbing horns. Fats always did the Crescent City proud.ĭomino, who died at the age of 89 in his beloved home in Harvey, Jefferson Parrish in New Orleans, Louisiana, at night on the 24 th of October 2017, had been ailing in recent years after surviving the wrath of Hurricane Katrina in 2005 (he had to be rescued from his Ninth Ward home, which was utterly devastated). No wonder he was one of the era’s most prolific and universally accepted hitmakers with trumpeter/bandleader Dave Bartholomew as his co-writer and producer, Domino unleashed an incredible run of hits on Imperial Records that were irresistible to teenagers and their parents alike.
Like the great Louis Armstrong before him, Fats Domino was a perfect ambassador for New Orleans music.Įven at the height of the mid-‘50s rock and roll explosion, when Elvis and Chuck Berry were scaring the bejeezus out of parents with their primal rhythms and suggestive stage antics, Fats was a cherubic presence when seated behind a piano with a sweet smile on his face and a fat horn section by his side.
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