Dave Bartholomew has often been quoted to the result that Smiley Lewis was a “misfortune singer,” because he never sold a lot more than 100,000 copies of his Imperial singles. In retrospect, Lewis was a lucky guy in lots of respects — he liked stellar support from New Orleans’ ace sessioneers at Cosimo’s, benefited from top-flight materials and creation (by Bartholomew), and left out a legacy of wonderful Crescent Town R&B. Born using the unwieldy deal with of Overton Lemons, Lewis strike the best Easy in his mid-teens, equipped with a large, booming voice plus some acoustic guitar skills. He performed clubs within the French One fourth, frequently with pianist Tuts Washington (and occasionally billed as “Smiling” Lewis). By 1947, his pursuing was strong plenty of to merit a program for DeLuxe Information, which released his debut 78, “Right here Shows up Smiley.” Nothing at all happened with this platter, however when Lewis authorized with Imperial in 1950 (debuting with “Tee-Nah-Nah”) issues started to move. Because the New Orleans R&B audio developed rapidly through the early ’50s, therefore do Lewis, as he rocked ever harder on “Lillie Mae,” “Ain’t Gonna GET IT DONE,” and “Big Mamou.” He obtained his first nationwide strike in 1952 with “The Bells Are Buzzing,” but liked his biggest product sales in 1955 using the exultant “I Listen to You Knocking” (its immortal piano single thanks to Huey Smith). Here’s where that alleged misfortune rears its mind — pop chanteuse Gale Surprise swiped his thunder for just about any pop crossover options with her ludicrous whitewashed cover from the plaintive ballad. But Surprise wouldn’t dare arrive near its roaring turn, the Joe Turner-ish rocker “Bumpity Bump,” or a few of Smiley Lewis’ additional classic middle-’50s jumpers (“Later on,” “Shed Weekend,” “Genuine Gone Enthusiast,” “She’s Got Me Hook, Series and Sinker,” “Rootin’ and Tootin'”). While watching Crescent City’s most popular players (saxists Lee Allen, Clarence Hall, and Supplement Hardesty usually proved helpful his schedules), Lewis roared such as a lion. Strangely, Fatty acids Domino fared better with a few of Smiley Lewis’ music than Lewis do (“Blue Mon” specifically). Likewise, Elvis Presley washed in the naughty “One Evening” and strike big with it, but Lewis’ primary had already performed well in 1956 (as acquired his melodic “Make sure you Pay attention to Me”). His blistering “Pity, Pity, Pity” discovered its method onto the soundtrack from the steamy Hollywood potboiler Baby Doll in 1957, but didn’t find entry towards the R&B graphs. After a longer with least semi-profitable operate at Imperial, Lewis transferred to OKeh in 1961 for just one single, ended at Dot in 1964 simply long enough to produce a solitary 45 (made by Nashville deejay Costs “Hoss” Allen), and bowed out with an Allen Toussaint-produced remake of “The Bells Are Buzzing” for Loma in 1965. At that time, stomach cancer tumor was consuming the once-stout vocalist up. He passed away in the fall of 1966, basically ignored outside his New Orleans house bottom. The ensuing years have got rectified that miscarriage of justice, nevertheless. Smiley Lewis’ place among the most significant New Orleans R&B performers from the ’50s is obviously assured.