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The Peacock label turned gospel artists out as fast as they kids dancing and asked what they were doing. They replied,
could record them, and then sent them on the road in package “We’re twistin’ it, Daddy!” He went back upstairs and wrote
shows to churches and meeting halls across the South, giving “The Twist” – a song that would spark an entire new style of
the light-skinned boss a virtual lock on the Gospel Highway dance in the ‘60s.
and its performers. Then there was Bobby “Blue” Bland onstage at Ruthie’s
Meanwhile, Duke, and another of his labels, Back Beat, Inn in Oakland, CA, in 1975, kneeling on his white
cranked out legendary R&B talents like Bobby Bland, OV monogrammed handkerchief to protect his lemon-colored
Wright and Junior Parker. Robey ran his show with an iron suit, whispering, “Lord have mercy, Lord have mercy on me,”
fist and a loaded gun, but he got the job done. He also had as the audience fell apart.
a couple of secret weapons. Years later, a young Texan guitarist titled his first album
The first was Evelyn Johnson. Behind all the bluster, Ms. after an obscure 1958 blues song by Duke artist Larry Davis.
Johnson ran the show, bragging that Don Robey didn’t His 1983 album Texas Flood would go “Double-Platinum,”
know a good record from a hubcap. In truth, she kept the launching the career of Stevie Ray Vaughan.
books and did the bookings. Along the Chitlin’ Circuit and As a fan, I thank Mr. Nathan and Mr. Robey for bringing
the Gospel Highway, she kept strict control over how shows these artists and their music to the world.
were promoted, how many tickets were sold and who was
turning the profit. Rev. Billy C. Wirtz lives in Ocala, FL, with his wife Linda, 10
cats and a horse. For more information, he can be reached
A Touch of Class at revbilly88@aol.com or at facebook.com/revbilly88.
Robey’s other ace card was Joe Scott. Trumpeter
Joe Scott arranged the music for some of Duke’s greatest All original artwork by Matt O’Brien. Check him out on
records. Much like how Newport influenced the raunch of Instagram @skullface_project
King Records, Joe Scott added horns and strings to give a
big band, Bronze Peacock feel to the blues and R&B. He
added breathtaking and dramatic solos to such Bobby Bland
classics as “Turn on Your Lovelight” and “36-22-36.” Scott
produced Bland’s masterpiece album Two Steps from the
Blues, which remains the gold standard of blues albums to
this day. This sophisticated sound would become known as
“soul blues,” favored by B.B. King, Little Milton and others
and sustain Bobby “Blue” Bland’s career into the early ’70s.
Robey ran his empire until 1973, when he sold the label
to ABC Dunhill and stayed on as a consultant. He passed
away in 1975 from a heart attack, at the age of 71.

Legacy
The Rock & Roll Hall of Fame says this about Syd Nathan:
“In the process of working with Black R&B artists and White
country artists, Nathan helped effect a cross pollination
of two worlds, thereby helping lay the groundwork for the
musical hybrid known as rock ‘n roll.” He also gave us such
diverse talent as James Brown, Hank Ballard and Grandpa
Jones.
Don Robey’s controversial methods often overshadowed
his musical legacy, especially in the gospel world. His
addition of a rhythm section (drums and bass guitar) to the
quartets laid the groundwork for artists like Ray Charles,
Jackie Wilson and eventually an entire Motown sound. Along
with gospel, he gave us Bobby “Blue” Bland, Jr. Parker and
a host of other R&B giants.
The King and Duke labels presented music and artists
that changed the landscape of music. Without them, we
would not have experienced it in quite the same way. For
instance, there was King artist Hank Ballard, who saw some Bobby “Blue” Bland

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