ROBERT WILKINS

Biography

Robert Timothy Wilkins (January 16, 1896 – May 26, 1987) was an American country blues guitarist, vocalist, and songwriter of African-American and Cherokee descent, born in Hernando, Mississippi, about 21 miles south of Memphis, Tennessee. Raised on a farm and initially taking his stepfather's surname Oliver, he moved to Memphis during World War I and began performing on Beale Street in the 1920s alongside contemporaries like Furry Lewis, Memphis Minnie, and Son House. Wilkins was renowned for his versatility, adeptly playing ragtime, blues, minstrel songs, and later gospel music, often with intricate finger-picking tailored to his lyrics. He organized a jug band during the jug band craze, appeared on Memphis radio in 1927—reportedly the first Black artist to do a live broadcast there—and recorded for Victor and Brunswick from 1928 to 1936, sometimes under pseudonyms like Tom Wilkins or Tim Oliver, solo or with accompanists like Sleepy John Estes.[1][2][3][4]

In 1936, at age 40, Wilkins quit secular blues after witnessing a murder at a performance (or, in another account, pledging his life to God during his wife's illness), joined the Church of God in Christ, and was ordained a minister in 1950. He ceased recording for nearly 30 years until his 1964 rediscovery by blues enthusiasts Dick and Louisa Spottswood amid the folk revival. Revived as Rev. Robert Wilkins, he performed at festivals like the 1964 Newport Folk Festival (featured on Vanguard's Blues at Newport, Volume 2), released his debut full album Memphis Gospel Singer on Piedmont Records, and recorded live at the 1969 Memphis Country Blues Festival (released posthumously as ...Remember Me in 1993). His style remained consistent, adapting blues structures to gospel themes.[1][2][3][5]

Wilkins' legacy endures through hits like 'That's No Way to Get Along' (retitled 'The Prodigal Son' in gospel form) and 'Rolling Stone,' showcasing his stylistic range unbound by single genres, unlike peers like Charley Patton. He died in Memphis at 91, with his son Reverend John Wilkins continuing the gospel blues tradition.[1][2][4]

Fun Facts

• Wilkins claimed to have tutored Memphis Minnie on guitar and was reportedly the first Black artist to perform live on Memphis radio in 1927.
• His 1929 recording 'That's No Way to Get Along' was adapted into 'The Prodigal Son,' which The Rolling Stones covered on Beggars Banquet; initial credits to Jagger/Richards were legally changed to Wilkins.
• He recorded under pseudonyms like Tim Oliver (his stepfather's name) and Tom Wilkins during his secular career.
• A 10-minute version of 'The Prodigal Son' on his 1964 Piedmont album is hailed as a masterpiece of extended blues-gospel.

Musical Connections

Key Collaborators

• Sleepy John Estes - single accompanist on recordings (Victor and Brunswick sessions) [1928-1936]
• Dick Spottswood - rediscoverer and promoter during blues revival (1964 Newport Folk Festival and Piedmont album) [1964]
• Louisa Spottswood - rediscoverer and promoter during blues revival (1964 Newport Folk Festival and Piedmont album) [1964]

Artists Influenced

• Memphis Minnie - taught her guitar style (N/A) [1920s]
• The Rolling Stones - covered his gospel-adapted 'The Prodigal Son'; original credits corrected after legal action (Beggars Banquet (1968)) [1960s]
• Muddy Waters - title of 'Rolling Stone' inspired his work (N/A) [post-1928]
• Reverend John Wilkins - son who continued his gospel blues legacy (N/A) [post-1987]

External Links

• Spotify
• Wikipedia