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Billy Roberts
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Key Information
William Moses Roberts Jr. (August 16, 1936 – October 7, 2017)[1][2] was an American songwriter and musician credited with composing the 1960s rock music standard "Hey Joe."[3]
Biography
[edit]Roberts attended the Citadel, The Military College of South Carolina but left school for the life of an itinerant musician. He learned to play the 12-string guitar and blues harmonica, on which he claimed to have been tutored by Sonny Terry. In the early 1960s he went to New York's Greenwich Village where he busked on the street and played in coffeehouses. It was there that he composed the song "Hey, Joe," which he copyrighted in 1962. Early the same year, after a brief and turbulent marriage, Roberts traveled to Reno, Nevada to obtain a divorce. After that, he went to San Francisco where he again played in coffeehouses. It would become his base of operations for the rest of his career.
In 1964-1965, Roberts was part of a San Francisco-based folk trio called The Driftwood Singers (with Steve Lalor and Lyn Shepard).[4][5] Signed by David Allen, manager of the hungry i, the group did several month-long stints at the i, opening for Bill Cosby, Carmen McRae, Godfrey Cambridge, and Joan Rivers. The group also toured the West Coast, playing supper clubs and summer concerts touring around Seattle and Vancouver, British Columbia. On New Years Day 1965, they participated in an entertainment event at San Quentin State Prison with Louis Armstrong, Sarah Vaughan, Johnny Cash, a Mariachi Band, and hula dancers. Dino Valenti was very likely in the audience, serving a term for a drug charge.[citation needed]
In 1965, Roberts was alerted by a friend to a recording of "Hey Joe" by the Southern California rock band, The Leaves. Roberts knew nothing of the recording and the friend (Hillel Resner, later his producer) offered to ask his father, an attorney in San Francisco, to look into the matter. The attorney discovered that folk singer Dino Valenti had claimed authorship of the song and signed a publishing contract with Third Story Music of Los Angeles. This led to negotiations that resulted in Roberts retrieving his author's rights, but it did not prevent numerous recordings being released that named several other songwriters, in addition to Valenti, as the author.
In 1967, David M. Overton left Detroit to attend Hastings College of Law in San Francisco, but in 1968, decided to be a drummer, performing with the Billy Roberts Blues Band.[6]
In September 1968, Roberts played at the Sky River Rock Festival in Washington, and jammed with Big Mama Thornton, James Cotton, and members of the Grateful Dead.[7] Dino Valenti was also on the bill.
While residing in the Bay Area, Roberts performed in local clubs and as the opening act for the Steve Miller Band at the Straight Theater in Haight-Ashbury in September 1967. He also opened for Santana at a Bill Graham Winterland concert in 1970.
In 1975, Roberts recorded the country rock album Thoughts of California with the band Grits, which he produced with Hillel Resner.
After a serious car accident in the early 1990s, Roberts was hospitalized for a time in Sonoma County, California. He later moved to Atlanta, Georgia to undergo rehabilitation. Thereafter he did not perform or record, but he held copyrights on nearly 100 songs.
Guitarist Roy Buchanan recorded a version of "Hey Joe" (on the 1974 LP That's What I Am Here For); Buchanan also recorded Roberts' "Good God Have Mercy" on the 1976 LP A Street Called Straight.
Roberts had been residing in Atlanta at the time of his death on October 7, 2017.[8]
Discography
[edit]- Thoughts of California (1975)
References
[edit]- ^ "Billy Roberts". Allmusic. Retrieved December 14, 2023.
Born: August 16, 1936 in Greenville, SC; Died: October 17, 2017.
- ^ Hicks, Michael (1999). Sixties Rock: Garage, Psychedelic, and Other Satisfactions. Urbana, Illinois: University of Illinois Press. p. 41. ISBN 0-252-02427-3.
- ^ "Billy Stapleton Guitar Stories: Billy Roberts". Archived from the original on April 6, 2009. Retrieved April 3, 2009.
- ^ Music in Washington: Seattle and Beyond, Blecha, Peter, Arcadia Publishing, 2007, pp48
- ^ "1964-11-13". The Stanford Daily Archives.
- ^ "Five decades of cheesecake: A history". The Cheesecake Factory. Archived from the original on November 3, 2005. Retrieved March 17, 2022.
- ^ "1968's Sky River Rock Festival revisited Friday". The Seattle Times. August 12, 2011. Retrieved October 27, 2021.
- ^ "Obituaries". The Atlanta Journal-Constitution. October 11, 2017. p. B5.
Roberts, Jr. William M. "Billy": Age 81, of Atlanta, passed away October 7, 2017.
External links
[edit]- Billy Roberts discography at Discogs
- Billy Roberts at IMDb
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Billy Roberts
View on Grokipediafrom Grokipedia
Early life and education
Upbringing in South Carolina
William Moses "Billy" Roberts Jr. was born on August 16, 1936, in Greenville, South Carolina.[2][1] Raised in the upstate region of South Carolina during the mid-20th century, Roberts grew up amid the cultural milieu of the American South, where folk and blues traditions were deeply embedded in local communities.[1] Although details of his family background remain scarce, his early years in Greenville provided the initial backdrop for his lifelong engagement with music.[3] Roberts' youth in South Carolina thus laid essential groundwork for his musical interests, though specific anecdotes from this period are limited in historical records.Attendance at The Citadel
Details regarding formal education, including any attendance at The Citadel, are not well-documented in available sources.Musical career
Folk scene involvement
In the early 1960s, following his time at The Citadel, Billy Roberts relocated to New York City, immersing himself in the burgeoning Greenwich Village folk revival.[1] There, he established himself as an itinerant musician, busking on the streets and performing in coffeehouses, where the scene emphasized original songwriting amid a culture of communal sharing.[1] Roberts' style featured his proficiency on the 12-string guitar and blues harmonica—skills he had honed earlier and claimed were influenced by harmonica master Sonny Terry—allowing him to deliver raw, blues-inflected folk interpretations in these informal venues.[1] His commitment to the oral tradition of folk music, prevalent in Village circles, shaped his songwriting approach, prioritizing songs that circulated freely among performers rather than immediate commercial recordings.[4][5] Roberts networked extensively with fellow folk artists in Greenwich Village, exchanging repertoires in a scene that valued collaboration and adaptation over strict authorship.[5] This environment fostered his growth as a songwriter, as he drew from traditional blues and folk forms while contributing originals that resonated through interpersonal sharing at hootenannies and open mics.[4] By mid-decade, seeking new opportunities, Roberts moved westward, first to Seattle and then to San Francisco, where he integrated into the Bay Area's vibrant folk circuit.[1] In San Francisco, Roberts continued his peripatetic lifestyle, gigging in folk clubs and coffeehouses that dotted the city's bohemian neighborhoods, such as the Marina district.[1] His performances maintained the unpretentious, acoustic focus of the folk revival, blending harmonica-driven blues with narrative-driven songs that echoed the oral exchanges he had experienced in the East.[6] This phase solidified his reputation among West Coast peers, reinforcing the folk ethos of itinerancy and communal creativity that defined his career.[4]Band performances and collaborations
In the mid-1960s, following his time in the Greenwich Village folk scene, Billy Roberts joined the San Francisco-based folk trio The Driftwood Singers, alongside Steve Lalor and Lyn Shepard.[7][1] The group performed residencies at prominent West Coast venues, including San Francisco's Hungry i, where they opened for established acts such as Bill Cosby.[1] On January 1, 1965, The Driftwood Singers participated in an entertainment event at San Quentin State Prison, contributing to the era's folk outreach initiatives in correctional facilities.[1] The trio's activities during this period highlighted Roberts' growing presence in the evolving folk circuit, blending traditional styles with emerging influences. Roberts' performances extended into larger rock festivals, notably appearing at the inaugural Sky River Rock Festival near Sultan, Washington, from August 31 to September 2, 1968.[8] There, he joined an eclectic lineup and participated in a memorable jam session on the final day with Big Mama Thornton, James Cotton, and members of the Grateful Dead, signaling his transition toward rock-infused folk expressions.[8][9] In September 1967, Roberts shared the bill with the Steve Miller Band at the Straight Theater in San Francisco's Haight-Ashbury district, alongside acts like Sopwith Camel and Notes from the Underground.[10] Three years later, in 1970, he opened for Santana at a Bill Graham-promoted concert at the Winterland Auditorium, further integrating his folk roots into the burgeoning San Francisco rock scene.[1]Later musical activities
In 1975, Roberts released his sole full-length album, the country rock project Thoughts of California, recorded with the backing group Grits and issued on the independent Tulip Records label.[11] The album, co-produced by Roberts and Hillel Resner at Different Fur Music studio in San Francisco, featured original compositions blending folk influences with country rock elements, including tracks like "San Francisco Old Lady" and "Gimme Some."[11] Despite its modest production and limited distribution, it represented Roberts' most significant recording effort following his earlier folk scene involvement. Throughout his career, Roberts maintained copyrights for nearly 100 songs, though only a handful, such as "Hey Joe" and selections from Thoughts of California, achieved commercial recordings.[1] After the 1975 release, his activities shifted to a low-profile continuation, with no additional studio albums but occasional live contributions in the Bay Area. Notably, in August 1986, he joined musicians John Cipollina, Nick Gravenites, Greg Elmore, and Dave Killmer onstage at Club 9 in San Francisco, where he performed "Hey Joe" amid a set blending blues and rock.[12] By the early 1990s, a car accident ended Roberts' performing career.[1]Later life and death
Retirement following accident
In the early 1990s, Billy Roberts suffered a serious car accident when his Toyota Land Cruiser went over a cliff on Highway 1 north of San Francisco, resulting in a brain injury that affected his short-term memory and led to his retirement from active performance and most recording in music.[](https://www.discogs.com/artist/347895-Billy-Roberts) [](https://heyjoeversions.wordpress.com/more-about-billy-roberts/) The incident marked the end of his regular involvement in the industry, following a period of already low-profile activities in the 1970s and 1980s. [](https://www.discogs.com/artist/347895-Billy-Roberts)
Following the accident and initial hospitalization in Sonoma County, California, Roberts relocated to a long-term care facility in Atlanta, Georgia, where he shifted to a more private life centered on personal recovery and limited public engagements. [](https://www.discogs.com/artist/347895-Billy-Roberts) [](https://heyjoeversions.wordpress.com/more-about-billy-roberts/) He made only rare appearances thereafter, including singing "Hey Joe" in 1998, and recorded a song that year, while prioritizing rehabilitation over broader returns to the stage or studio. [](https://heyjoeversions.wordpress.com/more-about-billy-roberts/) From this base, Roberts managed his existing song copyrights remotely, overseeing royalties with limited creative pursuits. [](https://www.discogs.com/artist/347895-Billy-Roberts)
At the time of his withdrawal, Roberts held copyrights on nearly 100 songs, including his seminal composition "Hey Joe," and while he largely ceased writing additional material after the accident, he is reported to have written and recorded a song in 1998. [](https://www.discogs.com/artist/347895-Billy-Roberts) [](https://heyjoeversions.wordpress.com/more-about-billy-roberts/) This phase represented a pivot from his earlier folk and collaborative work to a reclusive existence focused on sustaining his catalog. [](https://www.discogs.com/artist/347895-Billy-Roberts)
Death in 2017
Billy Roberts died on October 7, 2017, in Atlanta, Georgia, at the age of 81.[1][13][14] The cause of his death was not publicly disclosed.[15] Roberts had resided in Atlanta for many years after retiring from music.[14] No funeral or memorial services were held. Details regarding the handling of his estate, including copyrights to songs such as "Hey Joe," have not been publicly reported.[15]Legacy
Cultural impact of "Hey Joe"
The Jimi Hendrix Experience's 1966 recording of "Hey Joe" established the song as the definitive version, transforming it into a cornerstone of rock music and launching Hendrix's international career as its debut single.[16] Released on December 16, 1966, in the UK, the track's psychedelic guitar effects and raw intensity elevated the folk-blues narrative to a global hit, peaking at number six on the UK Singles Chart and introducing Hendrix's innovative style to a wide audience.[16] This rendition solidified "Hey Joe" as a rock standard, with its brooding structure and improvisational flair influencing subsequent interpretations across the genre.[4] Since Hendrix's breakthrough, "Hey Joe" has been covered by hundreds of artists in diverse styles, evolving from its folk-rock roots into adaptations spanning garage rock, psychedelic, punk, reggae, soul, jazz, blues, and heavy metal.[4] Early versions include The Leaves' 1965 garage rock take, which peaked at number 31 on the Billboard Hot 100 in 1966, and Love's 1966 psychedelic arrangement on their debut album, both predating and paralleling Hendrix's release.[17][7] Later renditions expanded its reach, such as Patti Smith's 1974 punk-infused live version on Horses, Black Uhuru's 1990 reggae-dub reinterpretation, and heavy metal explorations like Cher's dramatic 1975 cover or Gov't Mule's extended jam sessions, demonstrating the song's versatility and enduring appeal across musical boundaries.[18][19] In the 1960s counterculture, "Hey Joe" resonated deeply through its lyrics depicting a man's vengeful flight after killing his unfaithful partner, often interpreted amid social upheavals like racial tensions and gender dynamics, while Hendrix's performances infused it with psychedelic improvisation that aligned with the era's experimental ethos.[20] The song's violent narrative gained added relevance during national unrest, including riots, positioning it as a raw expression of alienation and rebellion in the hippie movement, where it became ubiquitous—parodied even by Frank Zappa on The Mothers of Invention's 1968 album We're Only in It for the Money.[21] Hendrix's rendition, with its feedback-laden solos, captured the psychedelic spirit, contributing to the soundtrack of the blooming countercultural revolution.[22] Recent scholarship, such as Jason Schneider's 2025 book That Gun in Your Hand: The Strange Saga of 'Hey Joe' and Popular Music's History of Violence, has reignited interest in the song's versions by examining its ties to American murder ballads and cultural violence, while underscoring the enduring mystery of Billy Roberts' unrecorded original composition from the early 1960s.[4] The book traces over a dozen key recordings, highlighting how the track's obscurity in Roberts' hands contrasts with its widespread influence, prompting renewed appreciation for its role in shaping popular music's exploration of dark themes.[19]Recognition and tributes
Billy Roberts is widely credited as the primary composer of "Hey Joe" in established music databases, including AllMusic, where he is listed as the songwriter responsible for the 1960s rock standard.[2] This attribution underscores his foundational role in the song's development within the folk music scene, predating its rock adaptations. Roberts' contributions are discussed in scholarly works on 1960s rock history, particularly those examining the shift from folk traditions to electric rock forms. In Jason Schneider's 2025 book That Gun in Your Hand: The Strange Saga of "Hey Joe" and Popular Music's History of Violence, Roberts is profiled extensively as the song's originator, with the author providing newly researched details on his early performances in Greenwich Village and the folk-to-rock evolution exemplified by "Hey Joe."[4] The book highlights how Roberts' acoustic folk composition influenced broader rock narratives, drawing parallels to earlier murder ballads while marking a pivotal transition in popular music.[23] Following Roberts' death on October 7, 2017, posthumous recognition has centered on archival and historical reevaluations of his legacy. Schneider's publication, released eight years later, serves as a key tribute by illuminating obscure aspects of Roberts' life, including his South Carolina roots and nomadic career, thereby elevating his status in music historiography.[24] Additionally, the song's copyright registration with BMI under Third Palm Music, BMI, continues to affirm Roberts' authorship in professional licensing contexts.[25]Discography
Solo albums
Billy Roberts released one album, Thoughts of California, with the band Grits in 1975 on the independent label Tulip Records.[11] The country rock project featured backing from the band Grits and was co-produced by Roberts and Hillel Resner, with recording taking place at Different Fur Music in San Francisco during February and March 1975.[11][26] The album reflects Roberts' 1970s musical activities in a laid-back style blending folk, rock, and country elements, emphasizing twangy guitars, harmonica, and introspective lyrics about California life and personal struggles.[27][11] The track listing is as follows: Side A- A1: Country Music (2:36)
- A2: Hang Out With Me (3:20)
- A3: Lies (2:36)
- A4: Rose's Cantina (2:46)
- A5: Rebound (2:51)
- A6: Hide Behind (4:10)
- B1: I Want Enemies (I Don't Need No Friends) (3:21)
- B2: Thoughts Of California (4:57)
- B3: San Francisco Old Lady (3:56)
- B4: Gimme Some (3:04)
- B5: Beginning Of The End (4:13)
- B6: I Don't Rooster (2:43) [11]