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Ted Hawkins (October 28, 1936 – January 1, 1995) was an American singer-songwriter born in Biloxi, Mississippi.[1] He split his time between his adopted hometown of Venice Beach, California, where he was a mostly anonymous street performer, and Europe and Australia, where he and his songs were better known and well received in clubs and small concert halls.

Life and career

[edit]

Hawkins was born in Biloxi, Mississippi. His mother was a prostitute and he never knew the identity of his father.[2] He was sent to a reform school when he was 12 years old.[3] As a teenager Hawkins drifted, hitchhiked, and stole his way across the country for the next dozen years, earning several stays in prison, including a three-year stint for stealing a leather jacket as a teenager.[citation needed] Along the way, he picked up a love of music and a talent for the guitar. "I was sent to a school for bad boys called Oakley Training School in 1949," he wrote in a brief piece of autobiography. "There I developed my voice by singing with a group that the superintendent's wife had got together." After reform school, he ended up in the state penitentiary and was released at 19. "Then I heard a singer whose name was Sam Cooke. His voice did something to me."[citation needed]

For the next ten years or so he drifted in and out of trouble around the country, living in Chicago, Buffalo, Philadelphia, and Newark.[3] In the middle of the mid-1960s folk music boom Hawkins set out for California to try for a professional singing career.[3] He recorded several tunes without commercial success, worked at odd jobs, and took up busking along the piers and storefronts of Venice Beach as a way to supplement his income. Hawkins made ends meet by developing a small following of locals and tourists who would come to hear this Southern black man, sitting on an overturned milk crate, play blues and folk standards and a few original songs in his signature open guitar tuning and raspy vocal style. Hawkins claimed the rasp in his voice came from the damage done by years of singing in the sand and spray of the boardwalk.[citation needed]

A series of record producers and promoters "discovered" Hawkins over the years, only to be thwarted by circumstance and Hawkins's unconventional life. The first was the musicologist and blues producer Bruce Bromberg, who approached Hawkins about a recording contract in the early 1970s.[3] Hawkins tentatively agreed and recorded some dozen songs for Bromberg, but Hawkins faced legal trouble and spent much of the next decade in prison and addicted to heroin.[citation needed] Bromberg lost contact with Hawkins until 1982, when was able to get him to agree to release the previously recorded songs as an album, Watch Your Step, which was released by Rounder Records in 1982.[3] This debut album was a commercial failure but received rave reviews (notably a rare five-star rating in Rolling Stone).[4][5]

In December 1984, Hawkins was released from the California State Medical Facility at Vacaville, after serving 18 months of a three-year sentence on a child molestation charge (due to indecent exposure in the midst of suffering nervous breakdowns).[6] Hawkins reunited with Bromberg in 1985 for a second album, Happy Hour.[3] This album featured more original songs by Hawkins and was again ignored in the U.S.; however, it won acclaim and sales in Europe. English radio DJ Andy Kershaw encouraged Hawkins to come to the United Kingdom, and he moved to the resort town of Bridlington in 1986 and enjoyed his first taste of commercial musical success, touring Europe and Asia. However, after four years in England, in 1990 he was deported back to the United States by the British Government, ostensibly on drug-related charges, although Hawkins later dismissed this by saying the reason was simply "I was having visa problems...they deported me. My time ran out. England is a good place. It’s just that I had a lot of bills back home and I hadn’t seen my family. I had to get back home."[7]

During this period Hawkins refined his musical style, a mixture of folk music, country music, Deep South spirituals, and soul music.[3] His style was informed by but did not resemble traditional blues music (Hawkins claimed he could not play the blues because with his damaged fretting hand—he wore a leather glove to protect his fingers—he was unable to bend notes).[citation needed]

In 1987, the documentary filmmaker Nick Shaw approached Hawkins about producing a profile of his life and times, for which he followed Hawkins closely for the next two years. The documentary was eventually taken up by the Arts Council of Great Britain, but it has never been formally released. Some of the footage was included in the film Amazing Grace, produced by David Geffen.[citation needed]

Despite the recognition and fame he received in Europe, Hawkins was restless and moved back to California in the early 1990s and again took on the role of a street performer. Several musicians and promoters encouraged Hawkins to record, but he did so only on occasion and without much enthusiasm, until he agreed to record a full album for Geffen Records and producer Tony Berg. For this first major-label release, The Next Hundred Years,[3] Berg added session musicians to Hawkins's typical solo guitar-and-vocal arrangements for the first time, and brought national attention and respectable sales to Hawkins (though Hawkins, in typically contrary fashion, claimed to dislike the result, preferring his unaccompanied versions). Hawkins began to tour on the basis of this success, commenting that he had finally reached an age where he was glad to be able to sing indoors, out of the weather, and for an appreciative crowd. He died of a stroke at the age of 58, just a few months after the release of his breakthrough recording.[3]

His widow, Elizabeth Hawkins, sold the rights for a film version of Hawkins's life story.[8]

Hawkins is the subject of Mick Thomas's song "57 Years". In the novel The Island (2010), by R J Price (better known as the poet Richard Price), the fictional Graham and Linda are brought together at a concert by Hawkins in Glasgow, Scotland.[citation needed]

Cold and Bitter Tears: The Songs of Ted Hawkins was released in late 2015 by Eight 30 Records, based in Austin, Texas. The album was produced by Kevin Russell, Jenni Finlay and Brian T. Atkinson and features James McMurtry ("Big Things"), Kasey Chambers ("Cold and Bitter Tears"), Mary Gauthier ("Sorry You're Sick"), Shinyribs ("Who Got My Natural Comb") and several others singing songs by Hawkins.[9]

In 2014, in cooperation with his family, the Killer Blues Headstone Project placed a headstone for Ted Hawkins at Ingelwood Park Cemetery in Inglewood, California.[10]

Discography

[edit]
Ted Hawkins albums
Date Title Label Charted
1982 Watch Your Step Rounder —
1985 Happy Hour Rounder UK, No. 82[1]
1986 On the Boardwalk at Venice Beach[11] Thorp Minister —
1989 I Love You Too PT Records —
1994 The Next Hundred Years Geffen AUS No. 20[12]
1995 Songs from Venice Beach Evidence —
1998 Love You Most of All – More Songs from Venice Beach Evidence —
1998 The Final Tour (live 1994) Evidence —
1998 The Ted Hawkins Story: Suffer No More Rhino, compilation —
2000 The Kershaw Sessions: Live at the BBC (1986–1989) Varese Sarabande —
2001 The Unstoppable Ted Hawkins (live in London, 1988) Catfish Records —
2001 Nowhere to Run Catfish Records —
2009 Cold and Bitter Tears, compilation Rounder —

Hawkins also appears on the Geffen Records 1996 compilation Just Say Noël.

References

[edit]
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Ted Hawkins

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Ted Hawkins (October 28, 1936 – January 1, 1995) was an American blues and soul-blues singer-songwriter and guitarist renowned for his raw, soulful vocals and poignant songs blending elements of , folk, and . Born into poverty in , as the son of a sex worker with an unknown father, Hawkins learned to play guitar at age 12 and drew early influences from artists like and . His early life was marked by hardship, including stints in and imprisonment at the notorious Parchman Farm penitentiary in due to juvenile delinquency. Hawkins began his musical career as a street performer, spending nearly three decades busking on sidewalks in , particularly at Santa Monica's , where he captivated passersby with his powerful, emotive delivery often accompanied by just a guitar and a milk crate seat. His first recordings came in 1966 with a single on the label, followed by sessions in 1971 produced by Bromberg that were later compiled into his debut album, Watch Your Step (1982, ), which earned a five-star review from . Despite these early efforts, Hawkins struggled with personal demons, including failed early marriages and a nomadic lifestyle that led him to record unreleased material in Nashville and achieve cult status in during the late 1980s, where he lived for four years and released (1986). In a remarkable late-career resurgence, Hawkins signed with ' DGC imprint and released The Next Hundred Years in 1994, his sixth solo album and first major-label effort, which showcased his gritty storytelling of sorrow, joy, and redemption and propelled him to international acclaim, including a Top 20 hit in and performances in clubs worldwide. Tragically, just months after this breakthrough, he suffered a and died on January 1, 1995, at Centinela Medical Center in at age 58, leaving behind his wife of 29 years, Elizabeth, and five children. Hawkins' legacy endures as a symbol of resilience, with his unreleased sessions and other material later issued, including posthumous albums in the 2020s, and his influence felt in the raw authenticity of soul-blues traditions.

Early Life

Childhood and Family Background

Ted Hawkins was born Edward Hawkins on October 28, 1936, in Lakeshore, a small community near . He grew up in , the son of a mother who worked as a prostitute and was described by Hawkins himself as mostly interested in alcohol and sex work, while his father remained entirely absent and unknown to him throughout his life. This unstable family environment, marked by neglect and abandonment, contributed to a childhood defined by hardship and lack of stability in the rural South. Hawkins' early years were further shaped by exposure to gospel music traditions, an influence that would deeply inform his vocal style and emotional delivery. Despite the challenges at home, these experiences provided one of the few sources of solace and cultural grounding during his formative period. As he navigated the difficulties of and familial dysfunction, Hawkins began to develop an interest in music. At the age of 12, Hawkins was committed to a following minor offenses, including and petty , an event that underscored the harsh realities of his disrupted upbringing and set the stage for further institutional experiences. This period of early adversity in profoundly influenced his worldview, instilling a resilience that later permeated his songwriting and performances.

Incarceration and Initial Musical Development

At the age of 12, amid a childhood plagued by and in Lakeshore, , Ted Hawkins was placed in following early encounters with the law. There, a visit and performance by New Orleans pianist profoundly inspired him, igniting his lifelong passion for music and prompting him to take up the guitar. By age 15, Hawkins' troubles escalated when he was arrested for stealing from a motorcycle shop, resulting in a conviction that sent him to 's notorious Parchman Farm state penitentiary. He served time there on a harsh prison work gang, picking cotton under grueling conditions that marked a pivotal, formative period in his life. During his incarceration at Parchman Farm, Hawkins deepened his engagement with music, immersing himself in and traditions that shaped his artistic voice. He drew significant inspiration from artists such as and , whose works fueled his early efforts in songwriting and self-taught guitar playing. Hawkins was released from prison around 1954 at the age of 18, emerging with a focus on original compositions that grappled with themes of personal redemption and the struggles of his past. These early songs laid the foundation for his raw, emotive style, emphasizing introspection and resilience born from adversity.

Musical Career

Early Recordings and Domestic Challenges

After his release from prison in the mid-1950s, Ted Hawkins honed his guitar skills during incarceration, which later supported his raw street performances. Hawkins moved to in 1966, where he began busking on Venice Beach and in nearby areas like Santa Monica, often performing seated on a . He supplemented his income with odd jobs while playing in small local clubs, but his unconventional, raspy vocal style and blues-folk approach struggled to attract steady bookings in the competitive music scene. Hawkins' first recording came that same year with the soul-influenced single "Baby" b/w "Whole Lotta Women" on the small Money Records label, but it achieved no commercial success or royalties, leaving him financially strained. Discovered by local DJ Bill Harris in ' Black neighborhoods, he continued facing persistent domestic hardships, including periods of exacerbated by and multiple arrests for , which disrupted any momentum in his career. These challenges, combined with the era's racial and economic barriers for independent Black musicians, kept him in obscurity despite occasional small-club appearances. In the , Hawkins recorded material for what would become his debut with producer Bruce Bromberg for , including original songs and covers, though it remained unreleased until 1982. He pursued self-released efforts and garnered limited local radio airplay in , but these provided minimal exposure or income, perpetuating his economic instability and reliance on street performing amid ongoing personal struggles. Overall, this period marked a time of profound obscurity in the U.S. for Hawkins, contrasting sharply with his later international recognition.

European Breakthrough and International Exposure

In 1986, Ted Hawkins departed for Europe, building on his earlier experience busking on the streets of the United States to establish himself as a street performer abroad. He busked on the streets of , captivating passersby with his raw acoustic renditions of originals like "Watch Your Step" and covers that showcased his soulful and fingerpicking style. These impromptu performances often attracted sizable crowds, highlighting his ability to connect intimately with audiences in urban settings. Hawkins' reputation grew through appearances at festivals and clubs across the and , including a notable set at the 1989 in . His live shows led to the circulation of bootleg recordings among fans and garnered media exposure, such as sessions recorded between 1986 and 1989, where he performed tracks like "Crystal Chandelier" and "Daytime Friends." French radio also featured his music, contributing to his rising profile on the continent. These opportunities marked a shift from obscurity, as European audiences embraced his blend of , , and country influences. He released additional albums like I Love You Too (1989) during this period, further building his . In 1982, Hawkins released his debut full-length album, Watch Your Step, on the Rounder label, compiling earlier recordings from the 1970s that captured his solo and band-backed sound. Issued on small independent labels, the album received critical acclaim in Europe, earning a five-star review from Rolling Stone and helping to solidify his cult following through tracks like the title song and "Bad Luck Line." This release represented his first official long-form statement, emphasizing themes of hardship and resilience drawn from his life experiences. After four years abroad, Hawkins faced visa complications in the , leading to his deportation back to the in 1990. In a 1994 , he attributed the expulsion directly to expired permissions, stating, "I was having visa problems and they deported me. My time ran out." This abrupt end to his European residency forced a return to familiar territory, though it came after a period of comparative artistic validation overseas.

Return to the US and Late-Career Success

Following his deportation from the in 1990 due to visa complications, Ted Hawkins returned to the and resettled in . He quickly resumed busking on the at Venice Beach, where his raw, emotive performances drew a dedicated local among residents and visitors who appreciated his soulful and folk interpretations. Hawkins's earlier album Happy Hour, originally released in 1986 on , saw reissues in the early 1990s that helped sustain interest in his work. Live recordings from his street sessions further amplified the buzz around his authentic, unpolished style, attracting attention from figures who recognized his potential beyond the sidewalk stage. This growing word-of-mouth momentum culminated in Hawkins signing with in 1993, marking his entry into major-label production. The resulting album, The Next Hundred Years, released in 1994 and produced by , showcased Hawkins's gravelly vocals and introspective songwriting on tracks blending , , and folk elements. It achieved commercial success in , peaking at No. 20 on the charts there, while earning widespread critical acclaim for its emotional depth and Hawkins's commanding presence—praised by outlets like The Washington Post as one of the year's standout releases. In 1994, Hawkins embarked on his first major tours, performing indoors for the first time in decades and reaching audiences across the and internationally. He made notable and radio appearances, including a live session on KCRW-FM and a performance slot on KSCA's , where he delivered signature songs like "Sorry You're Sick" to highlight his breakthrough into mainstream recognition. These outings represented a poignant late-career pinnacle, allowing Hawkins to connect with larger crowds just months before his passing.

Personal Life

Relationships and Family

Ted Hawkins had several relationships throughout his life, beginning with two brief early marriages . His first marriage was annulled shortly after it began, while his second wife passed away just two months into the union. In the mid-1960s, Hawkins entered a long-term partnership with Elizabeth, whom he met during his early years performing in ; the couple and remained together for nearly three decades until his death. They had a son, Theodore (also known as Ted III), and Hawkins helped raise several daughters from Elizabeth's previous relationship, including Elizabeth, Tina, , and . Hawkins' nomadic lifestyle and frequent travels, particularly his relocation to in 1986 for professional opportunities, placed significant strain on his family dynamics. Elizabeth and the children remained in , leading to prolonged separations that Elizabeth described as painful, though she supported his career pursuits despite the emotional toll. Despite financial instability from his intermittent busking and recording work, Hawkins made efforts to provide for his family, often sending money home from abroad and relying on their understanding of his dedication to music. Due to Hawkins' reclusive nature and focus on his craft, public details about his family life remain limited, with few interviews delving into personal matters beyond basic acknowledgments of his loved ones. His experiences of familial abandonment in childhood may have shaped his patterns of seeking stability in adult relationships amid ongoing instability.

Health Struggles and Death

In his later years, Ted Hawkins faced significant health challenges stemming from decades of street life and performing, including that progressively worsened his condition. His signature raspy voice, possibly resulting from vocal strain or environmental factors encountered while busking on the , became a hallmark of his emotive delivery. These long-term effects were compounded by the rigors of his late-career success, as extensive touring added stress that exacerbated his physical ailments. Following the release of his breakthrough album The Next Hundred Years on March 29, 1994, Hawkins was hospitalized, which curtailed promotional efforts and further performances. On December 29, 1994, he suffered a diabetes-related that led to a , and he died on , 1995, at the age of 58 in at Centinela Medical Center. Hawkins was initially buried at in , without a headstone. In 2014, the Killer Blues Headstone Project, in cooperation with his family and supported by fan initiatives, placed a proper headstone at his gravesite to honor his legacy.

Artistic Style and Influences

Vocal Technique and Guitar Approach

Ted Hawkins was renowned for his distinctive raspy, gravelly vocal delivery, which blended soulful wails with bluesy grit, creating a timbre often likened to "sandpaper and honey." This raw, textured quality imbued his performances with emotional depth and authenticity, drawing listeners in with its haunting, deep-bodied resonance that evoked the hardships of his life experiences. Hawkins attributed the raspiness to years of busking in the sandy, salty air of Venice Beach, where environmental factors contributed to the unique wear on his voice. Hawkins' vocal style was heavily influenced by , whose soulful delivery shaped his emotive phrasing. On guitar, Hawkins employed open tuning, known as Vestapol style, which facilitated his fingerpicking approach combined with rhythmic strums and occasional slide elements; he developed these techniques starting from his time in reform school at age 12, where he first learned to play the instrument, and further honed them during later incarcerations. Often performing seated on a milk crate during busking sessions, this intimate setup amplified the emotional rawness of his delivery, allowing the unadorned interplay between voice and guitar to take center stage without distraction. He typically used a black leather glove on his left hand, doused in baby powder, to protect his fingers from the wear of long playing sessions. Hawkins consistently avoided elaborate production in his recordings, prioritizing a live, unpolished sound that captured the immediacy of his performances and emphasized the purity of his and vocals. This approach was evident in albums like The Final Tour (1998), compiled from his 1994 concerts, where the raw energy of his seated, minimalist style shone through without studio embellishments.

Thematic Elements in Songwriting

Ted Hawkins' songwriting frequently explored themes of , redemption, and lost , drawing from intimate personal narratives that resonated with emotional depth. In tracks like "Watch Your Step," he addressed and the pain of relational betrayal, portraying the cautionary plea of a lover wary of heartbreak. Similarly, "If You Love Me" delves into the ache of unrequited and the longing for , underscoring a sense of over past mistakes in romantic bonds. These motifs often carried a redemptive undercurrent, as seen in "Peace and Happiness," where Hawkins expressed a yearning for spiritual solace amid relational turmoil, transforming personal sorrow into a quest for emotional renewal. His compositions were deeply autobiographical, weaving in elements of hardship, , and a transient , yet infused with -inspired optimism that highlighted resilience. Songs such as "The Lost Ones" reflected his dirt-poor childhood and experiences of profound hurt from poverty and incarceration at Parchman Farm, evoking the raw struggles of a existence marked by abuse and instability. Despite these shadows, Hawkins infused his lyrics with an uplifting faith, as in "Ladder of Success," where he invoked divine support as a pathway out of suffering, turning tales of and into messages of hope and future promise. This optimism stemmed from his Southern roots, providing a counterbalance to the ' melancholy and emphasizing personal growth over despair. Early influences like contributed to the blend of , , and New Orleans rhythms in his work. Hawkins masterfully blended secular blues narratives with spiritual undertones, reflecting his Biloxi upbringing and lifelong , which added layers of transcendence to everyday woes. His work merged the gritty realism of —chronicling lost and regret—with gospel's redemptive fervor, creating songs that felt both worldly and sacred, as evidenced by the soulful pleas in "Sorry, You're Sick," which mirrored his own battles with and hardship while seeking through belief. This fusion not only honored his Southern heritage but also amplified the vulnerability in his lyrics, often enhanced by his distinctive vocal delivery that conveyed raw sincerity. In terms of structure, Hawkins favored simple, repetitive choruses that maximized emotional impact, particularly in live settings where audiences could join in the repetition. This approach, evident in performances of originals like "The Good and the Bad," allowed the lyrics' themes of redemption and hardship to build intensity through familiarity, fostering a communal sense of release and connection.

Legacy and Posthumous Recognition

Tributes and Cover Versions

In 2015, the tribute album Cold and Bitter Tears: The Songs of Ted Hawkins was released on Eight 30 Records, featuring interpretations of Hawkins's songs by a diverse array of folk, blues, and roots musicians. Produced primarily by Kevin Russell (also known as Shinyribs), the collection includes performances by artists such as on "Big Things," on the title track, on "Sorry You're Sick," and Shinyribs on "Who Got My Natural Comb," among others like Tim Easton, Jon Dee Graham, and . Hawkins's material has also been covered by other notable performers outside the tribute album, appearing in various folk-blues anthologies and live sets that highlight his raw emotional delivery and songcraft. Selections from his catalog have been included in compilations blending folk and blues traditions, underscoring his influence on contemporary roots music scenes. Filmmaker Nick Shaw began work on a profile of Hawkins in 1987, following the singer for approximately two years to capture his street performances and personal story; although never fully released as a standalone feature, portions of the footage were incorporated into the 1996 Ted Hawkins: . As of 2025, no further developments on Shaw's original project have been reported, leaving it in an unreleased state. In 2014, the Killer Blues Headstone Project, a nonprofit initiative dedicated to honoring overlooked artists, installed a headstone at Hawkins's grave in , , in collaboration with his family; the effort was supported by contributions from blues enthusiasts and the music community.

Cultural and Historical Impact

Ted Hawkins emerged as a powerful symbol of resilient street performers in American music, embodying the perseverance of outsider artists who sustained careers through raw, unamplified performances amid personal hardships. His decades-long busking on Venice Beach, where he captivated passersby with soul-infused folk-blues renditions, highlighted the authenticity and endurance of this tradition, influencing perceptions of street music as a vital cultural undercurrent. This image inspired key works, including the 1996 documentary Ted Hawkins: Amazing Grace, directed by Janice Engel, which chronicled his life and performances, underscoring the transformative potential of such figures in folk-blues narratives. Similarly, Cary Baker's 2024 book Down on the Corner: Adventures in Busking and Street Music profiles Hawkins as a legendary exponent of street performing, weaving his story into the broader history of American folk-blues traditions and their role in shaping grassroots musical expression. Hawkins' late-career breakthrough in the resonated within the alt-country and indie music scenes, where his blend of , country, and appealed to artists seeking unpolished, narrative-driven authenticity during the era's folk revival. His raw vocal delivery and guitar work, refined through years of impromptu performances, contributed to a renewed interest in roots-oriented sounds that bridged genres, influencing the aesthetic of indie acts drawn to outsider tales of redemption and grit. In the early , rights to his life story were optioned for a by Jeff Cooney Films in association with First Look Pictures, though the project remained unrealized as of 2025. Hawkins received formal recognition through inclusion on the Mississippi Blues Trail, with a marker at 100 Men Hall in Bay St. Louis noting his birthplace in nearby Lakeshore and his contributions to the state's blues heritage. His trajectory as an African American musician who achieved widespread acclaim only in his later years—after decades of obscurity—bolstered cultural narratives around late-blooming talents in the post-Civil Rights era, illustrating the ongoing challenges and triumphs of Black artists navigating systemic barriers in American music. Hawkins' untimely death in 1995 curtailed further exploration of his potential impact.

Discography

Studio Albums

Ted Hawkins released three primary studio albums during his lifetime, each showcasing his raw, emotive and style rooted in personal hardship and resilience. These recordings, produced under varying labels and circumstances, highlight his evolution from independent obscurity to major-label recognition, blending work with heartfelt vocals. An additional studio album was released during his time in . Posthumously, additional material from unreleased sessions has been compiled in studio-like formats, preserving his unreleased originals. His debut studio album, Watch Your Step, was released in 1982 by , compiling tracks recorded in 1971 that capture Hawkins' early songwriting prowess. The album features core songs such as the title track "Watch Your Step," alongside "Don't Lose Your Cool" and "Peace and Happiness," emphasizing themes of love, loss, and everyday struggle in a stripped-down blues-folk arrangement. Recorded in , it received critical acclaim, including a five-star rating from for its authenticity and emotional depth. In 1986, Hawkins issued Happy Hour on Rounder Records, a collection of introspective tracks written and performed during his transitional period after imprisonment. Produced by Bruce Bromberg at Music Lab in Los Angeles, the album includes originals like "Bad Dog" and "Gypsy Woman," exploring vulnerability and redemption with minimal instrumentation that foregrounds his gravelly . It marked his first charting release, reaching No. 82 on the and gaining traction in European markets through radio play. While living in , Hawkins released I Love You Too in 1989 on PT Records, featuring soulful originals and covers like "Who Do You Love" and "You've Changed," recorded with a focus on his emotive vocals and guitar accompaniment. Hawkins' major-label breakthrough came with The Next Hundred Years in 1994 on , his only release with a large conglomerate, featuring polished production by . Recorded at The Complex in , the album blends soul-blues with country influences, highlighted by covers like "" and originals such as "Strange Conversation," which underscore his optimism amid adversity. Backed by session musicians including Little Feat's on keyboards, it represents a refined yet true-to-form effort, earning praise for elevating Hawkins' street-honed sound to broader accessibility. Following his death in 1995, the posthumous release The Ted Hawkins Story: Suffer No More appeared in on Rhino Records, compiling previously unreleased studio tracks alongside select earlier material to chronicle his career arc. Drawn from sessions spanning the to , including lost 1966 soul sides and later originals like "Sorry You're Sick," the album functions as a studio-like , emphasizing Hawkins' unvarnished songcraft and vocal intensity without overdubs. It provides essential context for his overlooked contributions, with tracks recorded in various U.S. studios highlighting material that never saw prior commercial release.

Live Recordings and Compilations

Ted Hawkins' live recordings and compilations preserve the spontaneous energy of his street busking and stage performances, often featuring just his voice and guitar against urban backdrops or festival crowds. One of the earliest such collections, On the (The Venice Beach Tapes) (1986, Unamerican Activities), captures his performances on the Venice Beach boardwalk, including covers and originals in an unpolished, acoustic style that defined his street career. A follow-up, Dock of the Bay (The Venice Beach Tapes II) (1987, Unamerican Activities), continues this theme with tracks like the title cover and "Too Busy Thinkin' Bout My Baby," recorded in similar impromptu settings. Posthumously, Songs from Venice Beach (1995, Evidence Music) assembles tracks recorded during his 1980s and early 1990s sessions on the Venice Beach boardwalk, capturing the raw intimacy of his acoustic renditions of covers like "Searching for My Love" and originals amid ocean sounds and passersby. This release highlights Hawkins' ability to command impromptu audiences with his gravelly and fingerpicking style, drawing from tapes that circulated among fans before official compilation. Posthumous efforts further amplified his live legacy, with The Final Tour (1998, Evidence Music) compiling performances from his European tour, including festival appearances that showcased his transition to backed arrangements while retaining street-level authenticity. Tracks like "" and "Watch Your Step" demonstrate the crowd interaction and emotional depth that defined his shows, recorded just before his health declined. Similarly, Love You Most of All: More Songs from Venice Beach (1998, Evidence Music) extends the theme with additional unpolished live cuts from the same era, emphasizing Hawkins' unfiltered delivery on standards such as "Bring It on Home to Me." Unofficial bootlegs and session outtakes also played a key role in building his cult following, particularly tapes from his busking stints in and during the 1980s European tours, where he performed for subway crowds and street corners, blending and in multilingual settings. These circulated among enthusiasts, influencing later official releases by revealing his improvisational flair. Compilations like Music for 2:47 A.M. (1997, self-released) include rare live and demo material from various sessions, offering glimpses into his nocturnal creative process. While contrasting the polish of studio counterparts, these live captures underscore Hawkins' essence as a performer forged in adversity.

References

  1. https://www.discogs.com/artist/512883-Ted-Hawkins
  2. https://www.the-independent.com/news/people/obituary-ted-hawkins-1567807.html
  3. https://www.latimes.com/archives/la-xpm-1995-01-04-me-16074-story.html
  4. https://www.npr.org/1994/05/02/1107642/ted-hawkins-is-a-singer-a-songwriter-and-a-guitarist-who-for-almost-30-years-was
  5. https://www.nytimes.com/1995/01/11/obituaries/ted-hawkins-58-blues-writer-and-singer-on-brink-of-fame.html
  6. https://www.latimes.com/archives/la-xpm-1995-01-07-me-17351-story.html
  7. https://www.countrymusichalloffame.org/from-where-i-stand/disc-3-forward-with-pride
  8. https://www.latimes.com/archives/la-xpm-1995-01-11-ca-18709-story.html
  9. https://www.last.fm/music/Ted%2BHawkins/%2Bwiki
  10. https://nodepression.org/ted-hawkins-the-unstoppable-ted-hawkins/
  11. https://www.discogs.com/release/6280338-Ted-Soul-Hawkins-Baby-Whole-Lot-Of-Women
  12. https://batesmeyer.com/official-ted-hawkins-licensing/
  13. https://www.allmusic.com/artist/ted-hawkins-mn0000023982
  14. https://www.bbc.co.uk/programmes/p00jtkrm
  15. https://www.thevinyldistrict.com/storefront/graded-on-a-curve-ted-hawkins-watch-your-step/
  16. https://thekatztapes.library.northeastern.edu/ted-hawkins-1994/
  17. https://dangerousminds.net/comments/suffer_no_more_the_tragic_life_of_singer-songwriter_ted_hawkins/
  18. https://venicebeachhead.org/2023/01/14/venice-books/
  19. https://www.discogs.com/release/6064286-Ted-Hawkins-Happy-Hour
  20. https://www.discogs.com/release/4592674-Ted-Hawkins-The-Next-Hundred-Years
  21. https://www.latimes.com/archives/la-xpm-1994-06-23-ol-7496-story.html
  22. https://www.reddit.com/r/listentothis/comments/4zlnuj/ted_hawkins_there_stands_the_glass_folk_1994/
  23. https://www.youtube.com/watch?v=Gd_E8IevWtM
  24. https://wdet.org/2021/07/30/folk-singer-ted-hawkins-opens-up-about-music-career-in-rare-1994-interview/
  25. https://freshairarchive.org/segments/blues-musician-ted-hawkins
  26. https://www.latimes.com/archives/la-xpm-1987-05-03-ca-8206-story.html
  27. https://www.latimes.com/archives/la-xpm-1995-01-07-me-17314-story.html
  28. https://twangville.com/2015/10/15/cold-and-bitter-tears-the-songs-of-ted-hawkins/
  29. https://www.hotpress.com/music/ted-hawkins-479221
  30. https://h2g2.com/edited_entry/A801677
  31. https://www.amazon.com/Final-Tour-TED-HAWKINS/dp/B0000014QQ
  32. https://www.culturesonar.com/watch-your-step-ted-hawkins-strong-start/
  33. https://www.dallasobserver.com/music/peace-and-happiness-6404790/
  34. https://open.spotify.com/artist/1clAnI6PODaoVlbzlUPOfU
  35. https://elmoremagazine.com/2015/10/reviews/albums/the-songs-of-ted-hawkins
  36. https://www.allmusic.com/album/cold-and-bitter-tears-the-songs-of-ted-hawkins-mw0002878302
  37. https://www.discogs.com/master/1584312-Various-Cold-And-Bitter-Tears-The-Songs-Of-Ted-Hawkins
  38. https://www.imdb.com/name/nm3079560/
  39. https://killerblues.net/headstones/headstone-directory/
  40. https://fromthevaults-boppinbob.blogspot.com/2024/10/ted-hawkins-born-28-october-1936.html
  41. https://www.imdb.com/title/tt0248529/
  42. https://cvindependent.com/2024/12/the-most-authentic-music-palm-desert-resident-cary-baker-chronicles-street-performers-in-his-new-book-down-on-the-corner/
  43. http://richt.freeshell.org/ted/
  44. https://msbluestrail.org/blues-trail-markers/100-men-hall
  45. https://www.allmusic.com/album/watch-your-step-mw0000651321
  46. https://music.apple.com/us/artist/ted-hawkins/1409864542
  47. https://www.allmusic.com/album/happy-hour-mw0000691363
  48. https://www.discogs.com/release/9594484-Ted-Hawkins-Happy-Hour
  49. https://www.officialcharts.com/albums/ted-hawkins-happy-hour/
  50. https://www.discogs.com/release/3979974-Ted-Hawkins-I-Love-You-Too
  51. https://www.allmusic.com/album/the-next-hundred-years-mw0000594852
  52. https://www.amazon.com/Next-Hundred-Years-Ted-Hawkins/dp/B000003TAU
  53. https://www.allmusic.com/album/the-ted-hawkins-story-suffer-no-more-mw0000031967
  54. https://www.amazon.com/Ted-Hawkins-Story-Suffer-More/dp/B00000346A
  55. https://www.discogs.com/master/845623-Ted-Hawkins-The-Ted-Hawkins-Story-Suffer-No-More
  56. https://www.discogs.com/release/2702405-Ted-Hawkins-On-The-Boardwalk-The-Venice-Beach-Tapes
  57. https://www.discogs.com/master/324799-Ted-Hawkins-Dock-Of-The-Bay-The-Venice-Beach-Tapes-II
  58. https://www.allmusic.com/album/songs-from-venice-beach-mw0000436420
  59. https://www.discogs.com/release/6092466-Ted-Hawkins-Songs-From-Venice-Beach
  60. https://music.apple.com/us/album/the-final-tour/1722357451
  61. https://open.spotify.com/album/0dRG0fukD7nafeOdL1IwZp
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