Our Arklahoma Heritage: Big Al Downing thrived in rockabilly, country, and disco music for over five decades

Alexander "Big Al" Downing, the sharecropper’s son from Centralia, Oklahoma who pounded out rhythms on a salvaged piano, rose to become a pioneering force in rockabilly, country, and disco.

His journey, marked by raw talent and unwavering battles against racial barriers, left an unforgettable mark on American music.

Born January 9, 1940, in the unincorporated community of Centralia in Craig County, Al Downing grew up in a large African American family--some accounts say 12 siblings, others 15--working the fields under the harsh sun of the Dust Bowl era.

Life was toil: hauling hay, riding horses, and navigating the sting of segregation. Yet music was the family’s refuge. Around their modest home, gospel hymns filled the air, and a junkyard piano became Al’s first instrument.

Self-taught, he played by ear, his fingers finding rockabilly and country rhythms from the radio. A single piano lesson at age 10 sealed his path when the teacher told his parents, “He has a gift from God--leave him alone.”

By his late teens, Al formed the Poe Kats, a rockabilly band with his brothers and local players. They gigged in rough-and-tumble beer joints across northeastern Oklahoma and Kansas, their raw energy catching the ear of country star Wanda Jackson.

She hired them as her touring band in the late 1950s, making Al, at 6-foot-3 and 275 pounds, the only Black member of her integrated road show. Performing in an era when racial divides were stark, he faced prejudice but won crowds with his charisma, later recalling how military audiences abroad embraced his country sound without bias.

The 1960s saw Al chase bigger stages, moving east to Boston with the Poe Kats for better pay, though the grind of 13-hour days tested their resolve. His versatility shone as he recorded R&B and soul, collaborating with Little Esther Phillips on a 1963 single that hit No. 73 on Billboard’s charts.

His songwriting caught fire: Fats Domino recorded “Mary, Oh Mary” and “Heartbreak Hill,” and later, Bobby “Blue” Bland and Tom Jones covered his work. But it was the 1970s that launched Al into the spotlight.

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In 1974, his disco anthem “I’ll Be Holding On” topped the U.S. Disco chart for three weeks, cracking the Soul and Hot 100 charts and earning European acclaim. Dressed in glitter and diamond rings, he dazzled at Madison Square Garden, blending James Brown-style splits with piano-pounding fervor

.Yet Al’s heart stayed rooted in country. A chance session at Chess Records pivoted him to Silver Fox and Columbia labels, where he fused country with soul. Hits like “Mr. Jones,” “Touch Me,” and “Bring It On Home” climbed Billboard’s Country Top 20 in the late 1970s and early 1980s.

In 1979, Billboard named him New Artist and Single of the Year, and the Academy of Country Music nominated him as a top new talent.

As one of few Black artists on the Grand Ole Opry stage--alongside Charley Pride and Stoney Edwards--Al faced skepticism but countered with wit: “I grew up in Oklahoma hauling hay... So how can anyone say country music is white?”

His appearances on Hee Haw, Nashville Now, and American Bandstand cemented his crossover appeal.

The 1990s saw Al shift to production, mentoring European acts and producing the 2003 album Straight Beat for Italian bluesman Edo 'Ndoss. His own 2003 release, One of a Kind, a 14-track blend of gospel, blues, and country, hit third on American Roots Country charts. Nominated for the Rockabilly and Oklahoma Music Halls of Fame in 2000, he performed tirelessly, including a standout set at Wisconsin’s Rock’n’Roll Festival in 2002.Family Life and Personal Struggles

Behind the stage lights, Al’s family life was grounded but private. He married and raised a family, though specific details about his spouse and children are scarce in public records, reflecting his focus on music over personal publicity.

Relocating to Massachusetts in his later years, he remained close to his Oklahoma roots, often returning for Opry performances. Friends described him as a larger-than-life figure with a warm laugh, quick to share stories of his Craig County childhood.

Yet the music industry’s racial and genre barriers took a toll. Al spoke candidly about the challenges of being a Black country artist, navigating venues where he was both a novelty and a target. His fervor, fueled by faith and humor, carried him through.

Al Downing’s career spanned five decades and 11 albums, blending gospel, blues, rockabilly, and country into a sound uniquely his own.

He continued performing until his health declined, passing away on July 4, 2005, in Worcester, Massachusetts, at age 65.

The cause of death was not widely publicized, respecting his family’s privacy, but colleagues noted he had faced health challenges in his final years. His burial details remain private, though tributes suggest a quiet service in Massachusetts, far from the Oklahoma fields where he was born.

His music, from the honky-tonk of Vinita’s juke joints to the glitter of disco’s peak, broke racial and genre barriers and stands the test of time.

At the Eastern Trails Museum in Vinita, exhibits on local music history nod to his legacy. “

As his songs still spin on vinyl and stream online, Big Al’s voice--gruff, soulful, and defiant--reminds us that the road from Centralia to the Grand Ole Opry is sometime paved with both grit and grace.