LITTLE WILLIE JOHN: The Authorized Biography

Little Willie John

FEVER: Little Willie John’s Fast Life, Mysterious Death, and the Birth of Soul 

Author: Susan Whitall  Publisher: Titan Books

Armed with a lion-like voice and sparkling personality Little Willie John was one of the most popular entertainers during the 1950’s and 60’s. Songs like “All Around The World”, “Fever”, and “Talk To Me” all made it to the top of the R&B charts and became the blueprint for what would later be called “Soul Music”. He consistently filled concert halls throughout his career always delivering an electric stage show that left audiences wanting more. On the road more often then not Willie lived his life fast and hard. He regularly stayed out until the wee-hours of the morning drinking and socializing.  One night after a show in Seattle, Washington while he was drinking at an after-hours club Willie was involved in an altercation that ended with him stabbing a man. Willie ended up being charged with manslaughter and was sent away to the Washington State Penitentiary where he died on May 26 1968 at the age of 30. Although the cause of his death is listed as “Heart Attack”, there are questions about the care he was given while incarcerated.  However it happened, it’s a sad but true fact that Little Willie John left this world too soon.

In her book FEVER: Little Willie John, A Fast Life, Mysterious Death, and the Birth of Soul, author Susan Whitall gives us a detailed and in-dept look at the life of one of music’s greatest voices. Written with the help of Willie John’s son Kevin and filled with interviews from those who knew Willie John this book is essential for anyone interested in the history of Soul music.

Essential listening  Little Willie John: Complete Hit Single’s A’s & B’s

Little Willie John

 

 

RESPECT YOURSELF: The Story of STAX Records

STAX

RESPECT YOURSELF: THE STORY OF STAX RECORDS Bloomsbury USA

Author Robert Gordon has been writing about the music of Memphis for almost 30 years. In Respect Yourself: The Story of STAX Records Mr. Gordon not only tells the story of STAX but also the story of the Civil Rights movement in Memphis.  Passionately written and meticulously researched this book takes you from the label’s meager beginnings in a garage outside Memphis to it’s bankruptcy in 1975.   Along with Mr. Gordon’s narration you hear from the people that made STAX happen, making this book one of a kind.

A LITTLE STAX HISTORY…

Started by Jim Stewart and his sister Estelle Axton in 1957, STAX Records was more then just a record label.  It was a voice in the community.  The label’s open door policy made it possible for anyone to come in off the street and set up an audition. It didn’t matter where you were from or what the color of your skin was, you were welcomed at STAX as long as you had a passion for music.

Right from the beginning STAX did things it’s own way. Segregation may have been alive and well in Memphis during the 1960’s, but that didn’t stop STAX founder Jim Stewart from hiring an African American DJ named Al Bell to be his lead promotions man.  Working together side by side Jim, Estelle, and Al turned STAX records from a little indie label into a household name!  STAX artists like Otis Redding, Booker T. & The MG’s, Carla Thomas, and William Bell put the label on the map with singles that started appearing on the R&B and Pop charts.  Money was coming in and things were really rolling, until one very dark December day in 1967…

Today many people can remember exactly where they were when they learned that the plane carrying Otis Redding and The Bar-Keys went down. Otis was the soul of STAX and the voice of soul music.  A few months later while the people of STAX were still grieving over the loss of Otis and the Bar Keys their world was rocked again.  On the evening of April 4, 1968  Dr. Martin Luther King was assassinated at the Lorraine Motel in Memphis.  Needless to say, after the assassination of Dr. King everything was different, especially in Memphis.  If all this wasn’t enough,  the label’s distributor Atlantic Records ended it’s relationship with STAX.  With it’s biggest star gone and no way to get music to the stores most label’s would have called it a day, but most labels didn’t have Al Bell.  It was then that Al and the folks at STAX hunkered down and staged one of the biggest comebacks in music history.

The early 70’s found STAX again at the top of the Soul music world. This time around STAX would reach heights that were even greater then it did in the 1960’s.  Al Bell gained full control of the label and STAX rode the success of artists like Isaac Hayes, The Emotions, Johnnie Taylor, and The Staple Singers all the way to the top of the charts.  Sadly this rebirth would be short lived as some questionable business decisions and over expatiation lead to STAX eventually having to declaring bankruptcy in 1975.

All that said, STAX has lived on in many different ways. Many of their artists are still celebrated today and have found new audiences. Artists such as William Bell, Mavis Staples, and Eddie Floyd still perform and continue to release new music while others like Sam Moore are mostly retired but still appear at the occasional music festival. The studio was rebuilt and is now a museum (possibly the best museum in Memphis not named The National Civil Rights museum). There is also the Stax Music Academy, a music school that is focused on providing music education to local youth. So while the days of Otis roaming the halls and Al Bell running the office might be gone all is not lost. The future of Stax is very bright.

Merry Clayton: The Voice Behind the Hits

Merry Clayton

Ever since her early performances in the Churches of New Orleans Merry has turned heads with her larger then life voice.  Her professional career started when she backed up Bobby Darin on some of his early recordings.  Form there it wasn’t long before she was selected to be a “Raelette” and sing backup for one of her main influences, Mr. Ray Charles.  Little did she know that singing backup for Ray was just the beginning.  In later years Merry would go on to sing backup for artists such as Joe Cocker, Neil Young, Carole King, Lynyrd Skynyrd and of course, The Rolling Stones.  Usually the most talented vocalist at whatever session she was working on, Merry signed with Lou Alder’s Ode Record label in the late 60’s. Working with music industry legend Lou Alder, Merry began what many thought would be a successful a solo career.  Unfortunately, her records didn’t sell and most of her solo recordings remain unknown and forgotten about by the general public.

Late one night in 1969 singer Merry Clayton was just falling asleep when she received a call from record producer Jack Nitzsch.  Jack was in the middle of a late night studio session and was desperately looking for a female vocalist to add backing vocals on a track called “Gimmie Shelter”.  Very pregnant and not really in the mood to leave her warm bed, Merry listened while Jack tried to convince her that doing this session with a band called “The Rolling Stones” would be a great career move.   It didn’t matter that she’d never heard of the band and wasn’t familiar with their music,  Merry was a seasoned pro. This was just another session gig.  She finally agreed to do the session and went to the studio and nailed the track in three quick takes. Then as quickly as she came in to the studio, she was out the door and gone in the night.  The song became a huge hit and has since become a staple of the Stone’s live show.  Even though it was her singing that took the song to the next level Merry couldn’t bring herself to listen to the track for many years. After her session with the Stones she had miscarriage and lost her baby.  It has been speculated that her vigorous singing on “Gimmie Shelter” contributed to the miscarriage.

Hopefully 2013 is the year the world will finally know Merry Clayton.  She is the subject of an excellent new documentary called 20 Feet From Stardom that follows the lives of some very talented backup singers.   In conjunction with the release 20 Feet From Stardom Sony/Ode Records has release a collection of Merry’s solo recordings called The Best Of Merry Clayton.  This collection covers most of Merry’s solo career and features soulful renditions of some popular classic rock songs.  One only needs to listen to a few minutes of Merry’s rendition of Neil Young’s “Southern Man” (the album’s opening track) to know that listening to Merry sing is a religious experience.   Very different then the original version, the song takes on a whole new life when Merry screams “…I heard screamin’, bullwhips crackin’, how long is it gonna last?”.   Other great tracks on this album are her versions of Bill Withers “Grandma’s Hands”,  James Taylor’s”Country Road”, and of course the Stones’ “Gimmie Shelter” (her first Ode Records release).  In 17 great tracks you get to hear the voice that helped many artists take their songs to the next level.  Here’s hoping that someday soon Merry will reach the high level of stardom that she so rightly deserves.

4009910517727-e1371153657619

 

THE PRESERVATION HALL BAND: THAT’S IT!

PHJB

In 1961, tuba player Allan Jaffe and his wife Sandra decided to turn a small building in the heart of the New Orleans French Quarter into a performance hall.  The idea behind this project was to help preserve the history and sound of New Orleans Jazz.  Given the name “Preservation Hall”,  this little building quickly became the spot in town where people knew they could always hear exceptional musicians preform classic New Orleans Jazz.  The small size of the venue gave audience members an up-close and personal show allowing them to really connect with the musicians and vice versa.  Shortly after the hall opened some of it’s regular musicians started performing together outside of the club as the Preservation Hall Jazz Band.  Now after 50 years of keeping the sound of New Orleans Jazz alive the band’s done something for the very first time in its career, they’ve released an album of original music.

Now some purists might think it’s a little strange for a band that’s made a career of playing standards to release an album of original music, but after listening to THAT’S IT! for about 30 seconds you seem to forget these tunes weren’t written in 1925.  The material on this album is strong and in some cases may even be stronger then some of the classics that fill the band’s regular set! (GASP)  The sound on this album is clearly that of a band that’s out for blood.  Songs like the album’s title track and “Halfway Right, Halfway Wrong are fierce and in your face while the tune “Dear Load (Give Me Strength)” will have you up and dancing in your living room. It’s nice to see that after 50 years the band’s message is still the same, no matter your who you are, if you’re a positive person and wanna party, then you’re welcome here.

Preservation Hall

 

Remembering Bobby “Blue” Bland

 

On Sunday June 23, 2013 the Blues world lost one of its most soulful voices, Bobby “Blue” Bland.  Unlike many of his contemporaries Bland lived to the golden age of 83, thus making him one of the last living connections to the Memphis Blues scene of the 1950’s.  In his early days Bland performed on Beale street along with artists like Johnny Ace, Little Junior Parker, Ike Turner, Howlin’ Wolf and B.B. King.  Although he spent his early years performing just up the street from the Mississippi Delta in Memphis, Bland’s smooth vocal style was closer to the big city Rhythm & Blues sound of artists like Louis Jordan and T-Bone Walker (he eventually earned the nickname “The Black Sinatra”).

During the 1950’s the Memphis music scene was one the biggest and most competitive in the South.  Musicians from all over flocked to the area to showcase their talent at the clubs on Beale Street and across the river in West Memphis.  In these clubs you had to be not only on top of your game musically but you had to be able to put on a show!  The pool of talent was so impressive that it wasn’t long before record labels like Chess, Modern, and Duke got wind of what was going on and started signing artists to their rosters.  Bobby “Blue” Bland first recordings were for the the Modern and Chess labels. Although they were very good they failed to draw national attention. It wasn’t until he started recording for Duke Records in 1954 that he found success as a recording artist.  His first big single was “Farther On Up The Road” which reached number 1 on the R&B charts.  In 1961 Bland and Duke released the album Two Steps from the Blues which was combined some newly recorded “Big Band” style tracks along with some of his previously released late fifties sides. The album was an instant success and took Bland’s career to the next level.

In the years following Two Steps From The Blues Bland released albums and kept a busy touring schedule.  Duke released like Here’s The Man, The Soul Of The Man but in 1968 due to a number of personal problems Bland disbanded his touring band and cut his live schedule way back.  He enjoyed some success with the single “This Time I’m Gone For Good” from His California Album which broke into the top 50 on the Pop Charts. In 1974 Bland teamed up with B.B. King and released the first of two live albums with B.B. King.   Together for the First Time…Live was a commercial success and helped Bland and King stay in the spotlight through the 70’s.  The pair toured on and off together for the next 35 years.

Although he may not have had the commercial success of B.B. King or Muddy Waters, Bobby “Blue” Bland was a force to be reckoned with in the would of Blues and R&B.  He’s inspired everyone from the Heavy Metal band Whitesnake to the legendary rapper Jay-Z.   He’s a member of both the Rock N’ Roll Hall of Fame and The Blues Foundation Hall Of Fame and has performed sold out concerts all over the world.  B.B. King credits him as being one of the best singers he’s ever heard.  Personally, I agree with Mr. King.  Thank you Bobby for sharing your music and talent with us.

 

 

THE RELATIVES: The Electric Word

THE RELATIVES The Electric Word (Yep Roc Records)

Psychedelic Gospel? YES PLEASE!

Founded in Dallas, Texas in 1970 by two brothers, Rev. Gean and Rev. Tommie West, The Relatives have been playing their special brand of Funky-Gospel for over 40 years. The band enjoyed some local success the 1970’s, releasing three singles and sharing the stage with some of the biggest names in Gospel and Soul as well as headlined their own shows.  Then in 1980 after a decade of playing gigs of all shapes and sizes the band members called it quits to focus on other parts of their lives.  Fortunately for us in 2009 the good people at Heavy Light Records re-released the band’s singles on the compilation Don’t Let Me Fall.  The album received very positive feedback and inspired the band to start performing live again.  Word soon got out about the band’s amazing live show and the group was booked into many of the top roots music festivals in America.  Now after a successful return to the stage that’s brought the band many new fans they’ve decided it’s time to head back to the recording studio and give the people a new studio record called, The Electric Word.

After listening to The Electric Word (Yep Roc) you probably wouldn’t be able to tell that this is The Relatives’ first release of new music in almost 40 years.  Produced and recorded by fellow Texan Jim Eno of the band Spoon, the band sounds just as powerful and soulful as ever.  As you’d expect, the bands vocal harmonies are spot on but what really sticks out about this recording is the power of the band!  On the tune Let Your Light Shine the bass and guitar are LOUD and up in the mix giving the tune a real psychedelic rock vibe (think Sly Stone meets Band of Gypsies).

Along with psychedelic rock the band also serves up a healthy dose of FUNK.  Things Are Changing and It’s Coming Up Again both have a great James Brown/O.V. Wright vibe and Speak To Me (What’s Wrong With America?) is a beautiful civil-rights balled that shows off the bands true vocal power.  The band may not be re-inventing the wheel with it’s songwriting but that really doesn’t matter. This album’s purpose is to get you out to see the band on-stage where they really shine. Which is exactly what you should do if these guys pass through your town.

 

CHARLES BRADLEY & THE MENAHAN STREET BAND

charles-bradley-victim-of-love

Charles Bradley “Victim Of Love” Daptone/Dunham Records

If you’ve every heard Charles Bradley you know he’s the real deal.  From his James Brown like scream to his energetic stage show Mr. Bradley doesn’t just sing Soul music he LIVES IT. For those who aren’t aware, Charles Bradley was discovered while working as a James Brown impersonator in clubs around Brooklyn, New York when he caught the ear of Daptone Records co-founder Gabriel Roth.  He released his debut album, NO TIME FOR DREAMING, in 2011 at the age of 63 after a lifetime of playing clubs and working odd jobs to make ends meet.   The album was a success and sent Mr. Bradley on tour across the U.S., Europe, and Canada. Now at an age when most artists are slowing down the big man returns with a new album entitled VICTIM OF LOVE, his second release for Dunham/Daptone Records.

VICTIM OF LOVE finds Mr. Bradley again backed by Menahan Street Band, a group of  young but seasoned players that co-wrote NO TIME FOR DREAMING with him.  The album’s gritty sound isn’t much different then Mr. Bradley’s first release but as they say, if it ain’t broke why try to fix it?  Mr. Bradley screams and shouts as he tells the listener about the ups and downs of real life and the band is tight while still sounding human.  Tunes like “Strictly Reserved For You”, “Love Bug Blues” and “Where Do We Go From Here?” are perfectly suited for Mr. Bradley’s voice and could have sounded right at home on his last album.   “You Put The Flame On Me” is an upbeat shuffle that is reminiscent of early Al Green and the title track “Victim of Love” is a beautiful love song that will become a slow dance classic.  All that being said, the money-shot on this album is the album’s closer “Through The Storm”.  On this balled Mr. Bradley offers thanks to those who’ve helped him through the hard times.  If you’ve ever seen him perform live you know that on many occasions he ends the show by walking into the crowd and hugging members of the audience.  It’s no surprise that a song of hope and love would be the song to end the second album. Here’s hoping Mr. Bradley will be around for a long time to come.

 

 

 

 

BUDDY GUY “WHEN I LEFT HOME”

 

A few years ago while I was doing a blues gig in San Francisco and I got into a conversation with another musician about great Blues guitar players.  “It’s a shame there aren’t any great blues players left” he said.  “That’s not true” I replied, “B.B. is still around and of course you have Buddy Guy”.  The musician gave me a strange look and said “What?! Why do you like Buddy Guy?  I saw him once and he just played a bunch of Hendrix riffs”.  All I could do at that point was chuckle and reply, “Yeah, well where do you think Hendrix, got some of those ideas from?   Jimi was a student of the Blues and listened to all the blues records he could get his hands on.  The guitar player on many of these records was Buddy Guy. ”

Buddy Guy’s guitar playing has inspired guitar players in every genre of music for over fifty years. Always an exciting live act, Buddy has taken his exciting brand of electric blues all all over the world.  He’s shared the stage with blues legends like Muddy Waters and rockers like The Rolling Stones.  He’s headlined countless festivals, performed on television and even performed for Presidents and royalty.  That being said his impressive career isn’t limited just to the stage.  During the 1960’s Buddy was an in-demand studio musician for Chess records and played lead guitar on many hits by the likes of Muddy Waters, Howlin’ Wolf, and Koko Taylor.  In short, Buddy Guy has lived enough in his 76 years of life to count for three lifetimes.

In “When I Left Home” Buddy (with help from David Ritz) takes us from the farm he grew up on in Louisiana to the streets of Chicago.  A master storyteller, Buddy doesn’t hold back when talking about the ups and downs of life as a blues man. With a mother in need of extra medical attention after suffering a stroke, he left Louisiana for Chicago in search work that would able him to not only support himself but also send money back home to Louisiana.  Already proficient on guitar from playing around clubs in Louisiana, Buddy worked himself into the Chicago scene with the help of some local blues fans and eventually with help from the great Muddy Waters.  One would think that this would be the ending of our story, but this is only the beginning.  Over the next several years Buddy works hard to establish himself as one of the premier Blues guitar players on the Chicago scene.  Working as a tow-truck driver in the day, playing clubs and doing recording sessions at night he found himself working night and day to make his dream happen and take care of his family.  “When I Left Home” is the no-nonsense story of George “Buddy” Guy, and like it’s author, this story is THE REAL DEAL.

Not familiar with the music of Buddy Guy? Here are some albums I think you might enjoy. There are also many single recordings featuring Buddy, more information on these recordings and the albums listed below can be found in the back of the book “When I Left Home”.

Artist/Album

BUDDY GUY ALBUMS

“Buddy’s Blues” (Best of his Chess recordings)

“A Man and The Blues”

“Buddy and The Junior’s” (Buddy Guy with Junior Wells and Junior Mance)

“Damn Right I Got The Blues”

“Sweet Tea”

“Blues Singer”

“Can’t Quit The Blues” (Box Set)

RECORDS FEATURING BUDDY GUY

JUNIOR WELLS “Hoodoo Man Blues”

MUDDY WATERS “Folk Singer”

FUNKY SOUL: THREE ESSENTIAL COLLECTIONS!

Funk and Soul music has always been a large part of my music collection.  My first exposure to Funk, Jazz, and Soul came through my High School band director Dr. Van Decker.  While most other school bands in the area did the marching band thing we played music by Herbie Hancock, James Brown, and Thelonious Monk.  Inspired by the music we learned about in class, I would often head to my local record store (Lou’s Record Shop in Encinitas, CA) after school and pick up albums so I could hear the original version of the song we were learning in class.  At first listen most of the grooves on these original recordings sounded simple but when you paid attention you could hear all the little nuances that really made the tune move. While I’ve always preferred Funk to Jazz it was playing in my High School Jazz band that introduced me to Funk music. So, thank you Jazz. If it wasn’t for you I would’ve never discovered how funky this world could be.

Here are some of my favorites… Play ’em loud and enjoy!

SATURDAY NIGHT FISH FRY: NEW ORLEANS FUNK AND SOUL 

Label: SOUL JAZZ RECORDS

This record from the good folks at SOUL JAZZ RECORDS is a great mix of funk, soul, and gospel from a group of artists that can only be described as New Orleans royalty.  Besides tracks from popular artists like Dr. John, Lee Dorsey, and Irma Thomas this album contains some great b-sides from lesser know musicians like Eddie Bo, Eldridge Holmes, and Betty Harris. While these artists created some of the most soulful funk to ever come out of New Orleans they unfortunately never achieved stardom (at least on a level that they deserved) nationally.  The stand out track for me on this record is “Pass The Hatchet” by Roger & The Gypsies.  This tune was produced by famed New Orleans musician Eddie Bo, (who also sings lead on the track) and became the first hit for the indie Seven-B label. Listen up drummers, this song is a perfect example of how a simple drum beat and a little melody can go a long way.  If I have one complaint about this release it’s that it is currently out of print and doesn’t seem to be on iTunes or Spotify as of this posting (although some of the tracks are available on other releases).  I came across my copy a few years ago digging through the $1.99 used bin at a local record store.  Let this be a lesson to ALWAYS check the bargain bin when shopping for records.

 

 

THE FUNKY 16 CORNERS

Label: STONES THROW RECORDS

Released in 2001 by Stones Throw Records, The Funky 16 Corners  features a hefty helping of unreleased funky music recorded during the 60’s and 70’s.   All the tracks on this record are solid and the stories behind the music are just as moving as the music.  If you purchase this release on-line I highly suggest you check out www.stonesthrow.com to read the interviews with the artists that were collected during the formation of this disc.  For example, one of the groups featured on this disc is The Kashmere Stage band.  This was the school band for Kashmere High School in Houston Texas.  In the late 1960’s music director Conrad Johnson took the school’s struggling music program to a new level.  After introducing new arrangements and letting the kids inject some of their own style in the group The Kashmere Stage band started winning numerous awards and competitions.  They traveled all over the country breaking down barriers in many of the places they played (Kashmere H.S. was predominantly black and most of the school band competitions they entered were made up of all white groups). For more information on the story behind the Kashmere Stage Band check out the documentary film THUNDER SOUL.

 

 

Searching For Soul: Rare and Classic Soul, Funk, and Jazz from Michigan

Label: Luv N’ Haight/Ubiquity

The album Searching For Soul: Rare Classic Soul, Funk, and Jazz from Michigan shows us that there is so much more to the Mid-West Soul scene then Motown.   Soul/Funk/Hip-Hop drummers, this record should be in your collection right next to your James Brown records. From the lead track “Give & Take” to Wendell Harrison’s swinging’ “Take Time Out” this record will have you up and moving like you never knew you could. Additionally, it should also be mentioned that the track “Alcohol Pt.1” by Robert Jay is the perfect “morning after” song.

(UPDATE 2021) This record is out of print but you can still enjoy this music on-line on Spotify.

 

 

Etta James & Johnny Otis

 

This morning as I was writing a post to pay tribute to the life of the great Johnny Otis, who passed away yesterday, I learned of the passing of one of the greatest artists Johnny ever discovered, Ms. Etta James. While Etta James is a house-hold name (and rightfully so) the name Johnny Otis is sadly becoming less and less known by today’s music fans. Besides giving Etta James her first big break, Mr. Otis also helped start the careers of many top R&B performers. When not performing with his own band he was in the studio recording and producing sides for many of the best R&B performers. It was Johnny Otis who produced and performed on the original 1952 recording of Hound Dog featuring Big Mama Thornton. Two years later in 1954 Otis found himself in the studio again with another young blues singer, a woman by the name of Jamesetta Hawkins. Like Big Mama Thornton, Jamesetta started out performing with The Johnny Otis Band. She then moved to Los Angeles and entered the studio with the band to record what would be her break out song “The Wallflower (Roll With Me Henry)”. Written by Johnny Otis “The Wallflower” was an answer song to the Hank Ballard tune “Work With Me Annie”. Shortly after the release of the song Jamesetta (now going by the stage name Etta James) started off on a solo career that would last over 50 years. She recorded many smash hits for a number of different labels and released albums up until 2011. In addition to being successful in the recording studio James was also successful on the stage and would continue to be an in-demand performer until 2009 when she was unable to perform due to health issues.
As for Johnny Otis, discovering Etta James was just one of the many highlights in a career that lasted well into his eighties. A true renaissance man, Otis was a songwriter, performer, producer, author, store and bar owner, and painter. He even got involved in politics in his home state of California during the 1960’s. However, with all these accomplishments Johnny Otis is probably best know for writing the hit song “Willie and The Hand Jive” which would sell over 1.5 million copies and be covered by Eric Clapton for his 1974 album 461 Ocean Boulevard.
During the their lifetimes both Etta James and Johnny Otis brought to joy to millions of fans all over the world, they are both members of multiple halls of fame, and their influence can be heard in the music of artists in every genre of music. They will both be dearly missed.