Showing posts with label Joe Tex. Show all posts
Showing posts with label Joe Tex. Show all posts

Tuesday, March 20, 2018

Joe Tex - Yum Yum Yum The Early Years 1955-1962

Joe Tex was one of the most original soul stars of all time. With his raspy voice and a hint of Little Richard, he certainly had a style of his own. One listen to his number 'Yum Yum Yum' and you'll get an idea of his rock and roll / proto-soul style.
This is the most comprehensive set of his singles yet released on CD and includes all the singles he made before achieving fame in 1964.
Arguably the most underrated of all the 60s soul performers, Joe Tex, with his unique style singlehandedly laid some of the most important parts of rap's foundation.

Friday, December 2, 2016

Friday, January 3, 2014

Joe Tex - Skinny Legs and All

It just wouldn't be fair to leave Joe hangin' and not show you the great leap forward after the material in the previous compilation of his earliest sides. From a Musicology standpoint I think that all of that stuff is essential despite the obvious fact that much of it is entirely derivative. The truth is that if I were charged with deciding what was needed for an essential collection, I suspect I would have fewer than 10 from those sides.

On the other hand I would be tortured in choosing to eliminate even 5 songs from this 24 track compilation. This is Joe's "sweet spot" material and it is impressive in EVERY way. The songs are light years better, the arrangement even tighter with great production and JT's voice is at it's big emotional delivery peak.

As you listen to these sides imagine yourself, bone-tired from a hard-ass day at work, you're in some steamy Circuit bar/restaurant gettin' your 'Groove' on with your hard earned pay, got some fine woman in your sights.... Got it? (if you ain't never been poor then most likely not, but just try to imagine it for me) The last one was for the J.T. Freaks; this one here is for Everybody! Slide this into your rotation next to Sam Cooke and tell me it doesn't work for you. (Assuming, of course that Sam is on your Essential Playlist).

Joe Tex - Get WAY Back


The great Joe Tex spent a lot of time on the Circuit, always on the verge of breaking through and even seeing Billboard 100 occasionally. The great New Orleans pianist/organist James Booker spent 1956 to 1958 in Joe's band.

Wikpedia - Born in Baytown, Texas, Tex was subsequently raised in the Central Texas town of Rogers. His professional career as a singer began onstage at the Apollo. He won first place in a 1954 talent contest and duly secured a record deal.

His early releases on King Records, Ace and Anna Records were considered by some to be derivative and were generally disappointing in terms of sales. Tex released thirty singles in the first ten years of his recording career, never once hitting the Hot 100. However, after James Brown's cover version of Tex's "Baby You're Right" became a US number 2 hit in 1962, Tex was signed to Dial Records by Nashville, Tennessee-based record producer Buddy Killen, and his career turned around.

Tex prospered under Killen's guidance. Tex's first hit recording was 1965's "Hold What You've Got", recorded at the FAME studio in Muscle Shoals, Alabama and distributed by Atlantic on Killen's Dial record label. "Hold What You've Got" spent 11 weeks on the Billboard Hot 100, peaking at #5, and sold a million copies by 1966.[1]

Other singles followed, namely "A Woman Can Change a Man", and "The Love You Save (May Be Your Own)" which were both ballads. But a change in tempo also brought hits such as "S.Y.S.L.J.F.M. (The Letter Song)" (1966), and "Show Me" (1967). Tex's recording career was distinguished by his extensive single releases. For example, in 1965 alone, Tex released seven singles, followed by six in 1966 and five in 1967. He had released over thirty singles prior to the release of his first album, in 1965.

Meanwhile the singles "Skinny Legs and All" (US #10) and "Men Are Getting Scarce" also became major hits for Tex. "Skinny Legs And All" was Tex's second million seller spending 15 weeks in the charts. The single was released in late 1967,[2] and is the same version that appeared on his later pseudo-live album "Live And Lively". He was awarded a gold disc by the Recording Industry Association of America (RIAA) in January 1968.[3] His last major hit of that time was "I Gotcha". "I Gotcha" also penned by Tex and released in January 1972, went to #2 for two weeks, and stayed for 20 weeks in the listings. The RIAA gold disc award was made on March 22, 1972. It went on to sell over two million copies by August that year.[4] Following its release, Tex decided to retire.

He returned to music in 1975, and two years later enjoyed a comeback hit with "Ain't Gonna Bump No More (With No Big Fat Woman)", which reached U.S. #12. By the 1980s he had withdrawn again from full-time performing. He devoted himself to Islam, his Texas ranch and the Houston Oilers American Football team.

A feud between Tex and fellow labelmate James Brown began after Brown, who Tex felt copied his stage moves, began dating Tex's wife, Bea Ford. In response, Tex wrote a song called "You Keep Her." They played a few more shows together until Tex mocked James Brown's act of throwing a cape over his shoulder and screamed "please - get me out of this cape". Brown later fired a gun at Tex in a nightclub. (respective talent left out of the argument, the fact is that Brown had not only eclipsed Tex early and always, he took his woman on top of it and didn't even keep her, chances are Tex provoked JB into the incident as he was the one with the axe to grind. kc)

A convert to the Muslim faith since 1966, he changed his name to Yusuf Hazziez, and toured as a spiritual lecturer. He has one daughter, Eartha Doucet, and four sons, Joseph Arrington III, Ramadan Hazziez, Jwaade Hazziez and Joseph Hazziez.

On August 13, 1982, Joe Tex died at his home in Navasota, Texas, following a heart attack, five days after his 49th birthday.

Tuesday, August 28, 2012

The FAME Studios Story 1961 - 1973: Home Of The Muscle Schoals Sound

This 3 disc comp is nothing short of excellent.  The story of FAME is told through the music - from the pop side all the way to the gut bucket r&b side.

A wide range of artists worked with this legendary outfit, but one thing ties them all together... success!!

I'm sure you guys already have alot of these tracks but they made a huge effort to include some rarities;  undoubtedly for the collector types.

Enjoy!!!



Certain studios and labels occupy almost mythical stature in American musical history and FAME Studios, home of the Muscle Shoals sound, is among the elite. During the '60s and into the early '70s, the rotating crew at FAME Studios cranked out single after single, building a legacy that rivals such '60s stalwarts as Motown, Stax/Volt, and Chess, yet despite being the point of origin for such timeless 45s as Wilson Pickett's "Land of 1000 Dances," Arthur Alexander's "You Better Move On," Joe Tex's "Hold What You've Got," Etta James' "Tell Mama," Clarence Carter's "Patches," James & Bobby Purify's "I'm Your Puppet," and Aretha Franklin's "I Never Loved a Man (The Way I Love You)," the label and studio aren't as well known as their peers. Ace's peerless three-disc box The FAME Studios Story: 1961-1973 should go a long way in firming up the label and studio's reputation in the eyes of the mass public. Anchored on those big hits, the compilation tells the story of FAME in exhaustive yet exciting detail, digging up a wealth of rarities (ranging from an unedited acoustic version of "You Left the Water Running" by Otis Redding and a version of "Another Man's Woman, Another Woman's Man" whose singer is unknown to a bunch of singles that rarely pop up on reissues), but this is hardly something for crate-diggers. This is a big, bold set filled with surprises for even seasoned record collectors and much of that has to do with context. Expertly compiled by Alec Palao, Tony Rounce, and Dean Rudland, The FAME Studios Story doesn't shy away from the moments when the Muscle Shoals sound seeped into the mainstream: very early in the set, teen idol Tommy Roe pops up with "Everybody" and toward the end the Osmonds come in with their Jackson 5 knockoff "One Bad Apple" and the revelation is how the FAME musicians gave these teenybopper stars some real swing and funk. That turns out to be the key to the FAME sound -- while Stax/Volt always had grit on the soles of their shoes, FAME was a little lighter, able to ease into slicker crossover material, something that served them well whenever they cranked out some bubblegum or backed Bobbie Gentry or, especially, when they cut effervescent pop-soul/Northern soul singles by Spooner & the Spoons ("Wish You Didn't Have to Go") and David & the Giants ("Ten Miles High"). Which isn't to say FAME didn't get down and dirty (of course they did -- witness Wicked Wilson Pickett's "Hey Jude," complete with guitar from Duane Allman), but they were versatile, adapting to the needs of either the performer or the song. And that very versatility may be part of the reason why FAME isn't as immediately recognizable a name as Motown or Stax -- the Muscle Shoals crew could cop both of those sounds, after all -- but it's also the reason why this set is such a wildly entertaining listen, in addition to being a historically necessary document housed in a very handsome hardcover book.

- Stephen Thomas Erlewine/AMG