Little Willie John - Heaven Can Wait and 1966

A REPOST BY REQUEST

It was my initial intention to continue to spread the Little Willie John posts out a little bit but 2 things happened: 1-the first two posts seemed to be well received and 2-more importantly in listening to the material prior to writing I had something of a epiphany. I ended up listening to all four discs in a row and something became clear; starting from track 9 of disc two (The King Sessions) you have the material from 1959 thru 1960, what should be the 'sweet spot'. Consider that by the end of 1958 LWJ is one of the hottest singers around, but at the height of his popularity someone  (the biography does not discuss this), gets very conservative and one dimensional in the choice of material and arrangements and turns him into a one-trick pony at the very moment when a large number of new singers are coming of age. In these 2 years of poor decisions they manage to completely lose the Public Ear. It is clear from the start of this disc that someone has realized the error and made an attempt at giving him varied vehicles and is laying off the vocal gymnastics. The material is far more interesting and his voice continues to mature. This is really good stuff. Sadly, once lost, the Public Ear is difficult to recapture and meanwhile John's demons get the upper hand until he is jailed and convicted of murder in Washington (state) in 1964.

In most situations that would be the end of this story, but there is one last semi-triumphant chapter. During his time in prison awaiting Appeal, John had struck up a correspondence with producer David Axelrod. In February of 1966 Willie was released pending his Appeal trial and went straight into the studio with Axelrod for 3 sessions with the cream of L.A. studio players that combine to make his final album. John loses the Appeal, is sent back to prison and dies 2 years later under mysterious circumstances at 30 years old. The small miracle here is that Axelrod puts him into updated songs and arrangements and he responds magnificently. No doubt that under different circumstances he could have revived his career and been a major star again with proper handling. The sessions, however, are tied into silly legal disputes for 30 years before they are finally released.

So it seems to me that to illustrate my point I need to go ahead and offer the rest of LWJ now so YOU can decide if I may have gleaned something from careful listening or if you think I'm just full of crap.

There are 2 links in this post.

Early Black Rock 'N Roll Vol. 1 & 2

Shakey Jake

This post is born out of a couple things. 

Firstly, I took an interest in the Trikont label after KC's most unusual post of Black Country.  As a result I picked up more than a handful of incredible comps.  This is a label which select tracks meticulously and remaster them to perfection.  All have been a real joy to listen to and worth every cent.

More recently, KC and I were discussing how to incorporate some of the more rock type figures into Chitlins.  Chuck Berry and Bo Diddley were discussed and I was basically tasked with bringin these heavys to all of you followers.




Well, I thought to break the ice I would share these two amazing comps - guaranteed to have your media player on repeat.  We are revisited by more than a couple of artists which KC has profiled extensively;  Little Willie John, Howlin Wolf and Ike Turner to name a few.  But we are introduced to many seminal figures in the birth of rock like Shakey Jake, the Bill Davis Trio, Lazy Lester and Slim Harpo.



Vol. 1 1948 - 1958

 These two stellar mixes are mostly important for us at this juncture for the women they feature.  I'm certain KC has some greats comin down the line, so for now we get a taste of Big Maybelle, Etta James, Ruth Brown and several others.

The music here is so infectious, it's a guarantee that you'll be boppin around once you are into it.  It's easy to see why rock took off like it did, there's nothing but fun to be had listening to this stuff.  Even lyrical themes of love lost, aging and other downbeat subjects are given the uptempo, dancable treatment.

Translated from the Trikont site:

Long before Elvis had rolled his pelvis, or the Rolling Stones tapped into the Mississippi-Blues, and the legions of white bands made their electrified guitars roar, black Blues-Gospel & Jazz artists had laid the cornerstone for the musical revolution known as Rock n Roll! Besides well-known names like Chuck Berry, Howlin’ Wolf, or Bo Diddley. This comp also features many unjustly overseen musical pioneers.



Vol. 2 1949 - 1959

 From gospel singer Rosetta Tharpe, to Jimi-Hendrix-idol Johnny Guitar Watson, from Ike Turners early Rockabilly-blueprints, to the Doo-Wop-Rock of Ruth Brown. Other artists, including Magic Slim, Andre Williams, Big Maybelle, Rufus Thomas, Lazy Lester, Etta James, and Jesse Stone are featured on this release.

Big Maybelle

“Whatever you call it, it’s wonderful, spirited stuff, ranging from the primal blues spirit of Howlin’ Wolf to the rocking gospel of cover star Sister Rosetta Tharpe, the most influential female guitarist since the legendary Memphis Minnie. Fischer’s selection focuses on the seamier R&B which swept away the eunuch sentimentality of 1950s white pop “like a window being opened to let out the stale air”, as Nik Cohn characterised it: the lascivious snarls of Big Mama Thornton and Little Esther Phillips, the latter’s complaint of “Hound Dog”; the lothario charm of Johnny Guitar Watson; the automotive sex metaphors of Chuck Berry and Billy The Kid Emerson; the hypnotic-exotic rhythms of Rosco Gordon, John Lee Hooker and Bo Diddley; the black rockabilly of Tarheel Slim; and the downright weird, borderline tasteless fantasies of Andre Williams and Sly Fox.”    

(4/5 Stars, The Independent, UK)



Trikont Records
US-0392 / 0412
released 2010

Little Willie John - The King Years

 Believe it or not by this time LWJ is so big that James Brown is his opening act! That also tells you JB hasn't gotten huge yet either.

Anyway by most measuring sticks this is the 'Sweet Spot'. I'm listening while writing and there is no question you are hearing a more mature artist. Willie is such an expressive singer I'm betting he was a blast to see live.

One thing I'm noticing here is that is seemingly a little more 'designed' to show off John's stunning vocal capabilities. An understandable move for the producers but I'm not sure I don't find the earlier disc a tad more exciting because it is less produced.

That all expressed it does not at all mean this isn't incredible stuff, I'm sure many a LWJ fan would say I was crazy and that THIS is the SHIT. At the end of the day I would say that ANY Little Willie John is better than 90% of what else is out there.

A word to all you fellahs: if you can't figure out a Little Willie John play list to make the girls weak in the knees then you just ain't trying Buddy, because Willie is dealin' and that girl should be in your arms dancin' in the living room! (you are welcome Lady G!)

So here ya go, Volume 2 (of 4) of one of the greatest soul singers ever. Sam Cooke seems to get all the credit these days and no doubt much of it is deserved but as you can see over and over again with so many guys, the story is WAY deeper than that.

Little Willie John - The Early King Sessions

Before there was a Howard Tate or a Little Johnny Taylor, hell even before James Brown hits it big, there is the amazing Little Willie John. He was a soul singer before the term was coined and his talent was as gigantic as his stature was small. He was a tragically flawed man, however, with an evil streak when drinking that belied his baby face.

William Edward John (November 15, 1937 - May 26, 1968), better known by his stage name Little Willie John, was an American R&B singer who performed in the 1950s and early 1960s. Many sources erroneously give his middle name as Edgar. He is best known for his popular music chart successes with songs such as, "All Around the World" (1955), "Need Your Love So Bad" (1956) and "Fever" the same year, the latter covered in 1958 by Peggy Lee.

He was born in Cullendale, Arkansas, one of ten children, his family moving to Detroit, Michigan when he was four so that his father could pursue factory work. In the late 1940s, the eldest children, including Willie, formed a gospel singing group, and Willie also performed in talent shows, which brought him to the notice of Johnny Otis and, later, musician and producer Henry Glover. After seeing him sing with the Paul "Hucklebuck" Williams orchestra, Glover signed him to a recording contract with King Records in 1955. He was nicknamed "Little Willie" John for his short stature.

His first recording, a version of Titus Turner's "All Around the World", was a hit, reaching # 5 on the Billboard R&B chart. He followed up with a string of R&B hits, including the original version of "Need Your Love So Bad", written by his elder brother Mertis John Jr. One of his biggest hits, "Fever" (1956) (Pop #24), was more famously covered by Peggy Lee in 1958. However, John's version alone sold over one million copies, and was awarded a gold disc. Another song, "Talk to Me, Talk to Me" recorded in 1958, reached #5 in the R&B chart and #20 in the Pop chart, and also sold over one million. A few years later it was a hit once again by Sunny & the Sunglows. He also recorded "I'm Shakin'" by Rudy Toombs, "Suffering With The Blues", and "Sleep" (1960) (Pop #13). In all, John made the Billboard Hot 100 a total of fourteen times. A cover version of "Need Your Love So Bad" by Fleetwood Mac was also a hit in Europe. Another of his songs to be covered was "Leave My Kitten Alone", (1959). The Beatles recorded a version in 1964, intended for their Beatles for Sale album, but it went unreleased until 1995.

Willie John was known for his short temper and propensity to abuse alcohol, and was dropped by his record company in 1963. In 1966, he was convicted of manslaughter and sent to Washington State Penitentiary for a fatal knifing incident following a show in Seattle. He appealed against his conviction and was released while the case was reconsidered, during which time he recorded what was intended to be his comeback album, but owing to contractual wrangling and the decline of his appeal, it was not released until 2008 (as Nineteen Sixty Six). Little Willie John died in 1968 at Washington State Penitentiary in Walla Walla, Washington. Despite counter claims, the official cause of death was listed in his death certificate as a heart attack.

His interment was in Warren, Michigan's Detroit Memorial Park East.

Little Willie John was posthumously inducted into the Rock and Roll Hall of Fame in 1996.

He was the brother of singer Mable John, who recorded for Motown and Stax, and the father of Keith John, a long time backing vocalist for Stevie Wonder.

James Brown, who early in his career had opened shows for John, recorded a tribute album, Thinking about Little Willie John... and a Few Nice Things.

Robbie Robertson, former lead guitarist for The Band, referenced John in a song on his 1987 self-titled album titled "Somewhere Down the Crazy River." He was also referenced in Tom Russell's "Blue Wing."

A biography, Fever: Little Willie John; A Fast Life, Mysterious Death and the Birth of Soul, written by Susan Whitall with Kevin John (another son of Little Willie John) was released in 2011 by Titan Books.

I've got all the King material and the comeback album from 1966 so we will see a few more posts of LWJ.