Showing posts with label George Jackson. Show all posts
Showing posts with label George Jackson. Show all posts

Thursday, January 25, 2018

George Jackson - The Fame Recordings Vol. 1-3

A repost by request:

George Henry Jackson (March 12, 1945 – April 14, 2013) was an American rhythm & blues, rock and soul songwriter and singer. His prominence was as a prolific and skilled songwriter; he wrote or co-wrote many hit songs for other musicians, including "One Bad Apple", "Old Time Rock and Roll" and "The Only Way Is Up". As a southern soul singer he recorded a mere 15 singles between 1963 and 1985, with some success.

Jackson was born in Indianola, Mississippi, and moved with his family to Greenville at the age of five.  He started writing songs while in his teens, and in 1963 introduced himself to Ike Turner. Turner took him to Cosimo Matassa's studios in New Orleans to record "Nobody Wants to Cha Cha With Me" for his Prann label, but it was not successful. Jackson then traveled to Memphis to promote his songs, but was rejected by Stax before helping to form vocal group The Ovations with Louis Williams at Goldwax Records. Jackson wrote and sang on their 1965 hit "It's Wonderful To Be In Love", which reached no.61 on the Billboard Hot 100 and no.22 on the R&B chart. He also wrote for other artists at Goldwax, including Spencer Wiggins and James Carr, and recorded with Dan Greer as the duo George and Greer. After the Ovations split up in 1968, he recorded briefly for Hi Records, and also for Decca using the pseudonym Bart Jackson. As a singer, he had a versatile tenor that was influenced by Sam Cooke, and released many records over the years, for a host of different labels, but his recordings never made him a star.

At the suggestion of record producer Billy Sherrill, Jackson moved to Rick Hall's FAME Studios at Muscle Shoals in the late 1960s, Alabama, where he wrote for leading singers including Clarence Carter - whose "Too Weak To Fight" reached no.13 on the pop chart and no.3 on the R&B chart in 1968 - Wilson Pickett, and Candi Staton. Some of Jackson's songs for Staton, including her first hit in 1969, "I'd Rather Be An Old Man’s Sweetheart (Than A Young Man’s Fool)", are "widely regarded as examples of some of the finest southern soul ever recorded by a female artist, with lyrics that were full of meaning and innuendo, a hallmark of Jackson’s best work." Jackson also recorded for Fame Records, and had his first chart success as a singer in 1970 with "That's How Much You Mean To Me", which reached no. 48 on the R&B chart. The Osmonds visited the FAME studio in 1970, and heard and liked Jackson's song "One Bad Apple", which he had originally written with The Jackson 5 in mind. The Osmonds recorded the song, and it became the group's first hit, rising to the top of the Hot 100 in February 1971; it also reached no.6 on the R&B chart.

In 1972 he briefly rejoined the Hi label, and had his second and last solo recording success with "Aretha, Sing One For Me", an answer song to Aretha Franklin's "Don't Play That Song"; Jackson's song reached no.38 on the R&B chart. He then released several singles for MGM Records, while continuing to write for other artists. In the early 1970s he began working as a songwriter for the Muscle Shoals Sound Studio and, with Thomas Jones III, wrote "Old Time Rock and Roll" which Bob Seger recorded in 1978; Seger's version reached no.28 on the pop chart. While with Muscle Shoals Sound, he also wrote "Down Home Blues", recorded by Z. Z. Hill, which became a theme tune for Malaco Records in the 1980s; "Unlock Your Mind", recorded by the Staple Singers and a no.16 R&B hit in 1978; and "The Only Way Is Up", originally recorded by Otis Clay in 1980. A version of "The Only Way Is Up" by Yazz & The Plastic Population reached no.1 on the UK singles chart, and no.2 on the Billboard dance chart, in 1988.

In 1983, Jackson formed his own publishing company, Happy Hooker Music, before joining Malaco Records as a staff songwriter. There he wrote hits for Johnnie Taylor, Bobby Bland, Latimore, Denise LaSalle, and Z.Z. Hill. He recorded an album of his own songs, Heart To Heart Collect, in 1991 for Hep' Me Records. In 2011, a compilation CD of his FAME recordings, Don't Count Me Out, was released.

Jackson died on April 14, 2013, at his home in Ridgeland, Mississippi, from cancer at the age of 68. He left a son and two grandchildren.

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