Cockney Rebel (including Steve Harley & Cockney Rebel)

Stephen Malcolm Ronald Nice was born in 1951 in Lewisham, London. He grew up in London’s New Cross area and as a child learned to play the violin, when he was 10 his parent gave him his first guitar and Stephen played in the school orchestra. By the age of 12 years he contracted polio and spent the next four years in hospital. There he listened to a lot of Bob Dylan who inspired him to become a singer song writer. He left the Haberdashers' Aske's Hatcham College with no qualifications but started work as an apprentice accountant with the Daily Express in 1968. He later changed to a junior reporter and worked in a number of local Essex newspapers before returning to London and the East London Advertiser. For beer money Stephen busked and formed a folk duo with John Crocker (aka Jean-Paul Crocker). Gradually they got gigs in bars and clubs and in 1972 he formed Cockney Rebel with Jean-Paul Crocker (electric fiddle / mandolin / guitar), Stuart Elliott (drums), Paul Jeffreys (bass), and Milton Reame-James (keyboards). The band must have been good because they were signed to EMI after playing only five gigs. Their debut single "Sebastian," was an immediate success in Europe although the band failed to repeat the success in the UK. Despite their loyal following in London their first album, The Human Menagerie (1974) made no UK impact. Their second single "Judy Teen" was released later the same year and this was followed by “Mr Soft” which was taken from the more commercial album, The Psychomodo. On stage Steve was eye catching and he and the band dressed in fey decadence of glam rock chic. He was a consummate song writer and regarded himself poet as opposed to rock star. He was to pick up on the impact of the movie Clockwork Orange and started to appear on stage with similar costume. His exaggerated gestures, knowing leers, and mannered contortionist’s voice combined to make riveting rock theatre. Despite their success as a live act, continued disquiet within the band led inevitably to a break up of Cockney Rebel in 1974. The band was unhappy mainly with Steve and his enormous ego. Steve’s arrogance had irritated a significant segment of the music press as well as alienated him from the band members, subsequently he won little sympathy. On the subsequent appearance on Top of the Pops (BBC) Steve was supported by session musicians Francis Monk man (Curved Air), and B.A. Robertson with Stuart Elliot the only other member from the original line-up. John Crocker joined his brother in The Crocker Brothers and Paul Jeffreys and Milton Reame-James briefly became members of Be Bop Deluxe, before forming their own band, Chartreuse, in 1976. Sadly Paul Jeffreys died on Pan Am Flight 103 in 1988. He was with his bride on their honeymoon. Steve meantime carried on with drummer Stuart Elliot, renaming the band Steve Harley & Cockney Rebel which now consisted of Jim Cregan (guitar), George Ford (bass) and Duncan Mackay (keyboards). In 1975 they released an album The Best Years of Our Lives (produced by Alan Parsons), which included the number one and million selling single; "Make Me Smile (Come Up and See Me)". The band embarked on a US tour supporting the Kinks but this created little interest. On return to the UK they completed a more successful UK tour in 1976. Two more hits followed with "Mr Raffles (Man it was mean)" and a cover of George Harrison‘s "Here Comes the Sun" which were both Top 20 hits. As the seventies ended and musical tastes had changed the band had no further commercial success. Steve relocated to the US for a couple of years before returning to the UK in 1978. Despite several attempts to relaunch his career he never quite reached the level of his previous successes. Steve Harley was an angry young man who did provide some of the more interesting music of the period and was certainly at his best a serious threat to the establish order of rock music.




Worth a listen
Sebastian (1974)
Death trap (1974)
Judy Teen (1974)
Mr Soft (1974)
Tumbling down (1974)
Mr Raffles (1976)
Here comes the sun (1976)

Brief history of Death Song Culture (1956 -1977)

In the High Middle Ages (1100-1350) troubadours sang lyric poetry and travelled around the royal courts of Europe. Narratives dealt with the themes of chivalry and courtly love (usually unrequented). The lyrics were often rhetorical, musical, and poetical fiction with most humorous or vulgar satires. Troubadours were the forefathers of the popular singer and developed many genres including the sad song. These were usually a across between the Desdansa which was a dance designed for sad occasions; and the Planh or lament on the death of someone important. Traditionally sad songs were performed whilst dancing. The Romantic sad song or ballad were impersonal stories with vivid dialogue and became extremely popular by the 15th century. A usual formula was to recount a dramatic story with brief reference to things that had gone before and little attention devoted to depth of character, setting, or moral commentary. Sentimental ballads were called “drawing-room ballads" and enjoyed popularity among the middle classes. They reached their zenith in the late nineteenth century during the early era of ‘Tin Pan Alley.’ These songs generally had sentimental narratives told in strophic form. Stephen Foster is considered the "father of American music," wrote "Gentle Annie" which is a lament by a young man for his departed sweetheart. His better known “Beautiful dreamer” finds the singer begging his departed lover (beautiful dreamer) to awake because 'Then wills all clouds of sorrow depart'.

As new genres of music took hold in the early 20th century the sad song fell from favour only to return once again after the Second World War. The introduction of the crooner saw a return of the sad song ballad which by now was usually built from a single, introductory verse; around 16 bars in length, and ending on the dominant; the chorus or refrain, usually it is 16 or 32 bars long, and in AABA form (though other forms such as ABAC are not uncommon). In AABA forms the B section is usually referred to as the bridge; often a brief coda, sometimes based on material from the bridge added. The introduction of the record player and a vibrant teenage market soon saw songs about teenage death and tragedy. The genre became very popular in the late 50s and continued into the seventies and beyond. The teenage tragedy song (also known as a splatter platter) was a style of ballad sung either from the viewpoint of the dead person's sweetheart, or sometimes from the viewpoint of the dead (or dying) person. The first major commercial success came from one time mortician’s assistant, Jody Reynolds with "Endless Sleep" The rockabilly ballad which tells of a girl drowning in the water that is saved at the last minute by her brave boyfriend was a hit in 1958. In the original written version, she actually drowns. At the insistence of the record company the ending was changed. The song was covered in the UK by Marty Wilde.

In 1960 a series of tragic song enjoyed high positions on the hot parade starting with Tell Laura I love her, by Ray Peterson. The song told the tragic story of a teenage boy named Tommy who is desperately in love with a girl named Laura. They want to marry so he enters a racing car championship, planning to use the prize money to buy Laura a wedding ring. As the second verse progresses we discover the boy's car has overturned after being t-boned at a roundabout and bursts into flames. The final verse we hear Tommy’s last words "Tell Laura I love her...my love for her will never die". Another major hit in the same year was Running Bear by Johnny Preston. Written by J.P. Richardson (The Big Bopper). It is "Romeo and Juliet" set in a North American Indian context. Waring tribal families prevent their children from seeing each other. Young Indian brave, Running Bear and his sweetheart Little White Dove dive into the raging river to unite. After sharing a passionate kiss, they are pulled down by the swift current and drown. Mark Dinning also scored high on the charts with Teen Angel. The song was about a girl who is out on a ride with her boyfriend. Their car is stalled on a railroad track when he pulls her to safety. But when she runs back, she gets hit by a train. When they find her body, the narrator's high school class ring is in her hand, apparently the reason that she ran back. This song encapsulates the whole car crash subgenre and teenage fascination with cars and courting. Mark also had a second teen tragedy hit in 1962 with "The Pickup," a lurid tale of a man lamenting not being able to love the girl of easy virtue. As a consequence she kills herself.

In 1961, The Everly Brother scored with Ebony Eyes written by John D Loudermilk. The lyrics tell a young man losing his fiancee in an airplane crash. In 1962, Dickey Lee had a hit with Patches. The song tells in waltz-time of teenage lovers from different social classes whose parents forbid their love. The girl drowns herself in the "dirty old river." The singer concludes: "It may not be right, but I'll join you tonight/ Patches I'm coming to you." Because of the teen suicide theme, the song was banned by a number of radio stations. Despite this it reached #6 in the US charts. Later in 1965, he was again in the charts with another teen tragedy called "Laurie (Strange Things Happen)." "Moody River " by Pat Boone was a number-one hit in 1961. Written and originally performed by country rockabilly singer Chase Webster it was the smooth crooner’s cover version that stole the public interest. The song tells the story of a man who goes to meet his love at the river, by the old oak tree, and finds that she has committed suicide. A note on the riverbank explains that she has cheated on him and that "No longer can I live with this hurt and this sin. I just couldn't tell you that guy was just a friend." He then looks into the river and sees his own reflection on the river looking back, ever hauntingly, at him. He is the "lonely, lonely face just lookin' back at me". So with "Tears in his eyes, and a prayer on his lips, and the glove of his lost love, at his fingertips". A UK hit in 1961 was Johnny Remember me by John Leyton. It was produced by Joe Meek abd recounted the haunting of a young man by his dead lover. It is distinguished by its eerie, echoing sound (a hallmark of the Joe Meek production style) and by the ghostly, foreboding female wails that form its backing vocal (by Lissa Gray).

In 1962, Wayne Cochran and the CC Riders recorded Last Kiss which was a song about a terrible car crash and based on actual events in Georgia where teenagers died. The song became more famous when J. Frank Wilson and the Cavaliers released their version in 1964. The Beachboys recorded "A Young Man Has Gone" in 1963 and it told the story of a lost surfer. Perhaps the best known death record of the 60s was “Leader of the Pack” by the Shangri-Las which was a massive worldwide hit despite being banned from many radio stations. The subject matter was young love, parental disapproval and death by motorbike. In the UK, Twinkle recorded “Terry” another sad song about the death of a young man (Terry), killed in a motorcycle accident. It reached number 4 in the UK Singles Chart in 1964. Jan and Dean's hit "Dead Man's Curve” also was released in 1964 and told the story of an ill fated drag race combining speed, necrophilia and the shadow of James Dean. Bobbie Gentry's "Ode to Billy Joe" was a giant hit in 1967 and dealt with suicide. A year later, Bobby Goldsborough’s "Honey", also known as "Honey (I Miss You)" was a massive international hit.

In spite of the violence of the late sixties and early seventies there was remarkably few sad songs recorded with direct reference to the Vietnam War or Race Riots in the US. Perhaps the grief was too much to bare or it was not commercially or politically viable to wallow in pity. There were of course a few notable exceptions such as “In the ghetto” by Elvis Presley (1969) and the Ballad of the Green Berets by Sgt Barry Sadler (1966). Instead a spate of protest songs gained immense popularity at this time but by the seventies death records had taken on more sinister overtones with murder most fowl, not beyond the lyrisits.

Murder ballads were not new and are a sub-genre of the traditional ballad form. These flourished in the past within non-literate groups and usually told of the antics of local heroes who were summarily dealt with by authorities. The broadsheet murder ballad typically recounted the details of a mythic or true crime. The lyrics would deal with who the victim was, why the murderer decided to kill them, how the victim was lured to the murder site and the act itself. This was usually followed by the escape and/or capture of the murderer. Often the ballad ended with the murderer in jail or on their way to the gallows, occasionally with a plea for the listener not to copy the evils. Tom Dooley was perhaps the most famous murder ballad on the 50s and was a massive hit in 1958 for the Kingston Trio. The traditional Frankie and Johnnie was another death record covered by many artists including Lonnie Donegan in 1956. In 1971, the rock band Bloodrock had a minor hit with “D.O.A.” The song is extremely grisly and gives a first person account of the aftermath of a plane or car crash. The vocalist describes the bloody sheets he lies in with a missing arm and a dead girl lying next to him, as the ambulance attendant looks over him with little hope. This narrative is backed by a rather eerie and grave organ riff & background sounds of ambulance sirens, creating a decidedly bleak and unsettling atmosphere. The song ends with the ambulance siren being shut off, indicating that the patient has died and is Dead on Arrival. The punk genre were quick to use murder as a theme and the punk band The Buoys had a US Top Twenty hit in 1971with “Timothy.” The song about cannibalism was written specifically to get banned from the airwave. Then this was a marketing rouse to attract buyers attention and very much a punk wheeze. The song tells the story of three men trapped in a collapsed mine. When they are finally rescued only two men are found. The narrator is unable to recall what happened other then they were very hungry. The original song was written by a young Rupert Holmes [Escape (The piña colada song)]. In 1972 Vicki Lawrence had a #1 hit US hit with “The Night the lights went out in Georgia“ which was written by her then husband Bobby Russell. The song writer could not find anyone to record this most macabre of songs and so his wife did. The lyrics are narrated by a young woman telling the story of her older brother who returns home after a two-week trip and meets his best friend at Web's bar. He is told his wife has been cheating on him and that his best friend too has been to bed with her. With revenge on his mind he gets a gun to kill his friend. When he arrives at his friend’s house he discovers that someone has already killed him. He fires his gun in the air to summon a passing sheriff, but when he is found standing over the dead body with a smoking gun, he is arrested for murder. Convicted in a kangaroo court they hang him at midnight. The final verse reveals the singer killed the brother’s friend and her promiscuous sister-in-law. Bo Donaldson and the Heywoods had a #1 US hit in 1974 with "Billy, Don't Be A Hero,” and the cover version by Paper Lace was a number one hit in the UK. Billy who wants to fight in the war (American Civil War) but his young fiancé forewarns he may die. When this comes to pass she throws the death notice away. The song which succeeded “Billy” at the top of the charts was another death record, "Seasons In The Sun," by Terry Jacks. The song was a loose translation of a Jacques Brel song called, “Le Moribond.” It is a dying black sheep’s farewell to relatives and friends. A year later "Run Joey Run," by David Geddes reach #4 in the US charts. The song tells of Joey who gets his girlfriend pregnant and decides to do the right thing and marry her. Her father has other ideas and tries to shoot him. Tragically the daughter jumps in front of Joey at the last minute. Hot Chocolate had a disco hit with “Emma” in 1974. The song detailed childhood sweethearts (the singer and Emmaline) from the age of five through to seventeen when they get married and eventually to her suicide. Emma is depressed after not being able to succeed as a "movie queen" and eventually kills herself with the line "I just can't keep on living on dreams no more." The Killing of Georgie (Part 1 & 2) by Rod Stewart was a hit in 1976/77 and told the true-life story of a gay acquaintance of Rod Stewart called Georgie, who was killed in New York City by a New Jersey gang. The song peaked at #2 in the UK singles chart in September 1976, and at #30 in the US in July 1977.







Worth a listen
Lonnie Donegan
Frankie and Johnnie (1956)

Kingston Trio
Tom Dooley (1958)

Jody Reynolds
Endless Sleep (1958)

Ray Peterson
Tell Laura I love her (1960)

Johnny Preston
Running Bear (1960)

Mark Dinning
Teen Angel (1960)

Everly Brothers
Ebony Eyes (1961)

Pat Boon
Moody river (1961)

John Leyton
Johnny Remember me (1961)
Beautiful dreamer (1963)

Dickey Lee
Patches (1962)
Laurie (Strange Things Happen) (1965)

J Frank Wilson
Last Kiss (1964)

Shangri-Las
Leader of the Pack (1964)

Twinkle
Terry (1964)

Jan and Dean
Dead Man’s Curve (1964)

Sgt Barry Sadler
Ballad of the Green Berets (1966)

Bobbie Gentry
Ode to Bobby Joe (1967)

Bobby Goldsborough
Honey (1968)

Elvis Presley
In the ghetto (1969)

Paper Lace
Billy don’t be a hero (1974)

Terry Jacks
Seasons in the son (1974)

David Geddes
Run Joey Run (1974)

Hot Chocolate
Emma (1974)

Rod Stewart
The Killing of Georgie (Part 1 & 2) (1976/77)

Zoot Money (Big Roll Band)

George Bruno Money was born in 1942, in Bournemouth, Dorset. He learned to play French horn at school and also sang in a local choir. As a young teenager he was drawn to the music of Jerry Lee Lewis and Ray Charles and destined to become a singer in a group. George had a good sense of humour and got his nickname ‘Zoot’ after he went to a concert by American Jazz saxophonist, Zoot Sims. The first line-up of the Big Roll Band which he formed in 1961 was Roger Collis (lead guitar), Al Kirtley (piano), Mike "Monty" Montgomery (bass) and Johnny Hammond (drums). The Big Roll band mastered a mixture of American soul, jazz and R&B and like many emerging groups of the time, the line up changed. In 1962, Pete Brookes (drums), Johnny King (bass) and Kevin Drake (tenor sax) replaced the originals by which time the group had built up a large and loyal following. Attracted to London the group moved to Soho and shared residency at the Flamingo with Georgie Fame and the Blue Flames and The Animals. Andy Summers (lead guitar), Nick Newell (saxophone), Johnny Almond (saxophone), and drummer Colin Allen had joined the group with Zoot now on piano, vocals and Hammond organ. On stage they were musically tight and highly visual as Zoot’s showmanship was supreme. His mastery of the Hammond organ made the group standout and by the time Paul Williams (bass/vocals) and Clive Burrows (saxophone), were added Zoot Money and the Bog Roll Band were main attractions on the Mod scene. In 1964 the group released their first single "The Uncle Willie" to modest response. They switched labels the following year but their singles including "Good, " "Please Stay" and "Something Is Worrying Me" went nowhere. The debut album “It Should Have Been Me” also was lost to obscurity. The main problem was the group’s studio work was mild by comparison to their live performances which were difficult to capture on vinyl. In 1965, Zoot was asked to join the Animals as a replacement for Alan Price but tactfully declined. In 1966 the group released Big Time Operator which became their most successful single. In the same year they recorded a live gig at Klook's Kleek called Zoot! Live at Klooks Kleek (sometimes called The All Happening Zoot Money’s Big Roll Band at Klooks Kleek). This is generally regarded as a classic of the genre and era. Alexis Korner spotted Zoot as a talent and asked him to sit in with Korner's Blues Incorporated. Sensing a change in musical taste the Big Roll Band drifted into prototype psychedelia and were relaunched in 1967 as Dantalian's Chariot. Much of their recorded material failed to materialise until the 90s. Paul Williams meantime had left to join John Mayall and then later Jucy Lucy. In 1968 Zoot and Andy Summers were asked by Eric Burdon to join Eric Burdon & The Animals and they did so touring the US. When the Animals line-up changed Zoot was briefly reunited with former members of Dantalian's Chariot but the reunion was short and the Animals broke up soon after. Zoot and Andy stayed in the US and they both took acting lessons. Zoot worked with Vic Briggs who produced his first solo album, Zoot Money. He also did sessions and worked as a musician appearing on works by Centipede, the Grimms, Ellis, Kevin Coyne, and Kevin Ayers, among many others. In 1969 he moved back to London and recorded Zoot Money's Music Band with slide guitarist, Mick Moody. A year he had another solo released called, Welcome to my head. Throughout the 70s Zoot kept busy playing with various U.K. 'progressive' outfits. He also pursued his acting career but in 1980 made another solo album Mr Money (produced by Jim Diamond). In 1983 joined Eric Burdon for the Animals UK tour and kept bust got the rest of the decade with Alexis Korner on various projects as well as enjoying success as a songwriter and later producer. He wrote songs for Jimmy Witherspoon, Lulu, Maggie Bell and Long John Baldry. Zoot also balanced his musical career with acting endevours and became the music director of John Byrne’s Tutti Frutti (BBC Scotland), as well as appearing as an extra. Over the last three decades Zoot Money has continue to perform both as an artist and with groups such as the Spencer Davis Band, Georgie Fame and The Blue Flames, Mick Taylor, Alan Price's Electric Blues Band, Humble Pie, The Blues Band, The Foundations, and Geno Washington's Soul Train. In 1994 Zoot Money appeared with Alan Price and The Electric Blues Company alongside vocalist and guitarist Bobby Tench, bassist Peter Grant and drummer Martin Wild. He also formed a new version of the Big Roll Band in the 1990s and they continue to perform. During the same decade Zoot toured with Ray Dorset (Mungo Jerry), Paul Williams, and Long John Baldry under the collective name the British Legends of Rhythm & Blues. In 2000 he featured in the Majik Mijits album with fellow musicians and former Small Faces, Steve Marriott and Ronnie "Plonk" Lane. In 2004 he was once again working with Alan Price, and with veteran British soul-shouter Cliff Bennett and Liverpool legend Tony Sheridan. A year later Zoot joined Pete Goodall of Thunderclap Newman to rerecord an new version of Something In The Air. In 2006 he joined British Blues Qunitet with Colin Allen (drums), Colin Hodgkinson (bass), Miller Anderson (guitar) and Maggie Bell (vocals). The Big Roll Band now consists of Paul McCallum, (bass), Steve Laffy (drums), Gary Foote (sax) and Ronnie Johnson (guitar), plus anyone else that is available and they still perform with Zoot on vocals and organ.








Worth a listen
The Uncle Willie (1964)
Good (1965)
Please Stay (1965)
Big Time Operator (1966)
Let the good times roll (1966)
Barefootin’ (1966)

Jimmy Witherspoon
It never rains but it pours

John Lennon

Happy birthday Johnny

King Curtis (1934 - 1971)

Curtis Ousley was born in Fort Worth, Texas in 1934. He learned to play the saxophone and was influenced by alto sax players; Earl Bostic and Louis Jordan; and tenor sax players; Illinois Jacquet, and Arnett Cobb. He started his professional career playing sax with Lionel Hampton before moving to New York City in 1953. Curtis worked under his own name and played tenor sax with Horace Silver’s jazz group. As he cultivated a distinctive honking and screaming rockin' R&B sax style he freelanced as a session musician and worked with many R&B and rock and roll artists. In 1958 he played the honking sax solo on the Coasters’ smash hit, “Yakety Yak.” Leiber and Stroller produced the Coasters and wrote many of their hit songs. They worked closely with King Curtis in the studio and the groups distinctive sound was as much the result of his saxophone playing as anything else. King Curtis played on many other Coasters hits including: Searchin (1957), Charlie Brown (1959), and Poison Ivy (1959). Buddy Holly was sufficiently impressed he hired Curtis for sessions during which they recorded "Reminiscing". Curtis also featured on “A Lover’s Question,” by Clyde McPhatter, and “Boys,” by the Shirelles, among many others. Eventually the saxophonist struck out on his own, first as King Curtis and The Noble Knights then later as The Kingpins (Aretha Franklin‘s backing group). In 1962 had chart success with “Soul Twist” which obviously hit a chord with fellow singer Sam Cooke who had a line his hit "Having a party which said "Play that one called Soul Twist," a reference to King Curtis earlier recording. In 1965 he moved to Atlantic Records and recorded his most successful singles "Memphis Soul Stew" and "Ode to Billie Joe" (1967). The success of King Curtis was all the more remarkable at a time instrumentals were less popular with the record buying public yet he managed to get into the hit parades. As part of Atlantic Records’ stable, he played on sessions for Aretha Franklin, Wilson Pickett, Solomon Burke, Don Covay, Bobby Darin, and others. In later years, he also produced (or co-produced) albums for Roberta Flack, Donny Hathaway, Delaney and Bonnie, Freddy King and Sam Moore (of Sam and Dave). By the late 60s and early 70s King Curtis was revered by his fellow musicians, especially Duane Allman (Allman Brothers Band), Eric Clapton, and Robbie Robertson (The Band). Forever busy as key session man he played with Buck Clayton, Nat King Cole, Joe Turner, The McGuire Sisters, Andy Williams, Chuck Willis, LaVern Baker, Bobby Darin, Brook Benton, Neil Sedaka, The Drifters, Sam Cooke, The Isley Brothers, Solomon Burke, Nina Simone, The Beatles, Aretha Franklin, Herbie Mann, Wilson Pickett, Duane Allman, Eric Clapton and John Lennon.





Worth a listen

King Curtis and The Noble Knights
Soul Twist (1962)

King Curtis and The Kingpins
Soul Serenade (1964)
Memphis Soul Stew (1967)
Ode to Billie Joe (1967).

The Coasters
Searchin (1957)
Yakety Yak (1958)
Charlie Brown (1959)
Poison Ivy (1959).

Clyde McPhatter
A Lover’s Question (1958)

The Shirelles
Boys (1960)

Buddy Holly
Reminiscing (1962)

Sam Cooke
Having a party (1962)

Johnny Otis

John Alexander Veliotes was born in 1921 in Vallejo, California. His father owned a grocery store in a predominantly black neighbourhood in Berkeley, California where John and his brother Nicholas grew up. He took up drums as a teenager and later learned piano and vibraphone. After attending a Count Basie concert he was so impressed by Joe Jones‘s drumming he decided to take the study of percussion more seriously. He made his professional drumming debut in 1939 with the West Oakland House Rockers. The young drummer made quite a name for himself and caught the attention of Nat King Cole and Jimmy Weatherspoon. Both advised him to move to Los Angeles and in 1943 he relocated and joined the Harlan Leonard's Kansas City Rockets at the Club Alabam, then Count Prince Otis Mathews, who played the casinos in Las Vegas. For the next couple of years he was playing in a variety of swing orchestras, including Lloyd Hunter's Serenaders, before starting his own band in 1943 with Preston Love. The Otis-Love Band played at the Barrelhouse Club in Omaha, Nebraska. By 1946 Johnny Otis was in Chicago backing the Ink Spots on their worldwide tour. That year he recorded "Harlem Nocturne" which gave him his first taste of commercial success as a recording artist. Later Johnny played the drums on Charles Brown's first major hit "Driftin' Blues.” Aware the era for big bands was over Johnny Otis reformed his orchestra into a combo featuring twin saxophones, trumpet, trombone, with himself on the vibes. Settling in Los Angeles in 1948, he opened his own Barrelhouse Club he went into partnership with others (Bardu and Tila Ali, and Johnny Miller) and opened The Barrelhouse in the Watts District of Los Angeles. The club regularly ran talent contests and when Little Me Jones (aka Esther Phillips) picked up the first prize Johnny asked her to join his band. He toured throughout the United States as (Johnny Otis) California Rhythm and Blues Caravan. Johnny had an eye or budding talent and discovered Big Jay McNeely, Mel Walker, Etta James and the Robins (aka The Coasters), all of whom were at one time featured vocalists in his band. He had a long string of rhythm and blues hits through 1950including: "Cupid's Boogie by Little Esther," "Mistrustin' Blues" by the Robins, and his own "Double Crossing Blues," which also featured the Robins and Little Esther. In 1952 he wrote "Every Beat of My Heart" which was a minor hit for The Royals but later became huge when Gladys Knight recorded her version. As a producer he was responsible for the original recording of (Willie Mae) “Big Momma” Thornton‘s "Hound Dog" in 1952. He played on and produced Johnny Ace's "Pledging My Love" (1955), as well as some of Little Richard's earliest recordings. When Johnny became A&R man for King Records he discovered Sugar Pie DeSanto, Jackie Wilson, Hank Ballard, The Midnighters, and Little Willie John among many others. In 1955 he formed Dig Records and recorded for Capitol Records from 1957 to 1959. At the height of his fame as a performer, producer and writer Johnny changed careers in 1955 to become a successful disc jockey at KFOX in southern California. He did continue to perform sporadically and in 1958, had a massive hit "Willie and the Hand Jive." By the sixties and using his own name he entered politics and ran unsuccessfully for a seat in the California Assembly. He later served as Deputy Chief of Staff to Mervin Dymally. During this time he became an accomplished writer and published several books. Frank Zappa was a great fan and convinced Johnny Otis to return to the studio. Cold shot was released on the Kent label and featured Shuggie Otis (son) on the guitar. The album's success led to a contract with Epic Records. In 1969 he produced an album of sexually explicit material under the name Snatch and the Poontangs (featuring vocals by Delmar "Mighty Mouth" Evans). The next decade saw Johnny Otis back performing and for the 1970 Monterrey Blues Festival he showcased Joe Turner, Roy Brown, and Little Esther. A tour of the Far East came in 1971, followed by a trip to England a year later. Johnny started his own label Blue Spectrum in 1974, recording Big Joe Turner, Pee Wee Crayton, Joe Liggins, Charles Brown, Gatemouth Moore, Amos Milburne, Richard Berry, Joe Liggins, Roy Milton, Eddie "Cleanhead" Vinson, and Louis Jordan. Johnny Otis recorded a new album in 1981 which was followed by a series of tours. He moved to Sebastopol, California, in the early 90s where he opened the Johnny Otis Market and also founded and pastored a new church, Landmark Community Gospel Church in Forestville, California.











Worth a listen
Harlem Nocturne (1945)
Barrelhouse Stomp (1947)
Double crossing blues (featuring the Robins and Little Esther) (1949)
Cupid’s Boogie (with Little Esther) (1950)
The Turkey Hop (1950)
Willie and the hand jive (1958)

The Royals
Every little bit of my heart (1952)

Ester Phillips
Double Crossing Blues (1950)
Mistrusting Blues (1950)

(Willie Mae) “Big Mamma” Thornton
Hound Dog (1952)

Etta James
The Wallflower (1955)

Otis Ray Redding, Jr (1941 - 1967)

Otis Redding Jr was born in 1941 in Dawson, Georgia. When he was three the family moved to Macon where his father was a minister. He grew up in the Tyndall Heights Housing Project young and learned to sing in the church choir. Otis became a member of a gospel group at school and learned to play the drums. His hero was Little Richard (Richard Penniman) and he soon learned to play piano doing impromtu impressions of Little Richard. When he left school he toured with the Upsetters (former backing group to Little Richard) and regularly won talent contests with his version of “Heebie Jeebies” a particular favourite at the Douglas Theatre in Macon. In 1951, Otis joined Johnny Jenkins and the Pinetoppers but not as a singer instead driver to the band. He would often jam with them and soon became a reliable second lead singer. The band played the Southern college and university circuit within 100 mile radius of Macon and mainly in front of segregated audiences. Otis took some time out in 1959 and went to California where he cut a couple of records. One was released on Confederate label but when it failed to make an impact Otis returned to Macon and Johnny Jenkins and the Pinetoppers. The group released several singles including "Love Twist" which created some regional interest and caught the attention of Jerry Wexler at Stax. After a fruitless session when almost everyone was ready to pack it in, Otis sang a self penned ballad, "These Arms of Mine", which blew them all away. Otis had earned himself the position of lead singer with his drive, rhythmic focus and raw feeling. The record eventually became a minor hit after being a sleeper for about a year. It was released on Volt Records (a subsidiary of the Stax label) and rose to Number 20 in the R&B carts. In 1963 Otis recorded “Pain in my heart” which became his second hit. Now flush with some success he played the Apollo Theatre in Harlem. His debut was not entirely earth shattering but he did pick up some fans in the Big Apple. In 1965, Otis had another hit with Mr Pitiful which captured perfectly the soul delivered song with the MGs muscular horn arrangements and deep tight rhythm section. That year Otis had top ten hits in Billboard’s R&B charts and a fourth and fifth in the Top Twenty. His confidence had improved beyond measure as he became an inspiration for all at Stax (Soulsville USA). Otis began to produce other artists and beame more ambitious as his talent grew and style deepened. In 1966 he recorded “Fa Fa Fa Fa Fa (Sad Song)” and “Try a little tenderness.” During this time he also toured extensively including the UK building a large fan base. In early 1967 he went back to the UK with the Stax Review performing with fellow Stax stars Sam and Dave, Carla Thomas and Arthur Conley. More hits followed with "I Can't Turn You Loose,” "(I Can't Get No) Satisfaction," and "Respect." Otis wrote many of his own songs and often with Steve Cropper (Booker T. & the M.G.'s). In 1967, he performed at the Monterey Pop Festival and by doing so he was able to appeal to a wider cross over audience. Although he enjoyed a large white following in the UK his appearance at the festival allowed him to break through to a US White audience. Otis recorded (Sittin' On) The Dock of the Bay three days before he and the Bar Kays appeared on a television program in Cleveland, Ohio in December 1977. The following day himself, his manager and five of the Bar Kays took off in their private jet. The airplane crashed into Lake Monona in Madison, Wisconsin, and only Ben Cauley survived. Otis Redding was one of the greatest singers of the sixties and like Buddy Holly, tragically taken all too early. He always declared himself to be more than a soul singer and enjoyed singing country music, just like Ray Charles.











Worth a listen
These arms of mine (1962)
Pain in my heart (1963)
Mr Pitiful (1965)
I've Been Loving You Too Long (1965)
Respect (1965)
I can’t turn you loose (1965)
Satisfaction (1966)
Fa Fa Fa Fa Fa (Sad Song) (1966)
Try a little tenderness (1966)
(Sittin’ On) The dock of the bay (1968)
Amen /Hard to handle (1968)

With Carla Thomas
Tramp (1967)
Knock on wood (1967)