Soul Music Legend: George Jackson

One of the legends of soul music, George Jackson, passed away on Monday this week. If you never heard of George Jackson, that’s not really surprising. He earned most of his fame as a songwriter during his long career in the music business and released only a handful of songs in the 1960s. But many of his old recordings were unearthed and released for the very first time in recent years and reveal that in addition to being an ace songwriter, he was also an outstanding singer and performer.

 

Reading online obituaries, it’s not clear how old George Jackson was; Wikipedia and All Music list him as 78, while the New York Times and several other wire services gave his age as 68. However, most sources give his birthdate as 1936, so if that’s the case he’d certainly have been in his late seventies. But what is undisputed is how talented this man was. While he was signed to Fame Records in the 1960s, Jackson only released two singles, but he spent most of time at that label as a songwriter and producer.

 

Whether you realize it or not, if you are over the age of 35 you’ve probably heard some of the songs that George Jackson wrote, most notably “Minnie Skirt Minnie,” “One Bad Apple” (a hit by the Osmonds), “Old Time Rock and Roll” (a huge hit for Bob Seger), and “The Only Way is Up” (a hit for the electro/new wave act Yaz). He also wrote hit songs for Wilson Pickett, Clarence Carter, Z.Z. Hill, Candi Staton, and other artists, most of who recorded for the Fame and Atlantic labels. As a singer, he recorded more than 100 solo tracks for Fame, but strangely, those recordings were never released and sat in the archives for nearly 40 years until they were finally put on various CD compilations by the UK reissue label Ace/Kent.

 

The first release of vintage George Jackson material came in 2009 with In Memphis: 1972-1977, a CD containing 21 tracks, some of which were recorded for the legendary Hi Records label. But, like his 60s output for Fame, these excellent songs also sat on the shelf for several decades. As a music fan, I’m both shocked and saddened that music of this quality went unheard for so many years. But luckily the music junkies at Kent Records realized what a goldmine they had, and continued to release more George Jackson compilations. The second in their series, released in 2011, was Don’t Count Me Out: The Fame Recordings, Volume 1. This collection contained 24 tunes, all of them delicious soul gems. Last year Kent followed that one up with another compilation, Let the Best Man Win: The Fame Recordings, Volume 2. Like the previous set, this one also contained 24 songs rescued from the vaults, every single one of them an expertly crafted soul gem. Honestly, the quality of these recordings is extremely high and the tunes are thrilling. But what elevates them all to a higher level is Jackson’s scintillating vocals and soulful performance. He sounds a bit like Percy Sledge with some Tyrone Davis thrown in the mix; heartfelt southern soul with an irresistible backwoods country vibe. I’m telling you, this guy should be ranked up there with Otis Redding, James Carr, Wilson Pickett, and other great soul vocalists of the era. He was that outstanding. Obviously, he had the rep as a great songwriter, but hearing him sing these songs it’s painfully obvious that he was also a first-rate singer. All the more shameful that these songs were never released and promoted when they were first recorded.

 

In addition to those solo collections, a few more George Jackson songs can be found on recently issued compilations such as Hall of Fame: Rare and Unissued Gems from the Fame Vaults and Lost Soul Gems from Sounds of Memphis, both put together by the fine folks at Kent/Ace. Lost Soul Gems has two wonderful Jackson tunes, one of which is a rough mid-80s demo, just Jackson on piano and singing, an achingly beautiful tune titled “It’s Hard to Say No.” Once again, I find it mind boggling to think that music this special was shelved for so long. Did someone once say that the people running record companies were idiots? Well, here’s the proof.

For an interesting interview with George Jackson, check out this link:

http://www.soulexpress.net/georgejackson_tribute.htm

Sadly, George Jackson wasn’t the only soul music legend to pass away in recent months. Last month we lost Bobby Smith, one of the main vocalists for the Spinners. He’d been singing with Spinners since their days with Motown in the 1960s, and of course during their hit run with Atlantic in the 70s. In February we lost soul-jazz pioneer Donald Byrd, the unheralded singer-guitarist Lou Bond (check out his self-titled CD that was recently reissued by Light in the Attic, the same label that revived the career of Rodriguez, the singer/star of the “Searching for Sugar Man” documentary), Cecil Womack (brother of Bobby, and member of Womack & Womack with his wife Linda, who was Sam Cooke’s daughter!), two members of the Temptations (Richard Street and Damon Harris), and the oldest sister in the Staple Singlers, Cleotha Staples. Back in January, Leroy “Sugarfoot” Bonner of the Ohio Players also passed away.

 

Neglected Southern Soul

Here are yet more examples of immensely talented soul singers who have mysteriously remained under the radar for far too many years. In the case of Candi Staton, she actually enjoyed a bit of success with the 1976 hit single “Young Hearts Run Free” (later covered by Rod Stewart, among others) but for most of her recording career she has been ignored by the titans of the music business. Part of that may be by choice — at one point Candi Staton dropped out of the pop world to record gospel music — but there’s no doubt that over the years, her labels dropped the ball in promoting her songs to the masses.

 

A few years back I picked up a copy of The Best of Candi Staton (part of the Warners Archive reissue series) that I found in the sale bin of a shop in Bangkok. That compilation contained “Young Hearts Run Free” along with 14 other tracks, including goodies such as “Six Nights and A Day” and “Victim.” The material on this album runs the gamut from sultry soul to funky disco. This is a strong collection of songs, mostly culled from her mid to late 1970s Warner Brothers period. But recently I bought a new Candi Staton compilation that is even more stunning; Evidence: The Complete Fame Records Masters. Spread out over two CDs are 48 tracks of heartfelt southern soul that she recorded in the 1960s and early 70s, songs positively dripping with love and heartache. In one review I read, her vocals were called “achingly vulnerable,” which I think is a very apt description. To my ears, Candi Staton’s voice sounds as soulful and powerful as that of Aretha Franklin. Really, she’s that damn good. Songs like “I’d Rather Be an Old Man’s Sweetheart (Than a Young Man’s Fool)” and “You Don’t Love Me No More”, as well as covers of famous tunes like “In the Ghetto” and “Stand By Your Man,” are nothing short of brilliant. If you like Aretha, Etta James, or southern soul in general, you should treat yourself to this CD. This set includes 12 previously unreleased tracks, and they are all strong ones. Another excellent reissue from the folks at Kent.

 

Many of the songs on Evidence were written by George Jackson, a very talented songwriter whose songs were covered by a staggering variety of rock, pop, and soul artists in the 60s, 70s, and 80s. Jackson also recorded some very fine albums of his own during those years. I recently found a copy of a George Jackson compilation called In Memphis: 1972-77. It was also compiled by Kent Records, so you can trust the quality is top-notch. But the songs themselves are what is worth raving about: 21 tracks of superb southern soul, ranging from smooth ballads to more funky numbers. I hear this album —as well as the Candi Staton compilation — and marvel at how music this amazing could have been ignored for so long. But hey, it’s never too late to discover incredible artists like these. Kent released another George Jackson collection late last year; Don’t Count on Me: the Fame Recordings. I’m already salivating just thinking about getting that one. Can’t get enough of that sweet soul music!

Soul Survivors

It’s not unusual for a veteran recording act to make a comeback after a long spell of not recording any new music, but recently several soul music vets have make stunning returns to form with impressive new albums.

Betty Wright had a monster hit with “Cleanup Woman” back in 1971. “Where is the Love” and “Shoorah! Shoorah!” were two more of several hit singles she had that same decade, and she released the enormously popular Live album in 1978. Recalling all those “oldies”, one would assume Betty Wright is now a gray-haired granny living comfortably in retirement, but she was only 17 years old when she recorded “Cleanup Woman”, and at the relatively young age of 58 she is still going strong. She continued to record albums in the 80s and 90s, many of them critically acclaimed, but due to label issues and the always turbulent changing trends in the music business, Betty Wright pretty much disappeared from the radar of most listeners. I admit to being one of those oblivious listeners — in my case, caught up in the world of “alternative music” — who didn’t realize that she was still recording albums during that period.

Until she resurfaced with a new solo album in late 2011, Betty Wright: The Movie, she had not released any new music in a full decade. But Betty Wright kept busy writing songs, contributing background vocals for other artists, and even doing some production work. With her new album, recorded with The Roots, Betty Wright has reclaimed her position as one of the most dynamic soul divas around. Not having heard any of her 80s or 90s albums, I can’t compare those recordings to this new one, but Betty Wright: The Movie is simply an outstanding album. If I were still compiling Top 10 lists, this album would have easily made my “Best Of” for 2011. Her multi-year absence from recording solo albums has obviously not eroded any of her vocal ability; she still sounds like a house on fire: raw, spunky, vivacious, and most of all … vital. Co-producer Ahmir “Questlove” Thompson of the Roots has incorporated some contemporary hip-hop elements into the mix, but it doesn’t dilute the soulfulness and power of these very strong songs. In addition to members of the Roots, other guests popping up during this sprawling collection of songs (78 minutes of music on a single disc) include Lenny Williams, Lil Wayne, Joss Stone, and Snoop Dogg.

Booker T. Jones, the keyboard whiz of Booker T. & the MGs fame, also released a new album, The Road from Memphis, in 2011. Once again, members of the Roots can be found contributing to the musical vibe on the recording. Busy guys! This wasn’t really a comeback album for Booker, though; that distinction goes to Potato Hole, an album he released the previous year. Nominated for a Grammy award, Potato Hole was a rough and funky collection of instrumentals, featuring members of the Drive-By Truckers, and a wayward guitarist by the name of Neil Young. Not the classic Booker T. & the MGs sound, but still mighty fine listening. The Road from Memphis, however, does indeed have more of that classic 60s soul vibe, Booker’s distinctive organ playing propelling the songs to dizzying heights. It’s a scintillating album of strong material, featuring both instrumental and vocal numbers. In addition to those workaholic Roots fellows, Lou Reed, Yim Yames (from My Morning Jacket), and Sharon Jones join the party. Obviously, the musicians here are top notch, but the songs themselves are also a cut above the rest. When Booker himself sings “Down in Memphis” you can close your eyes and picture the streets of the city. It’s such a joy to listen to music this well performed, and so heartfelt.

Speaking of Booker T. & the MGs, the guitarist from that band, Steve Cropper, also released a new album last year, Dedicated. Like Booker’s The Road from Memphis, Cropper’s album is a mix of both instrumental and vocal numbers, and features an array of special guest vocalists. Croppers cast includes Steve Winwood, Lucinda Williams, Delbert McClinton, B.B. King, Bettye LaVette, Dan Penn, and Sharon Jones. What? Nobody from the Roots is on here? They must have been resting that week! If you are wondering about the album title, it is indeed a dedication of sorts; a tribute to the music of the 5 Royales, an influential Memphis band from the 1950s. Cropper was influenced by the band’s guitarist, Lowman Pauling, and the songs on Dedicated are all ones originally performed by the 5 Royales. Once again, an awesome bunch of musicians are gathered for a funky musical feast. It SOUNDS like they are all having a blast, and that’s always a big plus.

Dan Penn

Do any of these songs sound familiar?

 

“Cry Like a Baby”

“Sweet Inspiration”

You Left the Water Running”

“Do Right Woman, Do Right Man”

“The Dark End of the Street.”

“Out of Left Field”

“I’m Your Puppet”

“A Woman Left Lonely”

“It Tears Me Up”

“I Met Her in Church”

“Feed the Flame”

“Good Things Don’t Come Easy”

 

Sure, you know these songs. At least you do if you’re over the age of forty and weren’t raised in an Amish commune. Even if the title doesn’t ring a bell, once you listen to the song, you’ll have one of those “Oh, yeah!” moments.

 

These are songs so delicious that they melt in your ears, and all of them were written by the legendary Dan Penn. Once again, you may be stumped by the name, but that’s not surprising. Dan Penn is not a name that is well known to most people, even most die-hard music fans, but the songs that he wrote, and those he penned in collaboration with musician pal Spooner Oldham, rank as some of the finest of the rock and soul era. From Muscle Shoals to Memphis, Dan Penn is songwriting royalty.

Both Penn and Oldham are accomplished musicians, but many of their songs were hits by other artists. The Box Tops scored with “Cry Like a Baby,” The Sweet Inspirations had success with “Sweet Inspiration,” Otis Redding recorded “You Left the Water Running”, Aretha Franklin claimed “Do Right Woman, Do Right Man”, and James Carr’s signature song was with “The Dark End of the Street.”

 

Penn and Oldham are fine proponents of southern soul, but their songs are so well crafted that they can be covered by country, pop, or rock acts, and always sound like they were written especially for that artist. Many diverse examples of the duo’s songwriting craft can be found on the 24-track compilation Sweet Inspiration: The Songs of Dan Penn & Spooner Oldham, released by Ace Records in the UK this past year. This compilation focuses on the duo’s late 1960s output, with artists such as Percy Sledge, Dionne Warwicke, Charlie Rich, Etta James, Solomon Burke, the Box Tops, Tony Joe White, Ronnie Milsap, Patti LaBelle, Irma Thomas, Tommy Roe, and Joe Simon performing a sumptuous bunch of songs. Needless to say, there’s not a dud in the bunch.

For a taste of Penn and Oldham performing their own material, pick up Moments From This Theater, a fabulous recording of small-venue shows that they did in the UK back in the late 1990s. Many of their best-loved hits are included on this single disc, along with little known gems such as “Memphis Women and Chicken.” Penn and Oldham have the crowd enthralled with their heartfelt performance, using only piano and guitar. This is a true musical love-fest.

Dan Penn has recorded only a handful of solo albums but they are all excellent, including 1994’s comeback (his first album in over 20 years) Do Right Man. We already knew he was a great songwriter, but Penn shows off his prowess as a very soulful singer in his own right, performing ace versions of “The Dark End of the Street,” “I’m Your Puppet” and many others. This was an excellent, woefully neglected album that is sadly out of print. If you can find a copy, grab it!