Wednesday, November 22, 2017

Willie Hightower - "Walk a Mile in My Shoes" (1970)


"Walk a Mile in My Shoes" (1970)
Willie Hightower

Written by Joe South * Produced by Rick Hall * 45: "Walk a Mile in My Shoes" / "You Used Me Baby" * Billboard charts: Bubbling under (#107), soul (#26) * Entered: 1970-04-25 (soul), 1970-05-30 (bubbling under)

Without fail, the voice of Alabama soul singer Willie Hightower stuns listeners for its expressive power and for the low number of records it actually appears on (especially when considering that he performs live to this day). At least three must-hear singles are his 1966 version of "If I Had a Hammer," his 1969 soul hit "It's a Miracle," and his 1970 Fame label take on Joe South's "Walk a Mile in My Shoes." Sounding like what writer Tim Tooher describes as a "cross between Sam Cooke and Little Richard," Hightower brings out even more dimensions of pathos and humanity from the song. The final paragraph of the Tooher piece mentions Hall's success with the Osmonds as being a potential factor in the Fame label's decision to drop soul singers like Hightower and Clarence Carter, and you can't help but wonder how much that might have hurt Hightower's long range momentum. The track "You Used Me Baby" on side B is another grade A vocal showcase and credits Hightower as the writer.

Side A: "Walk a Mile in My Shoes"


Side B: "You Used Me Baby"


Friday, November 10, 2017

Joe South: The Early '70s Charting Singles


Listening to Joe South's late '60s and early '70s records, especially the ones espousing brotherhood and being real, can be a balm for the soul. The Georgia singer-songwriter made a name for himself in the music biz as the writer of "Down in the Boondocks," a #9 hit for Billy Joe Royal in 1965. His own amiable singing voice became most familiar with his #12 hit "Games People Play," a 1969 electric sitar-enhanced song possibly inspired by a 1964 self-help book by Eric Berne. "Don't It Make You Want to Go Home" (#41), his next hit, imagined an irresistible rural homeland that South (a stage surname for the man born as Joseph Souter) gauzed with a blurry guitar to signify fantasy. The guitar sounds from both hits, in fact, made for appropriate accompaniment for the 3D image—with its counterbalancing suggestions of illusion and truth—on his 1970 greatest hits album.

The Joe South of the early seventies was even more successful as a songwriter for others. Aside from his own humanist hit "Walk a Mile in My Shoes," he wrote the career-defining Lynn Anderson smash "Rose Garden" and saw the Osmonds go Top 5 with his "Yo Yo." Unfortunately, the melancholy he advised against in "Rose Garden" became a palpable component in South's own music career, which had stalled by the mid-seventies. The slowdown coincided with the 1971 suicide of his brother Tommy, who was the drummer with South's band The Believers, but it's worth remembering that Joe South, who passed away in 2012, lived an ostensibly happy life well past whatever challenges he'd gone through in the '70s. Musically, we can keep honoring him as a man who, in "Games People Play," gave us a catchphrase to live by: "To hell with hate!"

The following rounds up all of the Joe South songs, sung or written by him, to appear on a Billboard music chart in the early '70s.


"Walk a Mile in My Shoes" (1969)
Joe South and the Believers

Written and produced by Joe South * 45: "Walk a Mile in My Shoes" / "Shelter" * LP: Don't It Make You Want to Go Home? * Label: Capitol * Billboard charts: Hot 100 (#12), easy listening (#3) * Entered: 1970-01-03 (Hot 100), 1970-01-10 (easy listening)

Released in 1969, Joe South's "Walk a Mile in My Shoes" entered the charts in early 1970 as a quintessential track for the times, sounding out from radio speakers like a Sunday broadcast from a new kind of southern church. Handclaps and gospel choruses merged with organ and guitar to support words in favor of awareness for those "in the reservations and the ghetto" and the need to "get inside each other's minds" before we "criticize and accuse."

Elvis Presley included the song as part of his On Stage February, 1970 album and gave his apparent fondness the title phrase added traction. (Doyle, Mieder and Shapiro's 2012 Dictionary of Modern Proverbs traces the phrase back to 1930, noting the occasional exchange of "shoes" with "mocassins" and attributions that have alternated between Native American tradition and Confucius). The labels on this 45 and the one before it ("Don't It Make You Want to Go Home") listed the artist as "Joe South and the Believers," who included his brother Tommy South on drums, Tommy's wife Barbara on keyboards and backup vocals, and John Mulkey on bass and backup vocals. The B side, advocating for letting "love be your shelter" and additional church choir voices, kept the new humanist gospel vibe afloat.

Side A: "Walk a Mile in My Shoes"


Side B: "Shelter"




"Children" (1969)
Joe South

Written and produced by Joe South * 45: "Children" / "Clock Up on the Wall" * LP: Don't It Make You Want to Go Home * Label: Capitol * Billboard charts: Hot 100 (#51), easy listening (#32) * Entered: 1970-03-21 (Hot 100), 1970-04-11 (easy listening)

Children were one of early '70s radio's prevailing themes, so hearing Joe South singing about them and adding in signal sounds like recorders and the "na-na boo-boo" seems only natural. From South's "get real" perspective though, the take home message is that all children eventually have to leave their "world of make believe" someday. For the side B, South toys with the theme further in the context of lost romance, asking "what does true love mean to a kid acting smart?" Its tick tock sounds are there to accentuate the record's lost time motif, but they also manage to give it a kid-friendly appeal.

Side A: "Children"


Side B: "Clock Up on the Wall"


"Why Does a Man Do What He Has to Do" (1970)
Joe South

Written by Don Randi and Bob Silver * Produced by Joe South * 45: "Why Does a Man Do What He Has to Do" / "Be a Believer" * Label: Capitol * Billboard charts: Bubbling under (#118) * Entered: 1970-10-03

In his 2015 memoir You've Heard These Hands, the keyboardist and composer Don Randi (a regular with the legendary "Wrecking Crew" studio players in LA) recounts the unlikely scenario of getting Joe South to do someone else's song. "Why Does a Man Do What He Has to Do" was written for an Alan Sidaris documentary about the actor James Garner's Formula One racing activities. Randi reports it as a co-write between him and his friends Bob Silver and Pete Willcox (who received no credit on the label). Because South was Garner's "favorite artist," he asked Randi to work his publishing contacts (and handing him five hundred bucks) to see what he could do. Although the ultimate whereabouts of the cash is unknown, it resulted in a phone from South who treated Randi to a fresh adrenalized playback of the re-recorded tune that eventually did appear in the film and bubbled under Billboard's Hot 100. The electric guitar quotient might be highest on this track then on any other Joe South recording, but the identity of the lead player seems to be lost.

Side B contains a track from his 1969 Don't It Make You Want to Go Home, with a generous serving of that album's echoey strings and choruses. Entitled "Be a Believer," it was a fitting bit of output from South's "Positive Productions."

Side A: "Why Does a Man Do What He Has to Do"


Side B: "Be a Believer"



"Fool Me" (1971)
Joe South

Written by Joe South * Produced by Buddy Buie and Bill Lowery * 45: "Fool Me" / "Devil May Care" * LP: Joe South * Label: Capitol * Billboard charts: Hot 100 (#78) * Entered: 1971-11-06

Joe South's 1971 self-titled album rounded up some of his own versions of songs that had been done—or would soon be done—by artists with greater success. In the case of "Fool Me," South's own interpretation, with his hurting vocals, was the greater artistic success, while Lynn Anderson's too-perky version in 1972 reaped more commercial rewards. Her willing romantic dupe in "Fool Me" seemed like some sort of rebuke for her stronger woman in "Rose Garden."

The hurt in South's voice likely had as much to do with the sad reality of his brother Tommy's suicide in 1970, which darkened what were otherwise his most fruitful years as a songwriter. He'd release three more albums in the '70s, none of which produced any hits. On side B is "Devil May Care," one of the album's lesser products that's produced, like the A side, by two Georgia music business legends—songwriter Buddy Buie and publisher Bill Lowery.

Side A: "Fool Me"


Side B: "Devil May Care"



Early '70s chart songs written by Joe South but performed by others:

Della Reese - "Games People Play" (1/10/70, #121)
Brook Benton - "Don't It Make You Want to Go Home" (5/30/70, #45)
Lynn Anderson - "How Can I Unlove You" (8/21/71, #63)
The Osmonds - "Yo Yo" (9/11/71, #3)
Joe Simon - "All My Hard Times" (9/25/71, #93)
Donny Osmond - "I Knew You When" (11/27/71, #9 flip)
Lynn Anderson - "Fool Me" (11/18/72, #101)

Friday, November 3, 2017

The Cannonball Adderley Quintet - "Country Preacher" (1970)


"Country Preacher" (1970)
The Cannonball Adderley Quintet

Written by Josef Zawinul * 45: "Country Preacher" / "Hummin'" * LP: Country Preacher: "Live" at Operation Breadbasket * Label: Capitol * Billboard charts: Hot 100 (#86), soul (#29) * Entered: 1970-01-18 (Hot 100), 1970-01-31 (soul)

A swirl of sociological energy accompanied the release of alto sax man Cannonball Adderley and his quintet's Country Preacher album, which was recorded at one of Reverend Jesse Jackson's Operation Breadbasket meetings at a church in Chicago. These were gatherings for ministers, musicians, and political figures—an initiative that had been launched by Reverend Martin Luther King, Jr.—at a time when, as jazz writer Chris Sheridan puts it in his 2000 Dis Here: A Bio-Discography of Julian "Cannonball" Adderley, "the battle for political rights was over, but that for economic equality had just begun."

Other strong components in the narrative surrounding Country Preacher had to do with the pros and cons of commercial acceptance for jazz and the record's reliance of blues, gospel, and a "racial memory" of the South, as Lorenzo Thomas calls it (in reference to Adderley) in his Don't Deny My Name: Words and Music and the Black Intellectual Tradition (2008)The album's title track was written as a tribute to Jackson by Josef Zawinul, the Austrian musician who sits conspicuously white behind his Wurlitzer on the album's back cover and reminds us visually to get over the race thing and just listen to the music, which is where the real energy is. (Zawinul, who aided and abetted in Adderley's attempts to find widespread acceptance for quality jazz in spite of criticism, would later continue to do so with his own band, Weather Report.)

On "Country Preacher," as with Adderley's 1967 radio hit "Mercy, Mercy, Mercy," the audience interaction with the music is crucial to the recording's appeal—at two specific points it sounds like the intensity will boil over, but then it stops dead... and then continues all dialed back, cool and collected, much to the room's pleasure and approval. The 45 version doesn't include Adderley's spoken introduction of the number from the album; the B side includes a rare studio take of "Hummin'" (written by Cannonball's brother Nat, the band's cornet player) rather than the live version that leads off the album. This would be the last chart appearance for Cannonball Adderley, who died of a brain hemorrhage in 1975.

Side A: "Country Preacher"


Side B: "Hummin'"