As seen in the Jet archives, here's a 1968 photo of Joe Tex performing in Detroit at a memorial benefit for the recently deceased Little Willie John.
Thursday, February 9, 2012
Joe Tex Salutes Little Willie John
Joe Tex day 9: Hold What You've Got!
TEX SMASH!
In 1964 things were looking pretty grim for JT's recording career. Dial didn't have very good distribution in the early 60s, and Joe's records just were not clicking. Accounts vary as to who was ready to ditch who - Joe either wanted out of his contract or Dial was ready to the guy who the label was started for in the first place. But Dial managed to get a distribution deal with R&B/soul powerhouse Atlantic - so decent distribution was no longer an excuse and it was all down to Joe.
In one of those stories that belongs in every rock 'n' soul legend's eventual biopic, it all came down to one last recording session, and the big song JT was cutting was "Fresh Out of Tears", another uptempo R&B number.
But things weren't clicking and after hours of recording, Buddy Killen suggested they try something different - a ballad Joe had brought in that could be arranged with a country beat, an overdubbed harmony vocal, and maybe just a hint of "Holy Holy Holy" in the melody to fool buyers in the Christmas spirit. Joe was too hoarse from hollering and hitting high notes on "Fresh Out of Tears" for seven hours, so he had to talk his way through the middle part. The resultant single, possibly cobbled together from several takes, was a #1 R&B/#5 pop smash. True to the script, Joe had pulled it out in the 11th hour.
Here's a rare live version of "Hold What You've Got" (and what the heck, a version of its follow-up, "You Got What It Takes") from the Murray the K Presents LP on the Brook-Lyn label. (Note: not, as noted in the Roctober Joe Tex guide, the Live from the Brooklyn Fox LP.) Right up there with his old rival's Live at the Apollo for audience interaction!
Special thanks to Joe at BlackGoldVinyl for the rips - I stupidly purged this LP years ago
After almost 10 years of slogging through the R&B record industry looking for a hit, once JT managed to find his big one, it was off to the races. Now that Killen and Tex knew how to best use his talent, they mined gem after gem, with Joe's songwriting growing by leaps and bounds. Hold What You've Got has four solid hits (including the mind boggling "One Monkey Don't Stop No Show") and they didn't stop coming. No wonder Joe looks like he's turning into the Hulk on the cover of HWYG!
Buddies!
For the rest of the 60s Tex and Killen would release single after single and album after album of memorable, funny, down home, soulful material that was set apart by JT's sincerity, enthusiasm, his goofy willingness to try anything, and the shameless good humor to get away with it.
Wednesday, February 8, 2012
Joe Tex month day 8: The Early Dial Sides
Like King and Ace, Anna and Chess didn't really work out for Joe. But because of his obvious talent, producer and music publisher Buddy Killen decided to start a label, Dial, specifically to release Tex's records. Things didn't go very well at first. In fact, a lot of Joe's early Dial singles are a step back in quality and uniqueness from his Anna and Chess waxings, even if they're a leap forward in terms of sound quality. Most of these early singles can be found on the Super Soul compilation pictured above, but they can be a wee pricey for a comp, since a couple of Joe's early Dials are considered Northern Soul classics.
But "Looking for My Pig", one of the best songs (especially for Ichiban purposes!) he cut in the early Dial days, is not. This barn-burning tip/rip to "Walking the Dog" - complete with shout out to Rufus Thomas at the end - only came out on 45 until its eventual release on the First on the Dial CD in 2008.
Another killer early Dial tune not on the Super Soul is "Blood's Thicker Than Water", the flip of "I Wanna Be Free". This is probably the most expensive record in Joe's catalog, consistently fetching over a hundred dollars on the Northern market. So if you see it for a couple of bucks somewhere, don't sleep!
The way forward was planted on "I Had a Good Home But I Left". A call-back to the first two Anna singles, it was a two-parter with a sermon on the flip. This time the tempo was slowed down to a fine Southern lope, and Joe and the band really work off of each other to give his words maximum impact. It gets so good to Joe that he punctuates one bit of wisdom with a "Think about it!" that would make Jerry Lee proud. The track is presented here (for the first time, as far as I can tell) as a seamless song rather than being split into two parts.
The record still didn't sell. But Killen and Tex would take this style to the A-side for the first time at the next recording session, and the results were much different.
For more on the Dial story, go here.
Tuesday, February 7, 2012
The Amazing Story of the Joe Tex/James Brown Feud
"Money won't change you, Joe - but I will take you out! Payback!"
"You better hold on, James - I don't play! I'll go upside your head!"
Joe Tex and James Brown were bitter rivals. The beef started over a controversy about stage moves. JT thought JB swiped his trademark microphone kicking tricks. JB claimed JT stole them from him. This led to an escalating series of thefts and public jabs that stands up to any modern day hip-hop feud. After all, Joe Tex was the original rapper.
Things started heating up when Jay-B covered a new Jay-T single, "Baby You're Right".
The singers released the cuts around the same time, but Brown had the bigger hit, reaching number two R&B and scoring on the pop chart. Joe was still wandering the wilderness in terms of record sales, so the drubbing on the charts had to sting.
It probably didn't help that James hands Joe his Tex ass, performance wise. How did Joe miss the opportunity to rap over that boring organ solo in the middle?
(not to mention the fact that Brown took half the songwriting credit for his version)
The battle began in earnest when JB stole JT's girlfriend, Bea Ford. Then, just to twist the knife, JB sent JT a letter telling him that he was through with the Bea and Joe could have her back.
This led to the magnificent diss record "You Keep Her", where Joe calls James out by name, saying he was better off without the Bea anyway.
The situation came to a head at a double-billed gig in Macon, Georgia. JB hadn't played his home turf in a while. JT opened the highly anticipated homecoming. He came onstage wearing a ratty, torn blanket, fell down on his knees, grabbed his back like he was in terrible pain, tangled himself up, and hollered, "Please! Please! Please! Get me out of this cape!"
Joe Tex did that opening for James Brown.
In Macon, Georgia.
Wayne Cochran says so!
JB was furious, and trailed JT to an after-show at a local juke joint, Club 15. The band at the gig just happened to be the Otis Redding and the Pinetoppers. Brown grabbed a couple of shotguns, went inside, and started firing at Tex, Omar style! Someone in the bar returned fire, and Joe fled out the back, while Otis and Johnny Jenkins hid behind the piano. Apparently seven people were injured in the crossfire. JB ran back to his tour bus, got behind the wheel, and took off.
"Remember that time James Brown shot up the Club 15 tryin'
to kill Joe Tex and you had to hide behind the piano?"
Eventually the two patched things up enough for Joe to pen the immortal line: "If I was a dancefloor, James Brown could mash potatoes on me all night long!"
Check out page two of this great article about Brown by Scott Freeman, written for Atlanta's Creative Loafing in 2007, and this summary of the beef by James McAllister.
It's all true!
Wayne Cochran wouldn't lie!
Monday, February 6, 2012
JOE TEX month Day 6: The Anna/Chess singles: 1960-1963
It's a hit!
The turn of the decade saw Joe land on yet another roster, this time the proto-Motown label Anna.
The thought of Joe Tex on the label that eventually turns into Motown leads to all kinds of speculation of what Joe would have sounded like if he stayed in Detroit. Considering both Joe and Motown's fondness for two part titles, the parenthetical possibilities are endless.
"If Sugar Pie Honey Bunch (Was As Sweet As You)" . . .
"You've Really Got a Hold On (To What You've Got)" . . .
"Mickey's Monkey (Don't Stop No Show)!"
For Anna (and Chess, who licensed the early Anna material) Tex delivered his best series of singles yet. His songwriting was growing by leaps and bounds and his performances exude the miles of confidence, charm and shamelessness that makes his work for Dial so unique and special.
Eventually all of these wound up on the post-"Hold on the What You've Got" compilation album at the top of this post, which is to my ears the first must-own Joe Tex LP (unless you've got 'em all on 45 that is!)
The biggest innovation in his performance style are the raps. Both "I Will Never Break Your Heart" and the eventual Etta James hit "All I Could Do Was Cry" stretch out over both sides of the 45, and the second part is all storytelling. While they're not quite the full-on knowledge drops that he gets into in a few years, it's still the first appearance of the style that set him apart from all other soul singers.
"I'll Never Break Your Heart" is an uptempo answer record to the Impressions' classic "He Will Break Your Heart". It cooks delightfully for the first half, with the Texcitement building every minute, but it really takes off on the flip, where Joe preaches himself into a frenzy. He's so worked up at the end that he hollers "It's a hit!" Sadly, it wasn't. Joe still had four frustrating years to go.
His other singles for Anna are more straight ahead, but they still are a breed apart from typical R&B. Check out the hilarious "Don't Play" down at the first post of Joe Tex month, and dig "Ain't I a Mess", an autobiographical tale of destiny that includes his Grandma, a travelogue of soul-circuit theaters and that fantastic laugh.
Tune in tomorrow for the incredible story of the Joe Tex/James Brown war.
THE APOLLOS BROUGHT TO YOU BY PHYLLIS DILLER!
HERE'S A LINK AS THE EMBEDDING CODE HAS BEEN DISABLED...WORTH IT!!!
Sunday, February 5, 2012
When Ichiban Months Collide: Arthur Alexander covers Joe Tex!
Take it easy - you haven't been suddenly transported back to 2011. We'll get back to the Tex-in' tomorrow, but for today I couldn't resist posting this unreleased-until-the-90s 1968 cover of "Taking Care of a Woman (Is a Full Time Job)" by Ichiban's Mr. December, Arthur Alexander. Arthur was one of the few soul artists of the 60s who displayed his country influence as much as Joe. The OG is on the I've Got to Do a Little Bit Better LP, which, believe me, we will get to in good time. I'm too hung over from DJ'ing last night to do anything better.
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