Joe Swift
BIOGRAPHY AND DISCOGRAPHY
The mystery man of early rock ‘n’ roll.
Virtually nothing is known of Joe Swift in the vast network of rock ‘n’ roll research other than the haziest of details of his recordings, most notably being backed by Johnny Otis in 1948 which gave both Swift and Otis their first credited hits on the national charts.
For Otis it would be merely the first of many in a long storied career, but for Swift it was his lone moment of glory. After a number of further releases, also backed by Otis on Exclusive, Swift’s trail becomes hazy. In the summer of 1949 it was announced he’d signed with Capitol Records and two months later he appeared as the credited vocalist on Marvin Johnson’s “Said The Spider To The Fly”.
After that Joe Swift seems to have faded into obscurity. Surely he kept singing for a while after that, whether in clubs or on record, but there’s no further notice of him in the press to follow his trajectory and as a result he’s become one of the few prominent figures in the legendary history of Johnny Otis whom little was ever mentioned.
JOE SWIFT DISCOGRAPHY (Reviews To Date On Spontaneous Lunacy):
CHICKEN LEG CHICK
(Exclusive 264; March, 1948)
All of Swift’s unique traits are evident right away – his nasal voice, predilection for mild humor and an ability to be self-deprecating – but his limitations hold him back all the same. (3)
DON’T TRUST A WOMAN BLUES
(Exclusive 264; March, 1948)
Swift dispensing unwanted advice about the downside of getting involved with women is bitter rather than funny, downbeat rather than enthusiastic and tedious rather than enjoyable. (3)
THAT’S YOUR LAST BOOGIE
(Exclusive 51X; September, 1948)
Stunning introduction to Johnny Otis’s band on one of the most alluring songs of 1940’s rock ‘n’ roll. The whole track just shimmers with a coiled lurid excitement, vividly written and perfectly constructed, hampered only by Swift’s nasal vocal qualities. But this is a record that needs to be heard for the rich feast it brings to the table. (8)
WHAT’S YOUR NAME
(Exclusive 51X; September, 1948)
Hampered by the same built-in drawbacks of Swift’s voice, the song still manages to overcome its weaknesses despite not being nearly as invigorating as the top side. Nothing stands out, yet what’s here is totally effective. (6)
LOVIN’ BABY BLUES
(Exclusive 64X; November, 1948)
More the same from Swift and Johnny Otis, meaning the same nasal vocals from Joe and the same complex hypnotic backing from Johnny and company, not as fresh this time around, but still effective. The storyline however – if you take Joe’s boasts seriously – may cause some concern, though he’s probably harmless enough. (6)
CRAZY ‘BOUT YOUR COOKIN’
(Exclusive 80X; January, 1949)
The limitations of Swift are beginning to overwhelm the Johnny Otis driven arrangements, which itself is the weakest we’ve seen from him to date. Enthusiasm aside it’s merely vaguely suggestive, poorly sung, badly outdated and utterly predictable. (3)
RIGHT NOW BABY
(Exclusive 80X; January, 1949)
Overcoming his deficiencies as much as can be expected Swift manages to turn in an effective performance, helped again by Johnny Otis’s arrangement, but not carried by it for once, as he adds his own positive contributions to the record. (5)
ALLIGATOR MEAT
(Exclusive 85X; March, 1949)
Undercooked meal without much spice thanks to a seemingly uninterested chef in Swift. The side dishes, especially Maxwell Davis’s sax, are tasty, but this is one dish you can pass up. (3)