BIOGRAPHY AND DISCOGRAPHY

 

Rock ‘n’ roll’s renaissance man. In a career in music spanning more than seven full decades Johnny Otis excelled in more areas than any single artist ever. Musician, bandleader, songwriter, singer, talent scout, producer, record label owner, dee-jay and author (not to mention artist, minister and politician), there was scarcely a role in which he didn’t fill over the years as the music may have changed around him but his love for the artform remained undiminished with time.

Born Ioannis Veliotes of Greek immigrant parents in Northern California in 1921, the family ran a grocery store in the predominantly black section of Berkeley and the boy’s immersion in the surrounding culture shaped him for life. Finding black culture far more hospitable and vibrant Veliotes became Johnny Otis and took up drumming, the only light-skinned member of an otherwise all black band, a common theme in his career.

From playing in a cruder barrelhouse style with Count Matthews Band from Oakland in the early 1940’s he moved onto the territory bands of the mountain west region which made their living touring rather than recording and were a popular proving grounds for young musicians. It was while here in Kansas City that Nat “King” Cole told him he’d recommended him for job with Harlen Leonard’s renowned band which was ensconced in Los Angeles at the Club Alabam.

Once in L.A. Otis’s career took off. He took over the leadership of the house band at the Club Alabam backing a wide array of stars, including on record for the first time, including notable recordings by Illinois Jacquet, Johnny Moore’s Three Blazers (“Drifting Blues”), Lester Young, Big Joe Turner and Wynonie Harris. In addition he recorded under his own name including a big-selling non-hit “Harlem Nocturne” in 1945.

By 1948 he was in demand as a bandleader and backed Joe Swift on a national hit which put to good use his arranging skills and he promptly used the money from that session to open The Barrelhouse Club in Watts with partner Bardu Ali. The club became the first of its kind to feature rock ‘n’ roll as its primary drawing card and the amateur nights held there led to the discovery of a list of future stars, among them Big Jay McNeely, Little Esther and The Robins.

After a short stint on the local Excelsior label, Otis and his growing stable of singers and instrumentalists signed Savoy Records in 1949 where for the next two years they became the hottest band in rock, scoring a remarkable fourteen Top Ten hits, including three #1’s, most of which were written by Otis and featured him on drums or following an accident which nearly cost him three fingers, the vibraphone which became his instrument of choice from then on.

When his massive success on record led to non-stop touring commitments he closed his beloved Barrelhouse Club and began the first multi-artist package tour in rock, The Johnny Otis Rhythm & Blues Caravan, which replicated the diverse shows his club had put on allowing a full slate of performers to perform at each stop. In addition he acted as a talent scout for other labels, notably King/Federal, and is credited with discovering Jackie Wilson, Little Willie John, Hank Ballard & The Midnighters, Sugar Pie DeSanto and Etta James among others.

Though Otis’s recording successes under his own name were becoming fewer by 1952, he added his own vocals to the mix (previously vocals were handled by Little Esther, The Robins, Mel Walker or Junior Ryder) and also began producing for Duke/Peacock Records. There he backed Johnny Ace and Big Mama Thornton on their hits (returning to his first love, drums on “Hound Dog”) as well as playing behind Little Richard before he broke through to stardom.

In the mid-1950’s he started his own record label, Dig, recording a wide array of up and coming L.A. vocal groups before he closed the company down to sign with major label Capitol. It was with them that his own recording career enjoyed a second wind, giving him his first Pop Top Ten with “Willie & The Hand Jive”, along with a #2 hit in Great Britain with “Ma (He’s Making Eyes At Me)” featuring Marie Adams and The Three Tons Of Joy, and a string of smaller entries over the next few years.

Meanwhile he was hosting a radio show as well as one of the first rock-themed television programs (locally in Los Angeles), for which a generation of future 60’s stars (among them Frank Zappa and Brian Wilson) grew up tuning into. Though much of the 1960’s were a down period for Otis’s own recordings, he was active in politics and wrote one of the most acclaimed books of that era in Listen To The Lambs a first-hand account/treatise of the Watts riots of 1965.

Not long after that he made a comeback of sorts as an artist with his teenaged son Shuggie on guitar on a series of off-color albums under the name Snatch & The Poontangs which resulted in his first chart hit in a decade. In the years following that Otis began organizing tours featuring older artists no longer deemed viable in the current market and in the process introduced new generations to the likes of blues acts T-Bone Walker, Charles Brown and Pee Wee Crayton, along with hybrid stars who presaged rock such as Roy Milton and Eddie “Cleanhead” Vinson, as well as pioneering rockers like Big Joe Turner and Roy Brown.

He still found time to appear in Clint Eastwood’s movie Play Misty For Me, start his own church and lead the congregation for a decade as pastor, and draw, paint and sculpt professionally while son Shuggie turned down a chance to join The Rolling Stones as guitarist to replace Mick Taylor so that he could remain with his father’s band and record under his own name on the side.

By the 1990’s the elder statesman of rock had began selling organic apple juice from his farm, was back on the radio hosting one of the most popular specialty programs in California and writing three more books, one about his music, life and politics, another focusing on his extensive artwork, as well as a cookbook, and during this time he was also inducted into the Rock ‘n’ Roll Hall Of Fame.

When Otis died at 90 years old in 2012 he had arguably contributed to rock’s growth in more ways than any other figure in its history.
 
 
JOHNNY OTIS DISCOGRAPHY (Records Reviewed To Date On Spontaneous Lunacy):
 
 
THAT’S YOUR LAST BOOGIE
(Exclusive 51X; September, 1948)
As sideman… behind Joe Swift. Johnny Otis earned his first label credit on a hit record by contributing the best musical arrangement heard to date in rock, an intoxicating multi-layered voodoo pattern that elevates this to greatness. (8)

WHAT’S YOUR NAME
(Exclusive 51X; September, 1948)
As sideman… behind Joe Swift.

LOVIN’ BABY BLUES
(Exclusive 64X; November, 1948)
As sideman… behind Joe Swift.

BARRELHOUSE STOMP
(Excelsior 536; December, 1948)
On Joe Swift’s debut in September Johnny Otis stole the show, now on Otis’s debut in the rock world as a featured artist Big Jay McNeely steals the show from him… but what a show it is, a frantic performance veering perilously close to the edge of sanity. (8)

HAPPY NEW YEAR BABY
(Excelsior 536; December, 1948)
Already Otis is spreading the wealth as bandleader, giving Lem Talley the vocal lead with help from Cathy Cooper while the rhythm section churns along strongly underneath, capped brilliantly by another searing workout by Big Jay McNeely on sax. (7)

CRAZY ‘BOUT YOUR COOKIN’
(Exclusive 80X; January, 1949)
As sideman… behind Joe Swift.

RIGHT NOW BABY
(Exclusive 80X; January, 1949)
As sideman… behind Joe Swift.

MIDNIGHT IN THE BARRELHOUSE
(Excelsior 536 reissue; January, 1949)
A showcase for Pete “Guitar” Lewis whose scintillating guitar work could raise the dead and with this incendiary performance he begins to firmly establish that instrument’s more prominent role in rock going forward. (9)

ALIMONY BOOGIE
(Excelsior 537; February, 1949)
Though comedienne/vocalist Cathy Cooper gives it her all and the band keeps it solidly on track this ultimately falls short due to a lack of more pointed criticisms of her no-good ex-husband, robbing the song of the humor it was designed to convey. (4)

HOG JAWS
(Excelsior 537; February, 1949)
With an arrangement that still clings to an outdated mentality when it comes to some of the horns, but then throws the thoroughly modern sax of Big Jay McNeely into the mix, this becomes a dish with the two distinct flavors which satiates nobody. (4)

ALLIGATOR MEAT
(Exclusive 85X; March, 1949)
As sideman… behind Joe Swift.

MY BABY DONE TOLD ME
(Excelsior 540; April, 1949)
Otis takes a back seat here to vocal group The Four Bluebirds, soon to be The Robins, in this blatant Ravens pastiche which nevertheless works better than anticipated thanks to the group’s much rawer sound. (6)

COURT ROOM BLUES
(Excelsior 540; April, 1949)
A comedic record that actually works thanks to Lem Talley’s treating the song like a song and not just a skit, but ironically he’s let down slightly by the musicians, specifically the horns who are something of a bad joke with their outdated style. (6)

THE JELLY ROLL
(Excelsior 541; June, 1949)
A fairly standard borderline dirty record with plenty of euphemisms to be picked through, but while they might get a rise out of you the musical arrangement, save for a brief Big Jay McNeely solo, will leave you looking elsewhere for arousal. (4)

PAY DAY BLUES
(Excelsior 541; June, 1949)
Another attempt to convey the unique humor found at black clubs by affixing it to a musical record which falls short, largely thanks to the music which is not even as compelling as the few laughs it garners via Cathy Cooper’s put-upon housewife. (3)

WOMAN DON’T WANT A GOOD MAN NO MORE
(Supreme 1532; August, 1949)
As sideman… behind Earl Jackson.

I GOTTA GUY
(Modern 20-715; November, 1949)
A vehicle for new 13 year old singer Little Esther the record’s best aspects belong to Esther’s mature reading and guitarist Pete Lewis while Johnny’s arranging contributions otherwise are subpar, particularly his over-reliance on trumpets in the horn section. (6)

THURSDAY NIGHT BLUES
(Modern 20-715; November, 1949)
Atmospheric instrumental that draws from multiple styles yet somehow those contrasting styles don’t seem to clash as Otis gives the bulk of the responsibility to guitar and sax to create a late night mood piece that’s hardly memorable but at least is serviceable. (5)

IF IT’S SO BABY
(Savoy 726; December, 1949)
As sideman… behind The Robins. Otis’s arrangement is perfectly conceived and executed, giving the group a sparse but edgy sound highlighted by Pete Lewis’s guitar to exquisitely frame their brand of leering menacing soul. (9)

IF I DIDN’T LOVE YOU SO
(Savoy 726; December, 1949)
As sideman… behind The Robins. Johnny makes his debut on vibes with this record, a concession to a recent hand injury and the presence of that instrument here works really well. (6)

DOUBLE CROSSING BLUES
(Savoy 731; January, 1950)
The first building block that formed Otis’s legend, a masterfully constructed arrangement with a comedic interlude providing the payoff for a more standard sparring session between lovers that features understated playing and good harmonies behind the cool delivery of its stars. (8)

AIN’T NOTHIN’ SHAKIN’
(Savoy 731; January, 1950)
Though a cover song featuring his Barrelhouse Club MC taking his first lead as a singer on record, Otis expertly streamlines the arrangement, letting his musicians take judicious solos that give this a muscular confidence that perfectly epitomizes rock’s attitude going forward. (7)

THE TURKEY HOP
(Savoy 732; February, 1950)
Flexing his musical muscles at the peak of his powers, Otis makes sure to hit on all aspects of his retinue with this two part record featuring some raunchy singing by The Robins, great sax work by Big Jay McNeely and an irresistible groove that anchors both sides. (9)

CRY BABY
(Regent 1016; February, 1950)
Otis’s contributions here as both songwriter and arranger are slightly below par but his band stands out on this dreamy ballad which introduces the captivating talents of vocalist Mel Walker who’d quickly become a cornerstone of the growing Otis empire. (6)

I’M NOT FALLING IN LOVE WITH YOU
(Regent 1016; February, 1950)
Almost a template for the type of song that Otis will use to great effect with Little Esther, this early effort plugs Devonia Williams into that role and she acquits herself well but the song itself is rather slight, though Otis’s work on vibes stand out. (5)

LITTLE RED HEN
(Regent 1017; February, 1950)
A pretty fair attempt at recreating a live atmosphere with Redd Lyte testifying as to his sexual prowess but ironically Otis pulls up short in the arrangement just when he needs to pour it on the most by featuring milder solos and a deflating coda. (6)

GOING TO SEE MY BABY
(Regent 1017; February, 1950)
As a composition the song falls short as its message and its mood are not on the same page, but since singer Redd Lyte and guitarist Pete Lewis ignore the intended sentiments and follow one another’s lead instead this manages to work just well enough to suffice in spite of itself. (5)

MISTRUSTIN’ BLUES
(Savoy 735; March, 1950)
Showing his earlier chart topper with Little Esther was no fluke Otis comes up with a much different, more sultry and lyrically complex tale for her first pairing with Mel Walker and earns another #1 hit with it. (8)

MISERY
(Savoy 735; March, 1950)
While Little Esther rightly gets the kudos for her exquisite vocal performance that’s perfectly balanced between confessional and voyeuristic, Otis’s brilliant arrangement with his own vibes and Lorenzo Holden’s moody sax as the centerpieces match her step for step. (8)

THERE AIN’T NO USE BEGGIN’
(Savoy 738; March, 1950)
An effective re-working of The Robins usual approach helps to define the attributes of the 50’s doo-wop scene while Otis’s sparse backing lends the right emotional touch with beautifully understated contributions from Pete Lewis on guitar. (8)

OUR ROMANCE IS GONE
(Savoy 738; March, 1950)
A more typical vocal approach by The Robins is highlighted by Otis’s sparse arrangement, their discreet instrumental touches adding to the ambiance rather than dominating the track. (7)

MEAN OLE GAL
(Modern 20-748; April, 1950)
More of a test-run with Little Esther rather than a finished product, cut last fall when Johnny was still working out what worked best and this shows he needed to start by giving her a more modern arrangement rather than the subdued horns and dreamy guitar this features. (3)

GOOD OLD BLUES
(Modern 20-748; April, 1950)
A well-deserved showcase for Pete “Guitar” Lewis to stretch out on an instrumental, but rather the attack the song aggressively he lays back and coaxes out sounds with a light touch creating a far more interesting, if less commercial, record in the process. (7)

DREAMIN’ BLUES
(Regent, 1018; May, 1950)
Though it appears sparse and simplistic at a glance, Otis’s subdued arrangement behind Mel Walker’s languid vocals is among his best, discreetly shifting the mood to match his singer’s changing views while keeping it sounding totally organic. (8)

HELPLESS
(Regent, 1018; May, 1950)
Though Otis wisely mixed things up with the arrangement by utilizing a languid sax as the main accompaniment that’s just about all Mel Walker gets in support, leaving the singer with too much space to fill on such a slow song. (4)

BLUES NOCTURNE
(Savoy 743; May, 1950)
A moody late night instrumental in which Pete Lewis’s guitar cuts sharp as a knife before the eerie atmospheric saxophone of Big Jay McNeely comes in to finish setting the scene, all of it framed in a tight haunting arrangement. (7)

NEW ORLEANS SHUFFLE
(Savoy 743; May, 1950)
Though it has absolutely no musical connection to the city of New Orleans to justify its title, this is a good attempt to showcase Pete Lewis’s guitar, which combined with some notable horn work creates an interesting sound palette. (6)

CUPID’S BOOGIE
(Savoy 750: June, 1950)
Arguably the finest production of Otis’s career, a perfectly realized “playlet” that combines romance and humor in equal measure, providing Little Esther and Mel Walker with roles that reveal their personalities as the music rolls effortlessly behind them. ★ 10 ★

JUST CAN’T GET FREE
(Savoy 750: June, 1950)
In spite of a fairly nice melody and the solid idea to use a different style to show Little Esther’s versatility, this was a song that clearly wasn’t worked out well enough in advance, as the pace is far too slow resulting in an awkward reading where she and the band never mesh. (3)

I’M LIVING O.K.
(Savoy 752; June, 1950)
Another vibrant arrangement by Otis wherein each instrument including his sublime work on vibes manages to carve out its own space behind The Robins, all of which is topped by Pete Lewis’s ferocious work on the guitar. (8)

THERE’S RAIN IN MY EYES
(Savoy 752; June, 1950)
Though the concept of update a late 1930’s song for a new era and market by using The Robins to give it more emotional gravity, they don’t go far enough as the music leans towards the old fashioned aesthetics a little too much to be fully convincing. (3)

FREIGHT TRAIN BOOGIE
(Regent 1021; July, 1950)
Technically impressive, with a great Pete Lewis guitar solo as one of the featured spots, but disjointed in concept as each section operates independently of one another making this more a series of instrumental spotlights as opposed to a unified group performance. (5)

GOOD TIME BLUES
(Regent 1021; July, 1950)
As background noise this works alright as it’s creating quite a racket in a musical sense, but with generic lyrics cribbed from other songs without a plot to tie them together and an over-the-top delivery by Redd Lyte it simply wears you out. (3)

DECEIVIN’ BLUES
(Savoy 759; August, 1950)
While it’s hard to criticize the quality of a song with a good arrangement featuring a memorable hook, solid lyrics and clearly defined characters, the problem is it’s getting repetitive, as Otis sticks too closely to the same formula rather than taking more risks. (7)

LOST DREAM BLUES
(Savoy 759; August, 1950)
Perhaps returning to the well one time too many, Otis sticks Little Esther in the same emotional bind as always and gives her the same musical support to go with it, hoping audiences won’t mind the sense of déjà vu, but the formula is starting to run dry. (4)

STRANGE WOMAN
(Regent 1022; August, 1950)
A solid straightforward arrangement does its part by framing the surface attributes of the story as you’d expect which makes the slowly developing joke more rewarding in the end, though the credit for that must go to Mel Walker who sells it perfectly. (7)

LONELY BLUES
(Regent 1022; August, 1950)
A dense track that does its best to cover for the fact that it’s a rather predictable song, there’s nothing wrong with the record per say but also little about it worth mentioning save for a nice use of the trumpet down the stretch. (4)

YOU’RE FINE BUT NOT MY KIND
(Savoy 762; September, 1950)
As a sideman… behind The Robins. A rare uncredited turn by Otis, who may be grateful for that because it’s his overactive vibes which drag this down ever so much, as he and Pete Lewis’s guitar sound a little too busy behind a good Robins group vocal. (6)

I’M THROUGH
(Savoy 762; September, 1950)
As a sideman… behind The Robins. His final pairing with the group is a more modest affair featuring discreet instrumental backing on a slower paced song that leans towards pop ever so slightly in the backing vocals. (5)

WEDDING BOOGIE
(Savoy 764; October, 1950)
A rather obvious conclusion to the fictitious romance between singers Little Esther and Mel Walker has all its creativity found in the presentation on the label with how they’re listed in their roles, but the song itself – terrible lyrics, structure and boring music – should be annulled. (3)

FAR AWAY XMAS BLUES
(Savoy 764; October, 1950)
A solid idea, fairly well constructed with a decent arrangement and convincing vocals from Little Esther and Mel Walker, but with its despondent mood and a few elements ever so slightly off it ensures it won’t make as many holiday playlists. (5)

BEER BOTTLE BOOGIE
(Regent 1025; November, 1950)
Backing gospel-country blues singer turned rocker Marilyn Scott on her own decedent composition Otis and a slimmed down band of just five pieces do all they can just to match Scott who tears this up like few other singers when it comes to explosiveness. ★ 10 ★

ROCKIN’ BLUES
(Savoy 766; November, 1950)
Focusing more on the latter term in the title rather than the former, this is almost a cocktails blues song on steroids with a more emphatic arrangement which Mel Walker’s mournful voice supplements with another solid performance. (7)

MY HEART TELLS ME
(Savoy 766; November, 1950)
Though his arrangement is a little too poppish at times you can see where Otis got some early ideas for his later work alongside Johnny Ace here as Mel Walker delivers a solid vocal to make this more than acceptable as a B-side. (5)

HEAD HUNTER
(Regent 1028; December, 1950)
A year old track hauled out of mothballs in this case should make for good insight into the band’s mindset before fame struck but even with Big Jay McNeely sitting in the track is somewhat directionless, the playing is alright but there’s no hooks to grab you with. (5)

COOL AND EASY
(Regent 1028; December, 1950)
The arrangement is the most effective aspect of this record as it both tempers Redd Lyte’s vocals with mellower moments from Otis’s vibes, then accentuates Lyte’s fevered state of mind with some strangled guitar licks from Pete Lewis, but it’s still got limited aims overall. (4)

LOVE WILL BREAK YOUR HEART
(Savoy 775; December, 1950)
Maybe a case of going to the well once too often as there’s a good theme buried in the mismatched vocal qualities of Little Esther and Mel Walker who are forced to adapt to each other’s tonal qualities and miss badly at times with little to offset that. (3)

I DON’T CARE
(Savoy 775; December, 1950)
Wish fulfillment on record is rarely a good thing as Otis proves here with his ode to the big band ballads of his youth, shallow and out of date it has no chance to connect in 1950 rock as the title serves as the likely response from his fans when hearing this dreary mess. (2)

GEE BABY
(Savoy 777; January, 1951)
One of Johnny’s best arrangements, an overlapping slow and seductive rhythm framing Mel Walker’s alluring vocals on a huge hit despite its haunting ominous vibe… an addicting record full of first rate performances all around. (9)

MAMBO BOOGIE
(Savoy 777; January, 1951)
A good attempt to meld the mambo rhythms that were making waves around this time with the rock ‘n’ roll groundswell, as the drums keep churning while piano, guitar and sax all get brief soloing turns resulting in an interesting marriage of styles. (6)

DOGGIN’ BLUES
(Savoy 780; March, 1951)
A deceptively simple arrangement by Otis designed to showcase another female star in the making as Linda Hopkins virtually overwhelms the music here with her powerful vocals despite some good work by the horns and guitar. (8)

LIVING AND LOVING YOU
(Savoy 780; March, 1951)
A good idea to try and show Hopkins in a different light but the song is too nondescript and doesn’t play to her strengths and while both she and the band are doggedly trying to make this work they’re not able to truly elevate it beyond mediocre. (4)

HANGOVER BLUES
(Regent 1036; March, 1951)
An older cut, from November 1949, but surprisingly forward looking even now with Pete Lewis’s guitar out front on what is essentially a collection of solos with sax, a second guitar and trumpet all getting one and which are all deftly stitched together by Otis’s stellar arrangement. (6)

I DREAM
(Regent 1036; March, 1951)
Though the theme is alright and the lyrics are mostly acceptable, the wordless vocal hook that defines this record is so awkward and musically disruptive that it throws the entire song into disarray making both Little Esther and Mel Walker seem far worse than they are. (2)

ALL NITE LONG
(Savoy 788; June, 1951)
A good vocal turn by Johnny himself is the obvious highlight of the record along with the vivid scene it sets and the sharp social commentary that goes along with it giving Otis his first hit as a singer and a well-deserved one at that. (7)

NEW LOVE
(Savoy 788; June, 1951)
A fantastic yet subtle arrangement featuring Otis’s vibes, distant horns and a mesmerizing guitar frame Mel Walker’s dejected vocals on a story where his emotional conflict over old and new loves are brilliantly realized. (7)

WARNING BLUES
(Savoy 812; August, 1951)
A record that goes in too many directions, never fully settling on one mood or approach for Linda Hopkins to pursue, some of which is her own fault, but which robs it of the cohesiveness it needs as this one has the feel of creative uncertainty from start to finish. (4)

I’LL ASK MY HEART
(Savoy 812; August, 1951)
A nice discreet arrangement on a song he wrote for Linda Hopkins shows that Johnny Otis was indeed capable of surviving – possibly even thriving – in mainstream pop, which is a blow to any rock fan listening since it turns its back on them entirely. (2)

SUNSET TO DAWN
(Savoy 821; October, 1951)
The twelfth and final hit of Otis’s two year tenure with Savoy Records features another stellar Mel Walker lead on a well written and arranged song which is almost a prototype of what they all did so well, yet still retaining a freshness in the details. (7)

FEEL LIKE CRYIN’ AGAIN
(Savoy 821; October, 1951)
A record that should’ve been much better than it winds up being, as Mel Walker gets a rare chance to sing an uptempo song, yet Otis’s poor arranging choices, including his own misplaced vibes solo and some stale horn charts, sink its chances to be a hit. (5)

CHITTLIN’ SWITCH
(Savoy 824; November, 1951)
A silly nursery rhyme type of sing-along tune which is catchy if annoyingly maddening at times, but the band’s skill, plus some clever structural touches which features different time signatures keeps this from being too grating. (5)

GET TOGETHER BLUES
(Savoy 824; November, 1951)
Highlighted by a really good multi-layered arrangement with countless discreet touches this first offering on Savoy with Little Esther from way back in late 1949 gets a solid performance out of her but the storyline is the weakest aspect of the record. (4)

OOPY-DOO
(Mercury 8263; January, 1952)
Otis gets off to a bad start with Mercury because he’s got no one to sing and has to take that role himself, but lacking confidence in his voice – which is fine – he wrote a nonsense song while not keeping the horn section on a short enough leash. (4)

GOOMP BLUES
(Mercury 8273; March, 1952)
Well played instrumental featuring Pete Lewis on guitar and Ben Webster on sax and nicely arranged besides, but this is just an atmospheric background music for a party, not a hit single for a new label with high expectations for Otis’s tenure with them. (7)

ONE NIGHTER BLUES
(Mercury 8273; March, 1952)
Well played but badly conceived as this tries combining blues guitar and jazz horns on a song with no hook and a wandering focus that is of little interest to rock fans despite the name on the label making this more of an artistic indulgence than a commercial release. (3)

LOUISIANA HOP
(Federal 12066; March, 1952)
Pete “Guitar” Lewis solo recording… Though this features Otis’s band, minus Johnny, it’s Lewis’s show as he plays a sinister guitar that is lightened a little by the horns on this moody instrumental that does anything but “hop”. (6)

CALL OPERATOR 210
(Mercury 8289; July, 1952)
More or less a straight cover of the rising Floyd Dixon hit, as Otis may add more instruments – guitar and his own vibes – but otherwise keeps the structure, pace and mood the same, but those small changes help fill out the sound enough to give this version a slight edge. (7)

BABY BABY BLUES
(Mercury 8289; July, 1952)
Both borrowing from and anticipating rock classics, Otis comes up with a good basic song but sells the story short by not fleshing it out in the back half as well as underselling the sax solo, leaving it up to Mel Walker’s strong vocal to stand out. (6)

GONNA TAKE A TRAIN
(Savoy 855; July, 1952)
A leftover track finally issued by Savoy to capitalize on a current Otis hit for Mercury, the results are even better than that one, although less commercial for 1952, as Redd Lyte delivers a simply song in ideal fashion with a tasteful arrangement that seems timeless. (8)

IT AIN’T THE BEAUTY
(Savoy 855; July, 1952)
Woefully out of date musically as trombonist George Washington gets a chance to sing lead and while he doesn’t embarrass himself with his voice, it’s hardly the most inspiring thing to hear, as this is a big band song in a rock ‘n’ roll world. (1)

GYPSY BLUES
(Mercury 8295; September, 1952)
A good song with nice imagery but done in a style that was slightly out of date, something which he and Mel Walker used to score plenty of hits two years ago but which now can’t help but seem behind the curve even as the artistic results are stellar. (7)

THE CANDLE’S BURNIN’ LOW
(Mercury 8295; September, 1952)
The first co-write for Otis with Leiber & Stoller on a song where the plot is secondary to the mood which is conveyed by a great arrangement and a fantastic – and atypical – vocal delivery by Mel Walker making this stand out in their catalog. (8)

OOH MIDNIGHT
(Federal 12103; October, 1952)
Pete “Guitar” Lewis solo recording… Though the playing is stellar with plenty of tempo shifts, bursts of intensity and then laying back to create a seductive mood, the tune itself takes a back seat to the female vocal cooing the title which is what makes this stand out. (5)

WISHING WELL
(Mercury 70038; November, 1952)
A shallow but well-constructed song that is far more pop-oriented than rock, one written by Otis himself no less, but Ada Wilson brings a little more emotional investment to the bridges at least which offsets the arrangement to a degree. (5)

WHY DON’T YOU BELIEVE ME
(Mercury 70038; November, 1952)
Here’s where the goals of this single become even more clear, as this cover of a huge pop hit doesn’t even bother to try and re-imagine it much for rock ‘n’ roll, but rather it simply gives us another pop arrangement without letting Ada Wilson add much emotion. (3)

CHOCOLATE PORK CHOP MAN
(Federal 12112; December, 1952)
Pete “Guitar” Lewis solo recording… Aiming to be salacious, only the title vaguely satisfies that goal, as the story and Lewis’s vocals are more pleading than assertive and even his guitar can’t invigorate it enough to suffice. (3)

THE BLAST
(Federal 12112; December, 1952)
Pete “Guitar” Lewis solo recording… A decent enough jam session with Lewis forsaking his guitar altogether for a harmonica, but while it’s got a nice rambunctious feel, it’s a sound better enjoyed in person than on wax. (4)

BROWN SKIN BUTTERBALL
(Mercury 70050; December, 1952)
While the trappings off the song are pleasant enough in a low-key sort of way, helped immeasurably by Mel Walker’s tender reading, the title hook is awkward, clunky and rather insulting and with nothing to off-set it musically it becomes far too noticeable to enjoy. (5)