Making Things (O.V.) Wright - The Other Side of Memphis Soul
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Artist:
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Album:The Compleat Backbeat and ABC Records Box Set
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Track:
O.V. Wright - 10/9/39 - 11/16/80
"Soul is church. Just changing 'Jesus' to 'baby'. That's all it is."-O.V. Wright
The Stax/Motown dichotomy is just too delicious for music historians to leave alone. Motown, the northern label, a black owned business creating major pop hits whose success was rivaled only by The Beatles vs. the white owned, but highly integrated, southern label, Stax, whose artists introduced a gritty soul sound to the masses.
The influence and importance of these two great outfits plus their back stories have recently been subject to (relatively) massive coverage. I'm not complaining about this in any way, except for the fact that Motown and Stax are just the tip of the iceberg in terms of what soul has to offer. I guess I could complain about the constant flogging of Stax and Motown by their corporate owner, Universal, and how it skews the attention away from deserving soul artists from all over the country, especially singers from the south, which Stax represents only by location, and not necessarily in style. The history of soul music in America can not be shoehorned into Motown/Stax, hell the history of soul music in Memphis,Tenessee isn't even covered by Motown/Stax. Fact is, Stax was just one of a number of labels documenting the Memphis Soul scene, that are deserving of attention. I'm not looking askance at Carla and Rufus Thomas or Otis Redding or Johhny Taylor or Sam & Dave, I just want to shine a light on O.V. Wright, whose output for labels like Goldwax, Backbeat and Hi, is material of the highest order.
But let me get to some music. If you'd like a complete breakdown of O.V Wright's career,please check this excellent piece by Ray Ellis. I cribbed most of the facts I relate from there, so all credit to Ray. There's also more music to hear there so don't hesitate to hit that post
In the Dot is '71's Nickel and A Nail. recorded in Memphis for the Backbeat label (the label was based in Texas and had a national distribution deal with ABC records-later bought by MCA) and produced by Willie Mitchell (Al Green, Otis Clay,Syl Johnson, Ann Peebles).
Jumping back a few years to '65, O.V. had been singing in a gospel outfit (with soul great James Carr) called the Harmony Echoes, who were rehearsed by musician, song writer Roosevelt Jamison. Jamison wrote a tune called, That's How Strong My Love Is and tried to sell it to Stax (no deal at the time) and then made a demo of it with O.V. Wright which he played for Goldwax Records owner Quinton Claunch, who signed both O.V. and James Carr. That's How Strong My Love is ended up as a b-side that DJ's liked better than the A, so it became a regional hit for O.V., that was quickly covered by Otis Redding..effectively stalling OV's first single (Stax deal with Atlantic records pretty much insured that Otis' version would receive national promotion and airplay that Goldwax couldn't dream of.)
After about 5 singles for Goldwax, O.V. began a long association with Willie Mitchell and the Backbeat label. In '73 this partnership (w/The Memphis Horns and Hi rhythm Section) yielded the Memphis Unlimited LP and the tune, I'd Rather Be (Blind,Crippled, and Crazy).
Except for gospel singles cut near the time of his death in 1980, OV would work exclusively with Willie Mitchell for the rest of his career. Completely ignoring the disco outfreakage of the mid to late 70's OV continued to record deep southern soul records until he passed away (drugs and booze were major factors) at age 41.
The above collection contains 5 early to mid 70's O.V. Wright LP's plus some of the early Goldwax singles and now's as good a time as any to catch up with one of the greatest soul singers of all time by seeking it out. Drop the needle or hit play anywhere in Overton Vertis Wright's career, though, and you'll have made the right call. This is the real deal.
"When you gave O.V. Wright a song, the song belonged to him. Nobody would do it that way again. In fact, I think O.V. Wright was the greatest blues artist I've ever produced."-Willie Mitchell
Comments (13)
Thanks cody, its about time someone posted about him. I didn't get into him until the late 70's but his early tunes are great.such a trajedy to die so young.
Thanks CP,I thought the same thing when I checked..at least if someone comes looking they'll find some info. Of course, I'm such a slacker, i didn't know jack about OV until a couple of months ago. I was led to him by a hip hop sample as I often am. RZA from the Wu tang clan absolutely adores Willie Mitchell productions. I was always a little disappointed with his Syl Johnson and Otis Clay records, but OV hit the spot.
There's a superb version of "I'd Rather Be Blind, Crippled and Crazy" on the "Live in Japan" half of the "Wright Stuff" CD released in 1988-89. I suspect that it might be hard to find now, but there was a track from it posted here a year or so back. The disc concentrates on his later Hi stuff like "I'm Going Home (To Live with God)", but I scored a copy of "That's How Strong.." on a compilation called "The Goldwax Story" a few years ago.
He is, along with Oscar Toney Junior, perhaps the most unfairly forgotten southern soul man.
I got into him at the same time as Al Green. Those gospel singers that turned to popular music. I have read that some consider him and James Carr the best of those who retain their gospel begininngs in song and spirit.
The web site I quote extensively from has a second page of testimonials from folks that played with him. They rank him pretty high. They also talk about the live show and how Blind, crippled, and crazy played a big part.
He was putting out good stuff all the way to the end.
kudos for a super post. Harkens back to those cody posts from the halcyon days of yore when a post was something you could dig into.
Thanks
you are welcome rummy..Not only am I a slacker, but a copy cat. Mr. Baudilino hit on OV over a year ago..
Maybe so, but you've added that cody touch and perspective.
Always a plus
all good rummy, thank you..
oh yeah man, when I saw this pop up earlier, I thought "know what I'm doin' later..."
another great intro. sounds substantially unique from the flavors of those big S & M offerings...more like the northen soul type sound musically, but what a great voice. "A Nickle and a Nail" is one of the coolest title/lyrical constructions...and the delivery just convinces.
another horizon expanding experience, thanks C...
My pleasure S.Free. I just think it is weird how little attention (compared to say, mid level rockers of the time) a cat like OV Wright gets.
It's like after the first couple of years of the 70's soul just went away. I understand there were trends and funk and such, but it's taken way too long for some folks (who actually made hit records) to get recognition.
I guess things were becoming more segregated (on the radio anyway)...
One more note..When OV cut his first record he was a Memphis garbage man.
Here he is, live in the Nakano Sun Plaza Hall, Tokyo in September 1979, backed by the Hi Records studio band (Howard Grimes - drums, Leroy Hodges - bass, Mabon "Teenie" Hodges - guitar, Charles Hodges - keyboards, Melvin Rodgers - trumpet, Dennis Bates - trombone), opening his show with a paintstripping version of "I'd Rather Be Blind, Crippled and Crazy"
Many thanks, Mr. B..Now I just have to wait for MOG to be not broke to listen to it. Been away, down the shore for a bit.