JOHNNY ''GUITAR'' WATSON
''THE FUNK ANTHOLOGY, DISC ONE''
SEPTEMBER 6 2005
154:12
DISC ONE
1 /Ain't That a Bitch 5:01
2 /Superman Lover 5:43
3 /I Need It 4:42
4 /A Real Mother for Ya 5:03
5 /I Want to Ta-Ta You Baby 5:47
6 /Baby's in Love with the Radio 3:50
7 /Tarzan 4:58
8 /Funk Beyond the Call of Duty 5:13
9 /It's About the Dollar Bill 4:12
10 /Love That Will Not Die 3:47
11 /I'm Gonna Get You Baby 4:05
12 /ET 4:30
13 /Miss Frisco (Queen of the Disco) 5:00
14 /You Can Stay But the Noise Must Go 6:08
15 /Feel the Spirit of My Guitar 3:15
16 /Gangster of Love 3:47
DISC TWO
1 /Don't Be What UC 4:52
2 /What the Hell Is This? 6:09
3 /I Don't Want to Be President 3:42
4 /Strung Out 7:26
5 /Cop & Blow 5:11
6 /Booty Ooty 5:23
7 /Lone Ranger 6:07
8 /Telephone Bill 4:43
9 /Love Jones 4:45
10 /Before I Let You Go 5:27
11 /Voodoo What You Do 5:17
12 /Come and Dance with Me 5:16
13 /Ain't Nobody's Business 4:52
14 /Bow Wow 4:46
15 /Johnny G. Is Back 5:15
All Tracks By Watson
Review
By Matt Collar (AllMusic)
Shout Factory's two disc The Funk Anthology compiles the best of blues icon Johnny "Guitar" Watson's recordings for the DJM label from 1970 to 1981. A hugely influential artist, Watson was often overshadowed by his more well known contemporaries including Chuck Berry, Little Richard, Sly Stone, and George Clinton. While Watson got his start rockin' out in the '50s with such blues crossover classics as "Too Tired", "Hot Little Mama" and the mindblowingly innovative instrumental "Space Guitar", he made an even bigger mark in the '70s playing his unique and equally innovative brand of funk. Changing from a slick pompadour to a groovy afro and threepiece suits, Watson reimagined himself as a blues pimp extraordinaire and backed up his bravado with musical chops that had already made good on the developments of TBone Walker, Clarence "Gatemouth" Brown and Ray Charles. Referring to himself as the "Original Gangster of Love", Watson's funk recordings found the multinstrumentalist/vocalist mixing jazz harmonies, blues, soul, raw funk, disco and RB all into his own unique style. This is humorous, raunchy, rhythmically compelling and melodically infectious music that benefits as much from Watson's juicy synthesizer skills as his adept guitar playing. Barring some horn section and drum parts, Watson often played all the instruments on his recordings and tracks such as "Ain't That a Bitch", "Funk Beyond the Call of Duty" and "It's All About The Dollar Bill" prefigure work by the similarly inclined funk iconoclast Prince. Also notable is his 1980 rap track "Telephone Bill" which certainly stands as one of the earliest recorded examples of the genre. Featuring gatefold packaging that showcases all of Watson's iconic overthetop album covers, a booklet full of photos and lovingly written liner notes by music biographer David Ritz, The Funk Anthology is the definitive tribute to a true funk original.
Biography
by Bill Dahl (AllMusic)
"Reinvention" could just as easily have been Johnny "Guitar" Watson's middle name. The multi-talented performer parlayed his stunning guitar skills into a vaunted reputation as one of the hottest blues axemen on the West Coast during the 1950s. But that admirable trait wasn't paying the bills as the 1970s rolled in. So he totally changed his image to that of a pimp-styled funkster, enjoying more popularity than ever before for his down-and-dirty R&B smashes "A Real Mother for Ya" and "Superman Lover."
Watson's roots resided within the fertile blues scene of Houston. As a teen, he played with fellow Texas future greats Albert Collins and Johnny Copeland. But he left Houston for Los Angeles when he was only 15 years old. Back then, Watson's main instrument was piano; that's what he played with Chuck Higgins' band when the saxist cut "Motorhead Baby" for Combo in 1952 (Watson also handled vocal duties).
He was listed as Young John Watson when he signed with Federal in 1953. His first sides for the King subsidiary found him still tinkling the ivories, but by 1954, when he dreamed up the absolutely astonishing instrumental "Space Guitar," the youth had switched over to guitar. "Space Guitar" ranks with the greatest achievements of its era -- Watson's blistering rapid-fire attack, done without the aid of a pick, presages futuristic effects that rock guitarists still hadn't mastered another 15 years down the line.
Watson moved over to the Bihari Brothers' RPM label in 1955 and waxed some of the toughest upbeat blues of their time frame (usually under saxist Maxwell Davis's supervision). "Hot Little Mama," "Too Tired," and "Oh Baby" scorched the strings with their blazing attack; "Someone Cares for Me" was a churchy Ray Charles-styled slow-dragger, and "Three Hours Past Midnight" cut bone-deep with its outrageous guitar work and laid-back vocal (Watson's cool phrasing as a singer was scarcely less distinctive than his playing). He scored his first hit in 1955 for RPM with a note-perfect cover of New Orleanian Earl King's two-chord swamp ballad "Those Lonely Lonely Nights."
Though he cut a demo version of the tune while at RPM, Watson's first released version of "Gangster of Love" emerged in 1957 on Keen. Singles for Class ("One Kiss"), Goth, Arvee (the rocking introduction "Johnny Guitar"), and Escort preceded a hookup with Johnny Otis at King during the early '60s. He recut "Gangster" for King, reaching a few more listeners this time, and dented the R&B charts again in 1962 with his impassioned, violin-enriched blues ballad "Cuttin' In."
Never content to remain in one stylistic bag for long, Watson landed at Chess just long enough to cut a jazz album in 1964 that placed him back behind the 88s. Along with longtime pal Larry Williams, Watson rocked England in 1965 (their dynamic repartee was captured for posterity by British Decca). Their partnership lasted stateside through several singles and an LP for OKeh; among their achievements as a duo was the first vocal hit on "Mercy, Mercy, Mercy" in 1967 (predating the Buckinghams by a few months).
Little had been heard of this musical chameleon before he returned decked out in funk threads during the mid-'70s. He hit with "I Don't Want to Be a Lone Ranger" for Fantasy before putting together an incredible run at DJM Records paced by "A Real Mother for Ya" in 1977 and an updated "Gangster of Love" the next year.
After a typically clever "Strike on Computers" nicked the R&B lists in 1984, Watson again seemed to fall off the planet. But counting this remarkable performer out was always a mistake. Bow Wow, his 1994 album for Al Bell's Bellmark logo, returned him to prominence and earned a Grammy nomination for best contemporary blues album, even though its contents were pure old-school funk. Sadly, in the midst of a truly heartwarming comeback campaign, Watson passed away while touring Japan in 1996.
''THE FUNK ANTHOLOGY, DISC ONE''
SEPTEMBER 6 2005
154:12
DISC ONE
1 /Ain't That a Bitch 5:01
2 /Superman Lover 5:43
3 /I Need It 4:42
4 /A Real Mother for Ya 5:03
5 /I Want to Ta-Ta You Baby 5:47
6 /Baby's in Love with the Radio 3:50
7 /Tarzan 4:58
8 /Funk Beyond the Call of Duty 5:13
9 /It's About the Dollar Bill 4:12
10 /Love That Will Not Die 3:47
11 /I'm Gonna Get You Baby 4:05
12 /ET 4:30
13 /Miss Frisco (Queen of the Disco) 5:00
14 /You Can Stay But the Noise Must Go 6:08
15 /Feel the Spirit of My Guitar 3:15
16 /Gangster of Love 3:47
DISC TWO
1 /Don't Be What UC 4:52
2 /What the Hell Is This? 6:09
3 /I Don't Want to Be President 3:42
4 /Strung Out 7:26
5 /Cop & Blow 5:11
6 /Booty Ooty 5:23
7 /Lone Ranger 6:07
8 /Telephone Bill 4:43
9 /Love Jones 4:45
10 /Before I Let You Go 5:27
11 /Voodoo What You Do 5:17
12 /Come and Dance with Me 5:16
13 /Ain't Nobody's Business 4:52
14 /Bow Wow 4:46
15 /Johnny G. Is Back 5:15
All Tracks By Watson
Review
By Matt Collar (AllMusic)
Shout Factory's two disc The Funk Anthology compiles the best of blues icon Johnny "Guitar" Watson's recordings for the DJM label from 1970 to 1981. A hugely influential artist, Watson was often overshadowed by his more well known contemporaries including Chuck Berry, Little Richard, Sly Stone, and George Clinton. While Watson got his start rockin' out in the '50s with such blues crossover classics as "Too Tired", "Hot Little Mama" and the mindblowingly innovative instrumental "Space Guitar", he made an even bigger mark in the '70s playing his unique and equally innovative brand of funk. Changing from a slick pompadour to a groovy afro and threepiece suits, Watson reimagined himself as a blues pimp extraordinaire and backed up his bravado with musical chops that had already made good on the developments of TBone Walker, Clarence "Gatemouth" Brown and Ray Charles. Referring to himself as the "Original Gangster of Love", Watson's funk recordings found the multinstrumentalist/vocalist mixing jazz harmonies, blues, soul, raw funk, disco and RB all into his own unique style. This is humorous, raunchy, rhythmically compelling and melodically infectious music that benefits as much from Watson's juicy synthesizer skills as his adept guitar playing. Barring some horn section and drum parts, Watson often played all the instruments on his recordings and tracks such as "Ain't That a Bitch", "Funk Beyond the Call of Duty" and "It's All About The Dollar Bill" prefigure work by the similarly inclined funk iconoclast Prince. Also notable is his 1980 rap track "Telephone Bill" which certainly stands as one of the earliest recorded examples of the genre. Featuring gatefold packaging that showcases all of Watson's iconic overthetop album covers, a booklet full of photos and lovingly written liner notes by music biographer David Ritz, The Funk Anthology is the definitive tribute to a true funk original.
Biography
by Bill Dahl (AllMusic)
"Reinvention" could just as easily have been Johnny "Guitar" Watson's middle name. The multi-talented performer parlayed his stunning guitar skills into a vaunted reputation as one of the hottest blues axemen on the West Coast during the 1950s. But that admirable trait wasn't paying the bills as the 1970s rolled in. So he totally changed his image to that of a pimp-styled funkster, enjoying more popularity than ever before for his down-and-dirty R&B smashes "A Real Mother for Ya" and "Superman Lover."
Watson's roots resided within the fertile blues scene of Houston. As a teen, he played with fellow Texas future greats Albert Collins and Johnny Copeland. But he left Houston for Los Angeles when he was only 15 years old. Back then, Watson's main instrument was piano; that's what he played with Chuck Higgins' band when the saxist cut "Motorhead Baby" for Combo in 1952 (Watson also handled vocal duties).
He was listed as Young John Watson when he signed with Federal in 1953. His first sides for the King subsidiary found him still tinkling the ivories, but by 1954, when he dreamed up the absolutely astonishing instrumental "Space Guitar," the youth had switched over to guitar. "Space Guitar" ranks with the greatest achievements of its era -- Watson's blistering rapid-fire attack, done without the aid of a pick, presages futuristic effects that rock guitarists still hadn't mastered another 15 years down the line.
Watson moved over to the Bihari Brothers' RPM label in 1955 and waxed some of the toughest upbeat blues of their time frame (usually under saxist Maxwell Davis's supervision). "Hot Little Mama," "Too Tired," and "Oh Baby" scorched the strings with their blazing attack; "Someone Cares for Me" was a churchy Ray Charles-styled slow-dragger, and "Three Hours Past Midnight" cut bone-deep with its outrageous guitar work and laid-back vocal (Watson's cool phrasing as a singer was scarcely less distinctive than his playing). He scored his first hit in 1955 for RPM with a note-perfect cover of New Orleanian Earl King's two-chord swamp ballad "Those Lonely Lonely Nights."
Though he cut a demo version of the tune while at RPM, Watson's first released version of "Gangster of Love" emerged in 1957 on Keen. Singles for Class ("One Kiss"), Goth, Arvee (the rocking introduction "Johnny Guitar"), and Escort preceded a hookup with Johnny Otis at King during the early '60s. He recut "Gangster" for King, reaching a few more listeners this time, and dented the R&B charts again in 1962 with his impassioned, violin-enriched blues ballad "Cuttin' In."
Never content to remain in one stylistic bag for long, Watson landed at Chess just long enough to cut a jazz album in 1964 that placed him back behind the 88s. Along with longtime pal Larry Williams, Watson rocked England in 1965 (their dynamic repartee was captured for posterity by British Decca). Their partnership lasted stateside through several singles and an LP for OKeh; among their achievements as a duo was the first vocal hit on "Mercy, Mercy, Mercy" in 1967 (predating the Buckinghams by a few months).
Little had been heard of this musical chameleon before he returned decked out in funk threads during the mid-'70s. He hit with "I Don't Want to Be a Lone Ranger" for Fantasy before putting together an incredible run at DJM Records paced by "A Real Mother for Ya" in 1977 and an updated "Gangster of Love" the next year.
After a typically clever "Strike on Computers" nicked the R&B lists in 1984, Watson again seemed to fall off the planet. But counting this remarkable performer out was always a mistake. Bow Wow, his 1994 album for Al Bell's Bellmark logo, returned him to prominence and earned a Grammy nomination for best contemporary blues album, even though its contents were pure old-school funk. Sadly, in the midst of a truly heartwarming comeback campaign, Watson passed away while touring Japan in 1996.
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