Gangster Of Love - Johnny Guitar Watson

Johnny "Guitar" Watson (February 3, 1935 – May 17, 1996) was an American blues and funk guitarist and singer.

A flamboyant showman and guitar picker in the style of T-Bone Walker, Watson recorded throughout the 1950s and 1960s with some success. His raunchy reinvention in the 1970s with disco and funk overtones, saw Watson have hits with "Ain't That a Bitch", "I Need It" and "Superman Lover". His successful recording career spanned forty years, with his biggest hit being the 1977 "A Real Mother For Ya"
John Watson, Jr. was born in Houston, Texas. His father John Sr. was a pianist, and taught his son the instrument. But young Watson was immediately attracted to the sound of the guitar, in particular the electric guitar as played by T-Bone Walker and Clarence "Gatemouth" Brown.

His grandfather, a preacher, was also musical. "My grandfather used to sing while he'd play guitar in church, man," Watson reflected many years later. When Johnny was 11, his grandfather offered to give him a guitar if, and only if, the boy didn't play any of the "devil's music". Watson agreed, but "that was the first thing I did." A musical prodigy, Watson played with Texas bluesmen Albert Collins and Johnny Copeland. His parents separated in 1950, when he was 15. His mother moved to Los Angeles, and took Johnny with her.
Watson's ferocious "Space Guitar" album of 1954 pioneered guitar feedback and reverb. Watson would later influence a subsequent generation of guitarists. His song "Gangster of Love" was first released on Keen Records in 1957. It did not appear in the charts at the time, but was later re-recorded and became a hit in 1978, becoming Watson's "most famous song".

He toured and recorded with his friend Larry Williams, as well as Little Richard, Don and Dewey, The Olympics, Johnny Otis and, in the mid-1970s with David Axelrod. He also played with Sam Cooke, Herb Alpert and George Duke. But as the popularity of blues declined and the era of soul music dawned in the 1960s, Watson transformed himself from southern blues singer with pompadour into urban soul singer in a pimp hat. His new style was emphatic - the gold teeth, broad-brimmed hats, flashy suits, fashionable outsized sunglasses and ostentatious jewelry made him one of the most colorful figures in the West Coast funk scene.

He modified his music accordingly. His albums Ain't That a Bitch (from which the successful singles "Superman Lover" and "I Need It" were taken) and Real Mother For Ya were landmark recordings of 1970s funk.[citation needed] "Telephone Bill", from the 1980 album Love Jones, featured Watson rapping.

In his book Dream Boogie: The Triumph of Sam Cooke (2005), Peter Guralnick claimed that Watson was an actual pimp, as well as dressing like one as a performer. Watson himself, however, reportedly felt "ambivalent" about prostituting women, even though it "paid better" than music.
The shooting death of his friend Larry Williams in 1980 and other personal setbacks led to Watson briefly withdrawing from the spotlight in the 1980s. "I got caught up with the wrong people doing the wrong things", he was quoted as saying by the New York Times.

The release of his album Bow Wow in 1994 brought Watson more visibility and chart success than he had ever known. The album received a Grammy Award nomination.

In a 1994 interview with David Ritz for liner notes to The Funk Anthology, Watson was asked if his 1980 song "Telephone Bill" anticipated rap music. "Anticipated?" Watson replied. "I damn well invented it!... And I wasn't the only one. Talking rhyming lyrics to a groove is something you'd hear in the clubs everywhere from Macon to Memphis. Man, talking has always been the name of the game. When I sing, I'm talking in melody. When I play, I'm talking with my guitar. I may be talking trash, baby, but I'm talking".

In 1995, he was given a Pioneer Award from the Rhythm & Blues Foundation in a presentation and performance ceremony at the Hollywood Palladium. In February 1995, Watson was interviewed by Tomcat Mahoney for his Brooklyn, New York-based blues radio show The Other Half. Watson discussed at length his influences and those he had influenced, referencing Guitar Slim, Jimi Hendrix, Frank Zappa and Stevie Ray Vaughan. He made a special guest appearance on Bo Diddley's 1996 album A Man Amongst Men, playing vocoder on the track "I Can't Stand It" and singing on the track "Bo Diddley Is Crazy".

"Johnny was always aware of what was going on around him", recalled Susan Maier Watson in an interview printed in the liner notes to the album The Very Best of Johnny 'Guitar' Watson. "He was proud that he could change with the times and not get stuck in the past".
Watson died of a myocardial infarction on May 17, 1996, while on tour in Yokohama, Japan. According to eyewitness reports, he collapsed in mid guitar solo. His last words were "ain't that a bitch", probably in reference to the song "Ain't that a Bitch".His remains were brought home for interment at Forest Lawn Memorial Park Cemetery in Glendale, California.
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Hoochie Coochie Man - Billy Preston with Johnny Guitar Watson

William Everett "Billy" Preston (September 2, 1946 – June 6, 2006) was a musician who gained notoriety and fame, first as a session musician for the likes of Sam Cooke, Ray Charles and The Beatles, and later finding fame as a solo artist with hits such as "Space Race", "Will It Go Round in Circles" and "Nothing from Nothing".

Alongside Tony Sheridan, Billy Preston was the only other musician to be credited on a Beatles recording after he was credited on the group's number-one hit, "Get Back", with the record title listed as The Beatles with Billy Preston.
William Everett Preston was born on September 2, 1946 in Houston, Texas. At the age of three, the family moved to Los Angeles where Preston began playing piano while sitting on his mother Robbie's lap. Noted as a child prodigy, by the age of ten, Preston was playing organ onstage backing several gospel singers such as Mahalia Jackson, James Cleveland and Andrae Crouch. At twelve, he appeared in the Nat King Cole-starring W.C. Handy biopic, St. Louis Blues, playing Handy at a younger age; a year prior, he appeared on Cole's national TV show singing the Fats Domino hit, "Blueberry Hill".

In 1962, he joined Little Richard's band as an organist and it was while performing in Hamburg that Preston met The Beatles. In 1963, he performed organ on Sam Cooke's Night Beat album and released his first gospel album, 16 Years Soul, that same year. In 1965, he released his secular debut album, The Most Exciting Organ Ever, and that same year played organ and performed on the rock and roll show, Shindig!. In 1967, he joined Ray Charles' band. Following his exposure with Charles, several musicians began asking Preston to come to sessions, most notably The Beatles, who asked him to contribute to two of their albums, Abbey Road and Let It Be.
Preston had battled kidney disease in his later years, brought on by his hypertension. He received a kidney transplant in 2002, but his health continued to deteriorate. He died on June 6, 2006 in Scottsdale, Arizona, of complications of malignant hypertension that resulted in kidney failure and other complications. He had voluntarily entered a drug rehabilitation clinic in Malibu, CA, at the suggestion of guitarist Is'real Benton and suffered pericarditis there, leading to respiratory failure that left him in a coma from November 21, 2005. His funeral was held on June 20 at the Faithful Central Bible Church in Inglewood, California, where his remains were interred at Inglewood Park Cemetery, Inglewood, California.

Johnny "Guitar" Watson (February 3, 1935 – May 17, 1996) was an American blues and funk guitarist and singer.

A flamboyant showman and guitar picker in the style of T-Bone Walker, Watson recorded throughout the 1950s and 1960s with some success. His raunchy reinvention in the 1970s with disco and funk overtones, saw Watson have hits with "Ain't That a Bitch", "I Need It" and "Superman Lover". His successful recording career spanned forty years, with his biggest hit being the 1977 "A Real Mother For Ya"
John Watson, Jr. was born in Houston, Texas. His father John Sr. was a pianist, and taught his son the instrument. But young Watson was immediately attracted to the sound of the guitar, in particular the electric guitar as played by T-Bone Walker and Clarence "Gatemouth" Brown.

His grandfather, a preacher, was also musical. "My grandfather used to sing while he'd play guitar in church, man," Watson reflected many years later. When Johnny was 11, his grandfather offered to give him a guitar if, and only if, the boy didn't play any of the "devil's music". Watson agreed, but "that was the first thing I did." A musical prodigy, Watson played with Texas bluesmen Albert Collins and Johnny Copeland. His parents separated in 1950, when he was 15. His mother moved to Los Angeles, and took Johnny with her.
Watson died of a myocardial infarction on May 17, 1996, while on tour in Yokohama, Japan. According to eyewitness reports, he collapsed in mid guitar solo. His last words were "ain't that a bitch", probably in reference to the song "Ain't that a Bitch". His remains were brought home for interment at Forest Lawn Memorial Park Cemetery in Glendale, California.
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I Want To Ta-Ta You Baby - Johnny Guitar Watson

Johnny "Guitar" Watson (February 3, 1935 – May 17, 1996) was an American blues and funk guitarist and singer.
John Watson, Jr. was born in Houston, Texas. His father John Sr. was a pianist, and taught his son the instrument. But young Watson was immediately attracted to the sound of the guitar, in particular the electric guitar as practiced by the "axe men" of Texas: T-Bone Walker and Clarence "Gatemouth" Brown.

His grandfather, a preacher, was also musical. "My grandfather used to sing while he'd play guitar in church, man," Watson reflected many years later. When Johnny was 11, his grandfather offered to give him a guitar if, and only if, the boy didn't play any of the "devil's music"—blues. Watson agreed, but "that was the first thing I did." A musical prodigy, Watson played with Texas bluesmen Albert Collins and Johnny Copeland.

His parents separated in 1950, when he was 15. His mother moved to Los Angeles, and took Johnny with her. In his new city, Watson won several local talent shows. This led to his employment, while still a teenager, with jump blues-style bands such as Chuck Higgins's Mellotones and Amos Milburn. He worked as a vocalist, pianist, and guitarist.

He quickly made a name for himself in the African-American juke joints of the West Coast, where he was billed as "Young John Watson" until 1954. That year, he saw the Joan Crawford film Johnny Guitar, and a new stage name was born.

He affected a swaggering, yet humorous personality, indulging a taste for flashy clothes and wild showmanship on stage. His "attacking" style of playing, without a plectrum, resulted in him often needing to change the strings on his guitar once or twice a show, because he "stressified on them" so much, as he put it.
Watson died on stage on May 17, 1996, while on tour in Yokohama, Japan. According to eyewitness reports, he collapsed mid guitar solo. His last words were "ain't that a bitch", probably in reference to the song "Ain't that a Bitch". His remains were brought home for interment at Forest Lawn Memorial Park Cemetery in Glendale, California.