"The Honeyman" (pseud. Charles Otis), "Brother Bill [The Last Clean Shirt]" c/w "James Junior, Red Bird RB-10-007 (rel. 7/1964)
As Beatlemania rocked America in literal and figurative senses, rock 'n' roll innovators Jerry Leiber and Mike Stoller delivered an all-American gauntlet with two new independent labels, Red Bird and Blue Cat. The latter was designed as a rhythm and blues imprint; Red Bird was a free-for-all of pop music in all its forms. Its first release was a Latin instrumental, followed by a record that would unseat The Beatles at the top of the pop charts. "Chapel of Love," penned and produced by Ellie Greenwich and Jeff Barry, is a record everyone knows; it's up there with "Jingle Bells" and "Happy Birthday."
This charming but lightweight pop song brought a New Orleans contingent into Leiber and Stoller's world. The New York World's Fair had an imported group of New Orleans musicians, among them the amoral Joe Jones, a criminal brute who had his own classic oldie in 1960's "You Talk Too Much." Jones was the leader of the Crescent City crew, and they included a trio of shy young women he managed and traumatized. The Dixie Cups, as they were called, were a good luck charm for Red Bird and gave a brand-new label presence and resonance.
Charles Otis, veteran NOLA percussionist, was also among the musicians. He impressed Leiber and Stoller and together they worked up a rollicking narrative of a ne'er-do-well who's passed onto the other side; for his wake, all he needs is to look half-decent. This is the story of "Brother Bill (The Last Clean Shirt)," with its "Mohair Sam" riff a year before that song hit the pop charts. Otis delivers this shaggy dog story with a compelling voice. Stoller's bright piano drives this along in tandem with Otis' tasty drumming. Jerry Leiber's turns of phrase abound on this gallows-humor item with a surprise harmonica solo that I don't think is Otis'; the player takes a trick from r&b hitmaker Buster Brown (of "Fannie Mae" fame)--he sings a note and uses it to lead into his harmonica's wail.
Otis' deadpan performance adds a real charm to this song, which got an immediate UK cover from Birmingham-based group The Rockin' Berries. Their version is cringy and adds nothing to the song. The Animals did some better with their rendition. It would be revived by T-Bone Walker, veteran West Coast bluesman, on an expansive 1973 LP produced by Leiber and Stoller and studded with their songs--and the B-side of this single, an Otis original.
The Honeyman's lone single didn't get reviewed by the music magazines; nor did it chart. Though Red Bird is best-known for girl groups (Dixie Cups, Shangri-Las, Jelly Beans) it did have a number of r&b/soul singles, including items by Sidney Barnes, Alvin Robinson and several one-shot unknowns. It's one strange discography. Here's "Brother Bill..."
"James Junior" is a Charles Otis original and one strange li'l 12-bar blues song. His relaxed drumbeats are seductive as he portays first cousin Paul, who meets his cousin James Jr. for the first time. Paul wants ice cream for his plate; there is a sense of threat in his request that is a tad puzzling, but there it is.
Well-performed, atmospheric and an utter "huh?" for this definite B-side. Great performances, though, with that harmonica player still in tow.
Charles Otis recorded and performed with a who's-who of Black music greats, but seldom got credit for his work as a session player. A staple of blues festivals and a fixture in the New York club scene, Otis was admired by his peers, who could never quite figure out how he did what he did. He passed on in 2015, well-known to other musicians but never a household name by a long shot.
Tomorrow: Sloan and Barri pre-folk rock with a pair of SoCal surf winner as performed by The Rip Chords (with the songwriters present on background vocals and lead guitar) on a summer '64 Columbia Records platter.
Wonder if the Standells with their "Dirty Water" paid any royalties for their rip-off of "Brother Bill"? Pretty sure Otis is saying he wants 'ice cream for his (mumbled) dessert' because the next line rhyme ends in 'til my belly hurt.' Bet these two songs were made up in the recording studio.
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