Rock 'n' Roll tributes

As with many young people in Europe, the things that brought me to taking an interest in American culture were its movies and its popular music.

I grew up in the era when rock 'n' roll had changed the direction of popular music entirely, so not merely the music but the history of its emergence from its rhythm and blues and country and western roots has always been a source of interest.

So it was almost a strange coincidence last week when Johnny Otis and Etta James died within days of each other. The media gave Etta James's career a lot of coverage, Johnny Otis perhaps less, but nobody should doubt his importance in the rise of the art form.

A Greek-American, he not merely encouraged and performed with African-American artists, but lived among them. He had undoubtedly an eye for talent (Little Esther Philips was performing with his band at the tender age of 13, though we should add at this point that he protected her like a good father would).

On YouTube there are some interesting snippets from his California based television show in the late 1950s, and while the recordings reflect their era, the quality of the performances is undeniable.

Living among African-Americans he believed in showing them respect, and tried to avoid anything that would lead to them being demeaned. I recently reread the excellent book written by the Londoner, Bill Miller, on the Coasters, their music, and the rise of Jerry Leiber and Mike Stoller in the American music scene of the 1950s and 60s.

Miller had held an interview with Johnny Otis and while measured in his comments, the latter did indicate that he was concerned that the stereotype of the young African-American male "goofing around" and doing stupid things was often too apparent in the Coasters' material, and it did the community no good. Leiber and Stoller's response - that this merely meant for humour, and could apply to youth of any ethnic background - did not convince him completely.

This element of respect being there and needing to be there, though, is indicative of Johnny Otis the man. He later tried to go into politics. Probably the wrong area for his talents, one would imagine. Honest, decent people with a flair for music ..... That does not sound like the recipe for the successful politician!

Amidst the tributes to Etta James that I read last week, was frequently the comment that she was one of Johnny Otis's protegées. This was news to me at the time, but checking out the story it seems to have been the case.

If there was a female artist on the scene whose life reflected the old adage of "Sex, Drugs and Rock 'n' Roll", Etta James could well fill the category. Her early impact was as a performer who did not mind the insertion of risqué lyrics in her material ("Roll with me, Henry" being an answer to Hank Ballard's "Work with me, Annie", which was banned on most American radio stations for its sexual innuendo).

It is then quite curious that she is now best remembered for her version of "At Last" in which she comes across almost as a torch singer. This, as I have noted before, was actually originally a Tin Pan Alley number performed by the Glenn Miller Orchestra in the 1942 movie "Orchestra Wives" - a mainstream white pop hit turned almost into a black soul ballad!

When I hear the name "Etta James", though, it is another searing soul ballad "I'd Rather Go Blind" which immediately comes to mind, and I think that it epitomises her voice and performing style.

Her battles with heroin addiction are legend. And that she had Alzheimer's Disease at the end of her life is also indicative of the struggles that she had to face. Even the belated fame and respect in which she was held did not save her from the other vicissitudes of life, even if her husband and two sons seemed devoted to her throughout the later years of her life.

She, along with Johnny Otis, though deserves to be remembered for her music. Times have changed, performing styles and music are different now, but the musical significance remains intact.