Johnny "Guitar" Watson -

Johnny “Guitar” Watson (Feb. 3, 1935 — May 17, 1996) was an American R&B guitarist, active as a sessionist from the early 1950s. Between 1973 and 1984, he released eleven jazz-funk albums on Fantasy, DJM, and Valley Vue. As a bandleader, he headed the Watsonian Institute for two albums during the late 1970s.

Background

Johnny “Guitar” Watson was born John Watson Jr. on February 3, 1935, in Houston, Texas. His father, pianist John Watson Sr., taught him piano. At age eleven, he inherited the family guitar from his grandfather. He devoted himself to the electric guitar after a performance by Clarence “Gatemouth” Brown. In 1950, Watson moved to Los Angeles with his newly divorced mother, Wilma Watson. He attended Jefferson High School in Los Angeles and entered talent contests while he worked as a teenage pianist and singer.

Watson joined saxophonist Chuck Higgins & His Mellotones as a pianist. Combo issued their 1952 single “Pachuko Hop” (b/w “Motor Head Baby), which features Watson’s vocals and piano on the flip. Watson also worked with Amos Milburn before Federal issued his first solo singles as Young John Watson in 1953. Producer Ralph Bass led the Federal sessions where Watson cut “Highway 60,” “Motor Head Baby,” “I Got Eyes,” and “Space Guitar.” He took the “Guitar” moniker from the 1954 Joan Crawford film Johnny Guitar. In 1955, RPM issued the first Johnny “Guitar” Watson singles.

Credits Through 1972

Watson put two pre-Fantasy leader singles into the national R&B charts. “Those Lonely, Lonely Nights,” issued on RPM in 1955 as Johnny Guitar Watson and His Orchestra, reached No. 10 on Billboard R&B. He cut “Gangster of Love” for Keen in 1957, then moved through Class, Goth, Arvee, and Escort singles before “Cuttin’ In” reached No. 6 R&B for King in 1962. King followed with the 1963 album Johnny “Guitar” Watson, while Crown paired Watson with Bobby “Blue” Bland on 2 in Blues. Chess issued The Blues Soul of Johnny (Guitar) Watson in the mid-1960s, and Okeh issued Bad in 1967 as Watson resumed regular work with Larry Williams.

Watson also carried vocal-group and featured-player credits into the same period. The Shields lineup placed lead singer Frankie Ervin, falsetto-tenor Jesse Belvin, second tenor Mel Williams, baritone singer Tommy “Buster” Williams, and bass vocalist Johnny Watson on “You Cheated,” a 1958 Dot hit that reached No. 15 pop and No. 11 R&B. The Saxons placed lead singer Tommy “Buster” Williams, second tenor Jesse Belvin, baritone singer Eugene Church, singer-pianist Gaynel Hodge, and bass vocalist-guitarist Johnny Watson on Contender and Tampa sides during the same year. Floyd Dixon featured Watson on the 1959 Great Dame single “Let’s Go Smitty.”

Watson and singer-pianist Larry Williams formed Jola, later Jowat, and worked the partnership through label, touring, and publishing credits. Decca issued their 1965 album The Larry Williams Show Featuring Johnny “Guitar” Watson with the Stormsville Shakers. Okeh issued their 1967 cover of the Joe Zawinul-penned Cannonball Adderley piece “Mercy, Mercy, Mercy.” The Williams-Watson version reached No. 96 pop and No. 23 R&B, while the Buckinghams took the Watson-Williams lyric version to No. 5 pop the same year.

“Nobody,” credited to Larry Williams and Johnny Watson with Kaleidoscope, reached No. 40 R&B in 1968. Bell issued his 1969 single “Can’t Find No Substitute for Love.” Watson closed the pre-Fantasy period with the 1971 Vulture single “Mama” backed with “There’s a Recession Going On.”

Listen

Johnny “Guitar” Watson released his fourth album, Listen, in 1973 on Fantasy.

The album contains nine Watson originals performed with bassist-keyboardist Andre Lewis (electric bass, clavichord), drummer Emry Thomas, organist-vocalist Rudy Copeland, guitarist-reedist Hank Redd (rhythm guitar, tenor saxophone), alto saxophonist J.D. Reed, and vocalist Maxayn.

“If I Had the Power” pulses under Watson’s close lead, with spare guitar replies and strings beneath the closing vocal. “You’ve Got a Hard Head” grinds through a firm rhythm while Watson turns a list of bad choices into clipped counsel.

A1. “If I Had the Power” (4:40)
A2. “You’ve Got a Hard Head” (4:29)
A3. “Lovin’ You” (4:15)
A4. “It’s All About You” (3:59)

B1. “You’re the Sweetest Thing I’ve Ever Had” (3:57)
B2. “I Get a Feeling” (3:40)
B3. “Why Don’t You Treat Me Like I’m Your Man” (2:55)
B4. “You Bring Love” (3:49)
B5. “You Stole My Heart” (3:28)

Watson produced and arranged Listen in May 1973 at Fantasy Studios in Berkeley with recording engineer Jim Stern and second engineer Eddie Bill Harris.

Listen appeared with original art direction and photography by Tony Lane.

Fantasy issued “Like I’m Not Your Man” as a 1974 single (b/w “You Bring Love”), which reached No. 67 on the Billboard R&B chart.

I Don’t Want to Be Alone, Stranger

Johnny “Guitar” Watson released I Don’t Want to Be Alone, Stranger in 1975 on Fantasy.

Watson performs nine originals on lead guitar, bass, and electric piano, backed by drummer Emry Thomas, keyboardist Andre Lewis (organ, clavinet, Moog), trumpeter Gabriel Fleming, and saxophonists Larry Wilson (tenor) and Jimmy Reed (baritone) with strings arranged by Jimmy Jones.

“I Don’t Want to Be a Lone Ranger” rides saturated organ tones while Watson repeats the title as a lone-love address. “Tripping” charges through a hard rhythm and escape text. “It’s Way Too Late” sways on a light samba undercurrent as Watson delivers cautionary lines to a careless lover. “You Can Stay But the Noise Must Go” talks through a neighborhood-dispute lyric with comic spoken asides.

A1. “I Don’t Want to Be a Lone Ranger” (3:28)
A2. “Your New Love Is a Player” (3:44)
A3. “Tripping” (3:05)
A4. “Lonely Man’s Prayer” (2:56)
A5. “You Make My Heart Want to Sing” (2:50)

B1. “It’s Way Too Late” (3:30)
B2. “Love Is Sweet Misery” (3:20)
B3. “You Can Stay but the Noise Must Go” (3:54)
B4. “Strong Vibrations” (4:23)

Watson produced the album with engineer Jim Stern. I Don’t Want to Be Alone, Stranger appeared in a sleeve designed by Phil Carroll with photography by Phil Bray.

Fantasy lifted “I Don’t Want to Be a Lone Ranger” as an April 1975 single (b/w “You Can Stay but the Noise Must Go”) that reached No. 28 on the Billboard Hot Soul Singles chart and No. 99 on the Billboard Hot 100 chart.

“It’s Too Late” followed as an October 1975 single (b/w “Tripping”) and reached No. 76 on the Billboard R&B chart.

Ain’t That a Bitch

Johnny “Guitar” Watson released his sixth album, Ain’t That a Bitch, in 1976 on DJM.

Across seven originals, Watson plays assorted keyboards, percussion, and string instruments backed by drummer-vocalist Emry Thomas, saxophonist Paul Dunmall, trumpeter Peter Martin, and trombonist Tommy Roberson.

“I Need It” snaps to a calypso-tilted beat while horn figures answer Watson’s lead and a group chorus tightens each return. “I Want to Ta-Ta You Baby” lingers in an after-hours organ setting, with deep bass and horn lines under close guitar replies. “Superman Lover” careens through comic-book text while saturated organ tones and horn punctuation mark Watson’s vocal line.

“Ain’t That a Bitch” drops from a descending chromatic horn line into a chugging backbeat. Watson delivers the work-and-money complaint in clipped title returns. “Since I Met You Baby” finger-snaps through a light ballad setting while Watson adds sharp-turn synth lines beneath the vocal. “We’re No Exception” lingers in a slow vocal setting.

A1. “I Need It” (4:44)
A2. “I Want to Ta-Ta You Baby” (5:47)
A3. “Superman Lover” (5:43) – Watson, Ray Reynaldo

B1. “Ain’t That a Bitch” (5:02)
B2. “Since I Met You Baby” (3:29)
B3. “We’re No Exception” (4:15)
B4. “Won’t You Forgive Me Baby” (5:17)

Watson produced and arranged Ain’t That a Bitch in 1976 at Paramount Recording Studios in Hollywood with engineer Kerry McNabb.

Ain’t That a Bitch appeared in a package designed by Alan Sekuler with photography by Lorrie Sullivan. The front cover shows Watson in a white suit on a sofa, with a dog beside him and two women at floor level with dog leashes.

DJM lifted “I Need It” as a June 1976 single (b/w “Since I Met You Baby”), followed in November with “Superman Lover” (b/w “We’re No Exception”), which reached No. 19 on the Billboard R&B chart.

Ain’t That a Bitch reached No. 52 on the Billboard 200.

A Real Mother for Ya

Johnny “Guitar” Watson released his seventh album, A Real Mother for Ya, on March 11, 1977, on DJM.

Watson performs seven originals on vocals, guitar, bass, Fender Rhodes, Hammond organ, synthesizer, and voice box. He retains drummer Emry Thomas and trombonist Tommy Roberson from Ain’t That a Bitch, with saxophonist Knud Jensen and trumpeter Walt Fowler.

“A Real Mother for Ya” rides synth bass and a blunt backbeat while Watson answers his work-and-money text with clipped guitar replies and a brief talk-box tone. “Nothing Left to Be Desired” places scat syllables inside a slow vocal setting. “Your Love Is My Love” presses the lead through talk-box inflection and heavier low-end weight.

A1. “A Real Mother for Ya” (5:00)
A2. “Nothing Left to Be Desired” (5:42)
A3. “Your Love Is My Love” (4:38)
A4. “The Real Deal” (5:53)

B1. “Tarzan” (4:58)
B2. “I Wanna Thank You” (6:05)
B3. “Lover Jones” (5:23)

Watson produced and arranged the album at Paramount with Kerry McNabb. A Real Mother for Ya appeared with art direction by David Krieger and design by Don Brautigam.

DJM lifted “A Real Mother for Ya” as a 1977 single (b/w “Won’t You Forgive Me Baby”) that reached No. 41 on the Billboard Hot 100 and No. 5 on the Billboard R&B chart. “Lover Jones” followed as DJM 1029 and reached No. 34 on the Billboard R&B chart.

A Real Mother for Ya reached No. 20 on the Billboard 200.

Funk Beyond the Call of Duty

Johnny “Guitar” Watson released his eighth album, Funk Beyond the Call of Duty, in 1977 on DJM.

Watson performs seven originals on vocals, guitar, Fender Rhodes, Hammond organ, synthesizer, Moog bass, congas, and percussion, backed by three returning sidemen (Thomas, Roberson, Fowler) and saxophonist Billy Haley. Drummer Emry Thomas also served as production assistant.

“Funk Beyond the Call of Duty” marches over a parade-ground beat while Watson clips the lead into short calls. “It’s About the Dollar Bill” snaps the money text into tight title returns. “It’s a Damn Shame” makes Watson’s voice double the guitar line during the solo passage. “Barn Door” barrels through a hard backbeat and long lead break.

A1. “Funk Beyond the Call of Duty” (5:14)
A2. “It’s About the Dollar Bill” (4:11)
A3. “Give Me My Love” (6:57)

B1. “It’s a Damn Shame” (4:58)
B2. “I’m Gonna Get You Baby” (4:02)
B3. “Barn Door” (4:27)
B4. “Love That Will Not Die” (3:46)

Watson produced and arranged Funk Beyond the Call of Duty at Paramount with McNabb.

Funk Beyond the Call of Duty appeared with art direction by David Krieger and Davis Fried Krieger Inc., with photography by Jim McCrary.

DJM issued “Love That Will Not Die” as a February 1978 US single (b/w “It’s a Damn Shame”), which reached No. 59 on the Billboard R&B chart.

Funk Beyond the Call of Duty reached No. 84 on the Billboard 200.

Giant

Johnny “Guitar” Watson released his ninth album, Giant, in 1978 on DJM.

Watson performs six Watson-written titles on guitar, Moog, Hammond organ, Fender Rhodes, clavinet, congas, and timbales, backed by returning drummer Emry Thomas and vocalists Darcus and Marci Thomas. The album closes with a cover of War’s “Baby Face (She Said Do Do Do Do).”

“Miss Frisco (Queen of the Disco)” charges through a four-beat backbeat as Watson clips the vocal around short guitar figures. “Tu Jours Amour” glides through a close vocal setting, with rounded chords under the lead. “Gangster of Love” snaps the boast text into a harder rhythm track.

“Guitar Disco” rides a floor beat under electric-piano figures and clipped title returns. “Wrapped in Black Mink” lingers on a low-lit vocal address. “You Can Stay but the Noise Must Go” talks through a landlord-story lyric at a slowed pace. “Baby Face (She Said Do Do Do Do)” bounces through offbeat accents and repeated syllable replies.

A1. “Miss Frisco (Queen of the Disco)” (5:00)
A2. “Tu Jours Amour” (4:40)
A3. “Gangster of Love” (3:45)
A4. “Guitar Disco” (4:14)

B1. “Wrapped in Black Mink” (5:13)
B2. “You Can Stay but the Noise Must Go” (6:07)
B3. “Baby Face (She Said Do Do Do Do)” (4:46) – Dickerson–Miller–Brown–Scott–Oskar–Allen–Jordan

Watson produced and arranged Giant at Paramount with McNabb and assistant engineer Dennis Moody. John Golden mastered the album at Kendun Recorders in Burbank.

Giant appeared with art direction by David Krieger and Davis Fried Krieger Inc., with photography by Jim McCrary.

DJM issued “Gangster of Love” as an October 1978 US single (b/w “Guitar Disco”) that reached No. 32 on the Billboard R&B chart.

Discography: