"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.
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"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. ~ Bill Dahl, All Music Guide
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