Syl Johnson

Sylvester Thompson

b. July 1st, 1936 in Holly Springs (Mississippi)

d. February 6th, 2022 in Mableton (Georgia)

MY GIFT

Federal

Numero Group

1959 - August 1962

Fils d'un ouvrier agricole Sam Thompson, frère des bluesmen Jimmy Johnson et Mac Thompson, Syl nait dans une ferme du Mississippi. La famille déménage à Chicago en 1950. Syl joue d'abord pour son voisin Magic Sam puis pour Billy Boy Arnold, Junior Wells, Jimmy Reed, Shakey Jake et Howlin' Wolf. En tant que leader, il enregistre ses premiers morceaux pour le label Federal (appartenant à King) en 1959 sous la supervision des producteurs Ralph Bass et Sonny Thompson tout en exerçant le métier de conducteur de camion. Il faut souligner qu'il est accompagné sur ces premiers morceaux par l'orchestre de Freddie King. Des titres majoritairement Soul mais on peut ressortir les excellents blues "I've got to find my baby", "Well oh well" ou "I wanna know". Par manque de succès, son contrat n'est pas renouvelé.

Son of farmhand Sam Thompson, brother of bluesmen Jimmy Johnson and Mac Thompson, Syl was born on a farm in Mississippi. The family moved to Chicago in 1950. Syl played first with his neighbor Magic Sam then behind Billy Boy Arnold, Junior Wells, Jimmy Reed, Shakey Jake and Howlin' Wolf. As a leader, he recorded his first songs for the Federal label (owned by King) in 1959 under the supervision of producers Ralph Bass and Sonny Thompson while exercising his truck driver job. It should be noted that he is accompanied on these first pieces by Freddie King's orchestra. Mostly Soul titles but we can highlight the excellent blues "I've got to find my baby", "Well oh well" or "I wanna know". Due to lack of success, his contract was not renewed.

DO YOU KNOW WHAT SOUL IS

Trip

1963 - 1967

Sur ce disque sont rassemblés les titres enregistrés au milieu des années 60 par Syl Johnson pour différents petits labels : Cha Cha ("She's alright"), One-Derful ("Half love", "I've been talked about"), TMP-Ting ("I've got to get over" produit par Morey Alexander), Zachron ("Straight love no chaser", "Surrounded" produits par John Zachary) et enfin Special Agent ("Do you know what love is", "Things ain't right" produits par Burgess Gardner et Chuck Bernard). On trouve également un inédit ("Half a love") paru nulle part.

On this record are collected the titles recorded in the mid-60's by Syl Johnson for various small labels : Cha Cha ("She's alright"), One-Derful ("Half love", "I've been talked about"), TMP-Ting ("I've got to get over" produced by Morey Alexander), Zachron ("Straight love no chaser", "Surrounded" produced by John Zachary) and finally Special Agent ("Do you know what love is", "Things ain't right" produced by Burgess Gardner and Chuck Bernard). There is also an unissued one ("Half a love") never been released before.

DRESSES TOO SHORT

Twinight

1967 - 1968

IS IT BECAUSE I'M BLACK

Twinight

1969

THE TWILIGHT & TWINIGHT MASTER COLLECTION

Collectables

1967 - 1970

THE COMPLETE TWINIGHT 45S

Numero Group

1967 - 1971

A partir de 1967, Syl Johnson enregistre pour le label de Chicago Twilight / Twinight. Il décroche rapidement des succès comme "Come on sock it to me", le premier hit de sa carrière enregistré aux studios Ter-Mar de Chicago (le studio des frères Chess). Dans un style Soul cuivrée, avec des éléments Funk, il délivre des titres puissants et inspirés gravés entre Chicago et Memphis : "Different strokes", "Ode to Soul Man", "Try me", "Dresses too short", le fameux "Is it because I'm black" et son contenu politique dans lequel Syl est accompagné des Pieces of Peace, la reprise de "Come together", "Walk a mile in my shoes", "Right on", "I feel an urge", "Take me back", "Let's start all over again". Rapidement, Syl Johnson devient le compositeur et le producteur maison au sein du label. Il est parfois son propre producteur mais enregistre aussi sous la supervision de Willie Mitchell, Jimmy "The Deacon" Thompson (en fait son frère Jimmy Johnson), Jimmy Jones, Donny Hathaway. Son oeuvre chez Twilight / Twinight donne lieu à deux albums mais ils ne représentent qu'une partie de ses titres. De nombreux titres furent édités jusqu'en 1971. Les sélections "The Twilight & Twinight master collection" et surtout "The complete Twinight 45s" sont plus complètes.

From 1967, Syl Johnson recorded for the Chicago-based label Twilight / Twinight. He quickly landed hits like "Come on sock it to me", the first hit of his career recorded at Ter-Mar Studios in Chicago (the Chess brothers' studio). In a brassy Soul style, with Funk elements, he delivers powerful and inspired titles engraved between Chicago and Memphis : "Different strokes", "Ode to Soul Man", "Try me", "Dresses too short", the famous "Is it because I'm black" and its political content in which Syl is accompanied by the Pieces of Peace, the cover of "Come Together", "Walk a mile in my shoes", "Right on", "I feel an urge", "Take me back", "Let's start all over again". Soon, Syl Johnson became the label's in-house composer and producer. He is sometimes his own producer but also records under the supervision of Willie Mitchell, Jimmy "The Deacon" Thompson (in fact his brother Jimmy Johnson), Jimmy Jones, Donny Hathaway. His work at Twilight / Twinight gives rise to two albums but they represent only part of his titles. Many titles were issued until 1971. The selections "The Twilight & Twinight master collection" and especially "The complete Twinight 45s" are more complete.

GOODIE GOODIE GOOD TIMES

Shama

P-Vine

1969 / 1971

Sur Shama, son propre label, Syl Johnson rassemble une poignée de morceaux inédits issus des séances Twinight : le puissant "Abaccadaba", "Trying to get to you" (dans lequel Syl joue de l'harmonica), le funky "Goodie goodie good times", "Hot pants lady" et "Let's start all over again".

On Shama, his own label, Syl Johnson brings together a handful of unreleased tracks from the Twinight sessions : the powerful "Abaccadaba", "Trying to get to you" (in which Syl plays harmonica), the funky "Goodie goodie good times", "Hot pants lady" and "Let's start all over again".

THE COMPLETE SYL JOHNSON ON HI RECORDS

1971 - 1978

En 1971, Syl Johnson s'associe avec le producteur Willie Mitchell et rejoint le label Hi. Ensemble, ils produiront quatre albums enregistrés à Memphis avec un superbe groupe. Malgré le fait que Mitchell le faisait essentiellement enregistrer ses titres maison (et plus rarement les propres compositions originales de Syl Johnson), l'oeuvre enregistrée pour Hi s'avère de premier plan. Remarquable chanteur à la voix passionnée et expressive, Syl est accompagné d'un superbes musiciens : Teenie Hodges (guitare), Leroy Hodges (basse), Howard Grimes (batterie), Charles Hodges (orgue), Archie Turner (piano), Earl Randle (piano), Wayne Jackson (trompette), Jack Hale (trombone), Andrew Love (saxophone), Lewis Collins (saxophone), Ed Logan (saxophone), James Mitchell (saxophone). Les sessions d'enregistrements ont lieu dans les mythiques Royal Recording Studios de Memphis et débouchent sur trois remarquables albums. Dans la seconde partie des années 70, Syl Johnson tombe au creux de la vague. Son quatrième et dernier album pour Hi est bien décevant (enregistré à Hollywood avec de nouveaux musiciens) et clôt sa collaboration avec le label (dans le même temps, Hi a été racheté en 1977 par Cream).

In 1971, Syl Johnson teamed up with producer Willie Mitchell and joined the Hi label. Together, they will produce four albums recorded in Memphis with a superb backing band. Despite the fact that Mitchell mainly had him record his house tracks (and more rarely Syl Johnson's own original compositions), the work recorded for Hi proves to be of the first rate. Outstanding vocalist with a passionate and expressive voice, Syl is accompanied by superb musicians : Teenie Hodges (guitar), Leroy Hodges (bass), Howard Grimes (drums), Charles Hodges (organ), Archie Turner (piano), Earl Randle (piano), Wayne Jackson (trumpet), Jack Hale (trombone), Andrew Love (saxophone), Lewis Collins (saxophone), Ed Logan (saxophone), James Mitchell (saxophone). Recording sessions take place in the mythical Royal Recording Studios in Memphis and lead to three remarkable albums. In the second half of the 1970's, Syl Johnson fell into the bottom of the wave. His fourth and last album for Hi is very disappointing (recorded in Hollywood with new musicians) and closes his collaboration with the label (in the meantime, Hi was acquired in 1977 by Cream).

BACK FOR A TASTE OF YOUR LOVE

London

1971 - 1972

Son premier album pour Hi regroupe quelques superbes titres comme "Back for a taste of your love", "I'm yours", "Anyway the wind blows", "Feelin' frisky", "We did it", "I hate I walked away", "The love you left behind". Supervisé par le producteur Willie Mitchell et épaulé par des sidemen chevronnés, Syl délivre un album Soul qui évoque Al Green.

His first album for Hi includes some great tracks like "Back for a taste of your love", "I'm yours", "Anyway the wind blows", "Feelin' frisky", "We did it", "I hate I walked away", "The love you left behind". Supervised by producer Willie Mitchell and supported by experienced sidemen, Syl delivers a Soul album that evokes Al Green.

DIAMOND IN THE ROUGH

London

1974

Second album pour le label Hi, Syl Johnson poursuit dans la même veine que le premier avec sa Soul cuivrée accrocheuse et passionnée. On peut retenir de remarquables morceaux comme "Don't do it", "I want to take you home (to see mama)", "Stuck in Chicago", "Diamonds in the rough", "Keeping down confusion", "I hear the love chimes".

Second album for the Hi label, Syl Johnson continues in the same vein as the first with his catchy and passionate brassy Soul. We can point out remarkable songs like "Don't do it", "I want to take you home (to see mama)", "Stuck in Chicago", "Diamonds in the rough", "Keeping down confusion", "I hear the love chimes".

TOTAL EXPLOSION

London

1975

Il s'agit d'un excellent opus entre Soul et Funk avec des titres puissants. On entend le superbe harmonica de Syl Johnson sur "I only have love" et "Bustin' up or bustin' out". Mais on peut aussi retenir les excellents "Watch what you do to me", "Steppin' out", "Take me to the river", "That's just my luck" dans un programme très consistant.

This is an excellent opus between Soul and Funk with powerful titles. We hear Syl Johnson's superb harmonica on "I only have love" and "Bustin' up or bustin' out". But we can also point out the excellent "Watch what you do to me", "Steppin' out", "Take me to the river", "That's just my luck" in a very consistent program.

UPTOWN SHAKEDOWN

1978

Pour son quatrième et dernier album pour Hi, Syl enregistre aux United/Western Studios d'Hollywood avec un groupe complètement renouvelé. Ses producteurs sont Mark Gibbons, Hal Winn et Jerry Barnes. Malheureusement, les arrangements sont lourds et les compositions beaucoup moins convaincantes que précédemment (un insipide medley des titres d'Otis Redding).

For his fourth and last album for Hi, Syl records at United/Western Studios in Hollywood with a completely renewed band. His producers are Mark Gibbons, Hal Winn and Jerry Barnes. Unfortunately, the arrangements are heavy and the compositions much less convincing than before (an insipid medley of Otis Redding's titles).

FOXY BROWN

Shama

1977 - 1983

Après une période faste chez Hi, Syl se retrouve au creux de la vague dans les années 80. Il enregistre irrégulièrement des morceaux qu'il rassemble sous sa bannière Shama. Un poignée de titres avec des arrangements synthétiques et envahissants qui ne sont guère convaincants.

After a prosperous period at Hi, Syl finds himself at the bottom of the wave in the 80's. He irregularly records tracks that he gathers under his Shama banner. A handful of titles with synthetic and invasive arrangements which are hardly convincing.

BRINGS OUT THE BLUES IN ME

Shama

Flyright

February 1980

Comme le titre l'indique, Syl Johnson se tourne vers le Blues ici épaulé par des spécialistes du genre : "Little" Mack Simmons (harmonica), Phil Guy (guitare), John Bishop (guitare), J.W. Williams (basse), Ray Allison (batterie), St James Bryant (clavinet), Jerry Wilson (saxophone). Un album sympathique, un peu bancal, qui mérite néanmoins l'écoute ("Last night was the night", "Liberated lady" et une nouvelle version de "Is it because I'm black").

As the title suggests, Syl Johnson focuses on the Blues here supported by some specialists in the genre : "Little" Mack Simmons (harmonica), Phil Guy (guitar), John Bishop (guitar), J.W. Williams (bass), Ray Allison (drums), St James Bryant (clavinet), Jerry Wilson (saxophone). A nice album, a little wonky, which nevertheless deserves listening ("Last night was the night", "Liberated lady" and a new version of "Is it because I'm black").

MS FINE BROWN FRAME

Erect - Boardwalk

1982

Un superbe album entre Blues et Funk dans lequel Syl Johnson est accompagné par l'harmoniciste James Cotton et son groupe (Michael Coleman, Herman Applewhite, Ray Allison) ainsi qu'une section cuivres. Un programme intense et accrocheur avec notamment "Ms fine brown frame", "Keep on loving me", "Groove me", "It ain't easy". Syl Johnson co-produit l'album avec General Crook. L'album obtint un beau succès mais le label Boardwalk ferma malheureusement ses portes peu après.

A superb album between Blues and Funk in which Syl Johnson is accompanied by harmonica player James Cotton and his band (Michael Coleman, Herman Applewhite, Ray Allison) as well as a horn section. An intense and catchy program including "Ms fine brown frame", "Keep on loving me", "Groove me", "It ain't easy". Syl Johnson co-produced the album with General Crook. The album was a success but the Boardwalk label unfortunately closed its doors soon after.

SUICIDE BLUES

Isabel

November 1983

Ce disque est enregistré au studio Davout à Paris sous la supervision de Didier Tricard (co-producteur pour son propre label Isabel). On trouve d'excellents blues comme "Suicide blues", "Before you accuse me", "The blues in me", "Crazy man". Lors de la même séance est enregistré l'album conjoint de Phil Guy et "Mojo" Buford - "Tribute to Muddy Waters" - auquel participe d'ailleurs Syl Johnson.

This album is recorded at the Davout studio in Paris under the supervision of Didier Tricard (co-producer for his own Isabel label). There are excellent blues like "Suicide blues", "Before you accuse me", "The blues in me", "Crazy man". During the same session is recorded Phil Guy and "Mojo" Buford joint album - "Tribute to Muddy Waters" - in which Syl Johnson participates.

BACK IN THE GAME

Delmark

November 1993 - May 1994

Après plus de dix ans d'absence discographique (durant lesquelles il gère ses restaurants "Solomon's fishery"), Syl Johnson revient au premier plan avec ce superbe album de Soul-Blues pour Delmark. Produit par Pete Nathan, il rassemble Syl Johnson avec ses anciens musiciens du label Hi (les frères Fred, Charles, Teenie et Leroy Hodges et Howard Grimes). La tracklist s'avère passionnante et inspirée du début à la fin, en particulier "Back in the game", "I like your style", "Keep on loving me", "Ghetto woman", "Dipped in the water" (qu'il chante en duo avec sa fille Syleena), "All of your love", "Watch what you do to me".

After more than ten years of discographic absence (during which he manages his restaurants "Solomon's fishery"), Syl Johnson returns to the fore with this superb album of Soul-Blues for Delmark. Produced by Pete Nathan, it brings together Syl Johnson with his former Hi label musicians (brothers Fred, Charles, Teenie and Leroy Hodges and Howard Grimes). The tracklist turns out to be exciting and inspired by the beginning to the end, in particular "Back in the game", "I like your style", "Keep on loving me", "Ghetto woman", "Dipped in the water" (which he sings in duet with his daughter Syleena) , "All of your love", "Watch what you do to me".

THIS TIME TOGETHER BY FATHER AND DAUGHTER

Twinight

1995

BLUES DOWN DEEP : SONGS OF JANIS JOPLIN

House of Blues

Ruf

1997

BRIDGE TO A LEGACY

Antone's

1998

Suite au succès de "Back in the game", Syl Johnson poursuit une seconde carrière tout aussi fructueuse que la première. Ici, il est son propre producteur et est entouré de nombreux musiciens renommés. Mais, le programme reste assez inégal, pas toujours inspiré. On peut retenir les intéressants "Who's still in love" (avec une belle section cuivres arrangées par Gene Barge), "Half a love" (chanté par sa fille Syleena), "Let's get it on again".

Following the success of "Back in the game", Syl Johnson pursues a second career just as successful as the first. Here, he is his own producer and is surrounded by many experienced musicians. But, the program remains quite uneven, not always inspired. We can point out the interesting "Who's still in love" (with a beautiful horn section arranged by Gene Barge), "Half a love" (sung by his daughter Syleena), "Let's get it on again".

TALKIN' 'BOUT CHICAGO

Delmark

1999

Pour ce second opus édité chez Delmark, Syl Johnson propose un album inspiré et original entre Blues et Funk (co-produit par Pete Nathan). Un programme dense avec d'excellents moments tels que "Come on with it", "Sweet dynamite", "Talkin' 'bout Chicago", "Diff'rent strokes", "Surrounded", "Caribbean beach", "Finger lickin' good".

For this second opus issued by Delmark, Syl Johnson offers an inspired and original album between Blues and Funk (co-produced by Pete Nathan). A dense program with excellent moments such as "Come on with it", "Sweet dynamite", "Talkin' 'bout Chicago", "Diff'rent strokes", "Surrounded", "Caribbean beach", "Finger lickin' good".

HANDS OF TIME

Hep'Me

1999

TWO JOHNSONS ARE BETTER THAN ONE

Evangeline

Evidence

November 2000 - January 2001

A l'initiative du producteur Jon Tiven, il s'agit de la réunion des frères Syl & Jimmy Johnson dans leurs registres Soul et Blues. Les deux frères se complètent parfaitement. On retrouve leurs excellentes compositions (avec une aide de Jon & Sally Tiven) jouées avec goût et feeling : "Two Johnsons are better than one", "Uncomplicated life", "Is it because I'm black", "Ashes in my ashtray", "Living the life", "Dangerous".

At the initiative of producer Jon Tiven, this is the meeting of brothers Syl & Jimmy Johnson in their Soul and Blues registers. The two brothers complement each other perfectly. We find their excellent compositions (with a help of Jon & Sally Tiven) played with taste and feeling : "Two Johnsons are better than one", "Uncomplicated life", "Is it because I'm black", "Ashes in my ashtray", "Living the life", "Dangerous".