THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD
1,767) Joe Tex and the Vibrators — “I’ll Never Break Your Heart” (Parts I & II)
I love my Joe Tex (see #42, 455, 609, 732, 1,196) — and not only the raucous, riotous and raunchy Joe Tex. Here is a beautiful and heartfelt ballad by JT at his sweetest, a “stunning two-part track[] . . . in which Joe opened up a whole new territory of narrative in soul music”. (Dusty Groove, https://www.dustygroove.com/item/7693/Joe-Tex:Hold-On-It-s-Joe-Tex) It is a “follow-up to Jerry Butler’s [see #347] Fall 1960 No.1 R&B/No.4 Pop smash ‘He Will Break Your Heart’ p. . . . a tad pacier than Butler’s recording but didn’t fare as well as Tex’s initial Anna release”. (Pete Nickols, https://www.sirshambling.com/articles/joe_tex/index.php)
Michael Jack Kirby gives a fabulous introduction to Joe Tex (Joseph Arrington, Jr.):
In 1965 . . . [he] had his first big hit, “Hold What You’ve Got.” Perseverance got him to that point as he’d been making records for almost ten years. [Joe Tex] . . . . had advice for everyone, especially when it came to romance and moral behavior. The long road to stardom got under way in 1955 when he made the journey from the Lone Star State to New York City’s Apollo Theater, taking control of the crowds and coming in first place on more than one “Amateur Night.” Syd Nathan, owner of King records, offered him a chance to record . . . . After several releases but no breakthrough hit, King cut him loose and he headed back to Texas, where he served as a minister . . . . Tex joined the Ace [Records] roster in 1958 and waxed several singles . . . but . . . none were hits. . . . He [did] perfect[] some mean dance moves, including an impressive microphone stand gimmick by letting the stand fall to the floor as he grabs it with his foot just in time, proceeding to kick it around while dancing and singing, never missing a beat of the song. Those kinds of stage moves . . . would later get him into a skirmish with a certain “Mr. Dynamite.” Joe had . . . a few singles for the Anna label . . . “Baby You’re Right,” was interpreted with minor changes by James Brown . . . and hit the pop charts, and R&B top ten . . . the first major hit with Joe’s name attached. Any good feelings Joe had towards James was short-lived, though, when the latter made claims that the former had copied his moves onstage. Joe’s reply was to make fun of JB’s cape-wearing “Please, Please, Please” routine at a concert, and when James began dating Joe’s ex-wife . . . the two cut ties permanently.
The break of a lifetime came when Joe met William “Buddy” Killen. . . . Buddy worked for Big Tree Publishing . . . . Tex and Killen clicked when they first met and a deal was struck . . . . Ten singles came out . . . between 1961 and 1964 . . . . with the same frustrating results [as before]. Joe was ready to call it quits and move on . . . [but] Killen convinced him to hang in there a little longer. [The ’64 single] “Hold What You’ve Got[]” . . . went top ten on the pop charts and number one R&B in January 1965. . . . The Tex-Killen team was a well-oiled machine in those hitmaking years of the mid-to-late 1960s and the two became very close friends. Buddy produced and Joe continued doing all the songwriting himself . . . . [H]e caught a hot groove in 1967 with “Show Me,” . . [and] “Skinny Legs and All[]“ . . was a smash hit beyond all expectations; top ten, a million seller and Grammy nominee to boot. . . .
Pete Nickols gets to the essence of JT:
He was the first to cut a southern-soul record actually in the South which crossed over to the US Pop chart, namely “Hold What You’ve Got” at the end of 1964. He was also the first performer to imbue many of his single releases with extended spoken ‘soul-preaching’ passages, which he termed ‘rap’, well before the style was taken up by the likes of Isaac Hayes, Barry White and Millie Jackson. In addition, he often wrote and included in his recordings comedic lyrics based chiefly on the sayings and lives of people he encountered . . . .
Dave Marsh adds:
His raspy-voiced, jackleg preacher style . . . laid some of the most important parts of rap’s foundation. He is, arguably, the most underrated of all the ’60s soul performers associated with Atlantic Records . . . . Tex made his mark by preaching over tough hard soul tracks, clowning at some points, swooping into a croon at others. He was perhaps the most rustic and back-country of the soul stars, a role he played to the hilt . . . . His biggest hit was “Skinny Legs and All,” from a 1967 live album, his rapping pure hokum over deeply funky riffs. “Skinny Legs” might have served as a template for all the raucous, ribald hip-hop hits of pop’s future.
Here is Jerry Butler:
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