Mel Waiters - Southern Soul Music Artist - Southern Soul RnB
I Ain't Gone Do It Mel Waiters Meet Me Tonight Rather Hurt Myself R&B singer Mel Waiters mixed the grit of urban blues with the grooves and In early , the hard-working Waiters was diagnosed with cancer, and the singer died . MEL WAITERS DIED THIS MORNING, THURSDAY, MAY 28, , OF . post-" Let Me Show You How To Love" ballads in "Meet Me Tonight;" also the ballad. But due to the vagaries of fate--in particular the untimely deaths of flagship artists Z. Z. Hill, Johnnie Taylor .. Meet Me TonightMel Waiters 3.
To most radio programmers, older black people listened to the blues. So, when Johnnie Taylor's fans grew older, he was a "blues artist. Malaco signs Bobby "Blue" Bland. And that, in vastly simplified form, is how we as a Southern Soul community got from there--the late sixties, when soul and blues were fixtures of the pop charts--to here, The long, tortured rebirth of contemporary Southern Soul music owes its present vigor and very existence to the presence of Tommy Couch and Malaco Records.
This shouldn't deter anyone who loves the music or is bored with mainstream music. The blues of Howling Wolf and Muddy Waters fared no better before the mainstream discovered them--long after their primes.
Nice's Home Page for the continuation of that story. But it's the big picture. Since the 80's, Malaco has been the big fish in a very small pond of old-school rhythm and blues--no more, no less. The big "catfish" has retired to its deep hole under the shadowy muddy bank, leaving the smaller fish to frolic and compete for bragging rights if not big dollars. Insiders remain skeptical if not downright pessimistic.
The young generation has never made record-buying a habit in the way the baby-boomer generation did, and the "grown folks" demographic Southern Soul targets isn't known for its conspicuous consumption.
Nonetheless, nothing sells--even in hard times--like entertainment. Hill and Johnnie Taylor astonished the radio programmers. The number of creditable performers in the Southern Soul genre, the competitiveness of the scene, and the exponentially-growing concert and touring phenomenon bode well.
The elements are all there, ready to combust for some lucky, talent-endowed performer and label. Meanwhile, Malaco remains on its hill in north Jackson, Mississippi, a living monument to the refusal of the music to die.
- Mel Waiters
- Meet Me Tonight
- Mel Waiters (21st Century)
Nice is doing a great job. Don't know if Daddy B. Current Boogie Report Top 20 countdown at least a couple of these have been mentioned here before, but not most of them, I don't think: Right William Bell What - Joy One Good Man Karen Wolfe That Girl Charles Wilson Mistreated Margo Thunder Same Soap Omar Cunningham 5. Impala Lamorris Williams 3. Mississippi Girl Wendell B 1. Damnit, I am falling behind again: Every time I hear this drum, bass and rhythm guitar I'm torn between kneeling and genuflecting, dancing, or following in a long line of wild critters drawn by the flute of the Pied Piper.
Fans who weren't around when "I Lived It All" was first recorded may remember the more recent Patrick Harris songs "Right On Time" and "I Fooled You This Time," which borrowed some of their inspirational flavor and their distinctive, high-pitched synthesizer fills from Carl Marshall's classic. His recent passing isn't even hinted at in the easy-going, full-chested power with which he delivers the song's rueful message.
As a vocalist he's the equal of any of them, and his compositional skills set him apart. As the "cheater" he has to use the "same soap" he lathers with at home. Come to think of it, "Beauty Shop" another "cleansing" song was at bottom about a cheater. For Mendenhall fans it's a rare opportunity to hear a "fresh" tune posthumously. Nice has no available links to any CD or EP and no hard-copy "best-of album" exists.
However, Jerry "Boogie" Mason, who played the track on Jackson's WMPR the other day, informs me you can find the "Time" remix as "an alternate take taken from the itunes download of the best of frank mendenhall.
In fact, I thought it was Syleena finally striking gold in a Southern Soul way for the first time since her early hit. Special robs "Guess What" blind, but since Syleena hasn't pursued Southern Soul anyway, that's a good thing. Making a record the Bigg Robb way, with an entourage of talent worthy of Cotton's great expectations, pays off in an amazing vintage-sounding soul extravaganza.
Congratulations to the young artist for perseverence. This is the kind of soul song perfect for driving in a light evening rain with the windshield wipers swishing and romance at the end of the journey. Good, evidently, in this Internet age.
Get yourself a solid bass line. Kick out a melody. Don't be afraid to be "pop. The simplicity puts the emphasis on the execution and Murdock and company do not disappoint.
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Each listening sears the groove a little deeper into the ears' pleasure zone. And to think your Daddy B. We really just started performing like that. We performed, began to do these performances. The order of how they came into play, because there were times when Got my whiskey was more powerful than Hole in the wall, and there were nights when Hole in the wall was more popular than Got my whiskey.
But when we began the most recent band, that I have right now, we …………. But right now we pretty much have a formula.
Reading Soul Express finsk [! Then you had a string of hits with dance oriented songs. Are you going back to ballads a little more again? So pretty much, right now, when I do a ballad, I think the jocks DJ: But I have had real good ballads.
Material things, the title track I felt was a really good ballad.
Woman in need from the CD Woman in need, I felt that was a good ballad. If I have a ballad hit, yeah, I would love that. Yeah, Lee Fields was one of the first performances that I did, that I got payed for. Actually, I did the sound board for him that night. I was the opening act. That was the first time I ever met and seen Lee Fields.
I like his style. Walter Waiters, is that a relative of yours? Yes, Walter is my cousin. He grow up in the same old town, San Antonio, where I did. With you being a drummer etc; bass, guitar — how do you reflect on that drummers and bass players are not so much used on recordings.
They are on live shows but not on many of the records. What do you think of that, as being a drummer yourself? Well, I was real partial to that first, but with the way technology is right now, the drum machines sound just as good as live drummers.
You can still put the feeling in there as well with the new technology.
Waiters, Mel # 168 (English)
They can play so many bars and then we can loop it, we can sample it, and we can move it around. But back in the day when we had 24 track, 2 inch recording, then we would have to play the song through its entirety for each musician as well as the drummer, the guitar player, whatever. But I lock everything with pro-tools and everything.
You can play a few bars and use it later on in the song. Have you been over in Europe? I fly to maybe L. You hit immediately, when you arrived at Malaco, but you produced the whole thing yourself.
They kept it as it was, and they just pressed it up and made copies. And the next CD, they pretty much did the same thing on Material Things.
But the third CD, they began to bring other writers in and they had me to mix it at Malaco. So they sort of took away my work on it and my process of creating, what I felt was hits. And the next three albums after that, they begin to bring other writers in with other songs to me, so I felt like they took away from my personal creativity, the way for which I felt I should stay on line with my fan base.
Yeah, because I think they took my creativity away from me, I felt. They wanted to run the scheme, and mechanically worked me.
And with the end results, it was never my final say. So on the road I felt like I was closer to knowing what my fans wanted, than what they did sitting in the office at Malaco. I did meet Dave… I worked in radio for nine years, and Dave Clark would come to the radio station I used to work at, before I got to this part of my career.
And before I came to Malaco, I think Dave was dead, had passed away by then. But the first CD at Malaco was a hit. Was it the promotion or a particular DJ that created the success? The success of that album… because Woman In Need was the first single off the album, and it was out about six months, and a young lady by the name of Candy Eastman in Houston, Texas, at Magicdid a, what we call, a double play.
So from Candy playing that record in the streets, begin to play it a lot, the entire CD caught on fire. But Hole In The Wall was the song that got me national known. But to answer the question, Got My Whiskey was the first song to propel me and give me that great note of writing. When Scott interviewed you, you said you could be kind of trapped being with a label like Malaco, considered to be a blues artist. Because when I listen to southern soul radio on the web, they talk a lot about blues.
Or have you accepted to more being a blues artist?
I Ain't Gone Do It by Mel Waiters on Apple Music
I was riding to Birmingham one Saturday and K. But my fan base are definitly on up right now. Is it coming back? Getting more diversified, the blues thing? I mean, we rob a little from blues, by using blues lyric content. So I think that is the closest that a lot of the jocks that are on the radio now comes. Is it getting better? But with the internet radio?
Mel Waiters (21st Century) - Southern Soul Music Artist - Southern Soul RnB
Because I think the quality of records that are being cut right now are not the quality of records that was being cut with McKinley Mitchell and Johnnie Taylor and Z. Hill and Tyrone Daviswhich was the Malaco sound, some of it, a little later on. But the early years… Johnnie was with Stax and Tyrone was with Columbia, and they had heck of recording studios and producing teames that created some timeless music. And not enough energies being put into the production.