Joe Tex (Joseph Arrington Jr from down in Texas) was a sweet talking guy & he sure could sing. It took him 10 years of making records before his first big hit. “Hold What You’ve Got” (1964) features 2 recitations, one to men, the other to women, with some down-to-earth advice about appreciating what’s at home. Joe was ready, there were 11 Top 20 R&B hits in the next 2 years. For the rest of the 1960s his music incorporated the changing styles & sounds of Soul music alongside his distinctive vocals & his good-humoured, congenial lyrics.
That first million seller was recorded at FAME Studios in Muscle Shoals, Alabama, where the Southern Soul sound was being forged. It was a smart move by label owner-producer Buddy Killen & so was hitching his Dial Records to a distribution deal with Atlantic Records. Joe’s records were in the shops & his name linked with the other members of the soul clan on that emerging major. He could write & perform those loquacious, folksy but never preaching, ballads as well as anyone. Check “One Monkey Don’t Stop No Show”, that’s a great one. “The Love You Save” (see above) is the track chosen by Butterfly from a very cool jukebox in QT’s “Death Proof”. Joe could go with the flow, the swinging “S.Y.S.L.J.F.M.” recalls the Wicked Wilson’s “634-5789”, “Papa Was Too” takes it’s cue from King Otis & Queen Carla’s (Lowell Fulson’s ?) “Tramp”. His songwriting nous & brightness ensured that he kept it fresh.
Joe’s first release of 1967 missed the R&B Top 20. “Show Me” is a dancefloor ripper, the most basic of his songs. Along with “Knock On Wood” it was in the repertoire of every bar & youth club band in the UK. Not a one of them was as tight as the opening number of the Joe Tex Show. Here’s the evidence…
1967 ended with Joe Tex’s 2nd million seller. “Skinny Legs & All” was from “Live & Lively”, a faux-live LP recorded at American Studio, Memphis. The added novelty element brought a crossover to the mainstream. Joe was a big deal with a reputation for a dynamic, hit-filled live show. It was 1969 before he crossed the Atlantic with his 9-piece band. Both Spanish & Swedish TV pointed cameras at the them &, while there may not be the electricity of the earlier Stax/Volt European tours, they preserved a pretty good record of a 1960s soul revue.
Joe was a big enough deal to continue a public feud with James Brown. Back in 1955 they were both on the King label & their paths often crossed. If it wasn’t a dispute about writing credits it was women or the stealing of stage moves by one or the other. When JB adopted the title “Soul Brother #1”, Joe called him out. In 1955 that title was held by Little Willie John & Joe saw no reason to recognise the new contender. In 1966 he became involved with The Soul Clan, initiated by Solomon Burke as an attempt to build an autonomous African-American business concern. The project lost impetus with the death of Otis Redding & Atlantic wanted hit records not to bankroll real estate deals. By the time any recordings were released Tex, Burke, Don Covay, Arthur Conley & Ben E King were not that close.
Joe recorded at all 3 points of the Southern music triangle. In 1968 he was in Nashville for his “Soul Country” LP. There’s just one of his own songs & some of the covers are a little uninspired. “Buying a Book” (1969) is more like it. A brilliant slice of Southern Country Soul, my personal choice of all his tracks & I wish I still had that Soul mixtape it was on.
In 1970 Joe was standing on the verge with getting it on with the Funk & George Clinton was listening to the groove of “You’re Right Ray Charles”, a song about the advice Brother Ray gave him back then. His final LP on the Dial/Atlantic deal was 1971’s “From the Roots Came the Rapper”, before roots & rappers were even invented. “I Gotcha” an Isley Brothers inflected slab of a song which made the “Reservoir Dogs” soundtrack, found him at #2 on the pop charts, dancing up a storm with a girl & a microphone stand on “Soul Train”.
Then Joe abruptly quit the music business. He had embraced Islam, following the teachings of Elijah Muhammad, adopting the name Yusuf Hazziez. He returned to the studio with Buddy Killen after the death of Elijah &, in 1976, enjoyed a disco hit with “Ain’t Gonna Bump No More (With No Big Fat Woman)”. I don’t know the 1978 LP “He Who Is Without Funk Cast the First Stone” (1978) but that’s a good title. In 1980 there was an ill-planned reunion of the Soul Clan & unfortunately the next clan gathering was at Joe Tex’s funeral after a fatal heart attack in 1982, aged just 47.
Joe Tex was more than just the Clown Prince of Soul. His conversational, quick-witted singles sounded great on the radio at a time when there was a lot of fine Soul music around. His collected work, there are 25 on “The All Time Greatest Hits”, he wrote 24 of them, reflect the fast-changing times & taste of the audience. In a business which uses up & wears out the talent from 1965 to 1972 & then some more Joe was always around, always current & down with his bad self.